Korean Heritage as a Foundation for Composition. Sam Park

Transcription

1 Korean Heritage as a Foundation or Comosition Sam Park A ortolio o comositions and commentary submitted to the University o Huddersield in artial ulilment o the requirements or the degree o Doctor o Philosohy (PhD) December 01

2 LIST F CNTENTS Portolio o comositions... CPYRIGHT STATEMENT... 7 Abstract... 8 Introduction The Beauty o Korea Background ogakbo and Korean hilosohies: Yin-Yang, hang and Maek Musical language in a general sense Pitch rganisation Musical Colour The hilosohy o Maek.... Commentary Water Song (009) The Colour o Light (010) Fan Dance (011) Mesmerizing in-yi Hwang (011) The Scent in the Wind (011) The ourney o the Sun (01) Clouds, Landscae, Human Being (01) Four Seasons o ogakbo (01) Snow Baby in Graz (01) Conclusion... 9 Bibliograhy... 97

3 LIST F FIGURES Figure 1 ogakbo... 1 Figure -Bang Saek: -ung Saek and -Gan Saek... 1 Figure A tyical bell sectrum Figure Microtonal natural harmonics... 1 Figure Microtonal natural harmonics table in Violin... Figure 6 The irst section in The Colour o Light... Figure 7 The dierent harmonics techniques in bar Figure 8 rte von Flageolettes und Flageolettmehrklängen au der vorderen Hälte einer Klavier-Basssaite... Figure 9 Multihonic sounds on the lowest itches C, Db, and D... 6 Figure 10 The irst section in The Scent in the Wind... 7 Figure 11 Scriabin and Rimsky-Korsakov: maings o musical keys to colour... 9 Figure 1 Rests between itches in Snow Baby in Graz... Figure 1 Silence with ermatas between the ourth and the ith section in Clouds, Landscae, Human Being... 6 Figure 1 The irst section in Water Song... 8 Figure 1 The second section in Water Song... 8 Figure 16 The third section in Water Song... 9 Figure 17 The ourth section in Water Song... 9 Figure 18 The ith section in Water Song... 0 Figure 19 The oening section in The Colour o Light... 1 Figure 0 The oening art o the second section in The Colour o Light... 1 Figure 1 The highlighted artials o the undamental itch E... Figure The third section in The Colour o Light... Figure Distorted Sectral Pitch Scale... Figure Distorted Sectral Pitch Scale in the ourth section... Figure The ith section in The Colour o Light... Figure 6 The glissando technique in the sixth section in The Colour o Light... Figure 7 The last section in The Colour o Light... 6 Figure 8 Fan Dance... 7 Figure 9 The decreasing meter change... 8 Figure 0 The arch orm o the linear itch rogression... 8 Figure 1 The reetition o the itches in trumet... 9 Figure The honetics o Korean and the meaning in English in each section... 0 Figure The rhythmic change... 0 Figure The dierent vocal techniques in bar 0 and in bar... 1 Figure The harmonic sound B generated on the itch G... Figure 6 The nested comonents... Figure 7 Distorted Sectral Pitch Scale... Figure 8 Distorted Sectral Pitch Scale in the second section... Figure 9 The orm o The Scent in the Wind... Figure 0 The stitching technique 1... Figure 1 The stitching technique... 6 Figure The atching techniques in the second section and between the ourth and ith section... 7 Figure The artials o the low itch A in the irst section... 8 Figure The second section in The ourney o the Sun... 8 Figure The third section in The ourney o the Sun... 9 Figure 6 PRGRESSIN FRM HARMNICITY T INHARMNICITY IN PARTIELS. 60 Figure 7 Pitch comonents in The ourney o the Sun Figure 8 The rogress o chords at bar Figure 9 From bar 97 to bar 110 in the ourth section... 6 Figure 0 The last section o The ourney o the Sun Figure 1 The irst section in Clouds, Landscae, Human Being Figure The subtle change o timbre in the iano art in the ourth section Figure The second section in Clouds, Landscae, Human Being Figure The third section in Clouds, Landscae, Human Being... 70

4 Figure The ith section in Clouds, Landscae, Human Being Figure 6 The segments and the irregular division o the sace in the irst ragment Black Winter in Four Seasons o ogakbo... 7 Figure 7 A variety o comonents o hang... 7 Figure 8 The ragments osition o the stage... 7 Figure 9 The second ragment Green Sring in Four Seasons o ogakbo Figure 60 The third ragment Red Summer in Four Seasons o ogakbo Figure 61 The ourth ragment White Autumn in Four Seasons o ogakbo Figure 6 The ith ragment Yellow Four Seasons in Four Seasons o ogakbo Figure 6 Sto Mute and Straight Mute... 8 Figure 6 Snow Baby in Graz in bar Figure 6 The source-ilter model o sound roduction Figure 66 The sound color sace. The dimension o PENNESS varies roughly with the requency o the irst resonance; ACUTENESS, with the requency o the second. The middle o the sace (at the [ne] sound) is the maximally LAX sound; around the erihery are the least LAX sounds Figure 67 The use o dierent vowel sounds in bar 1 and in bar Figure 68 Figure. The dimensions o sound color. Loci o equal value or each o the dimensions o LAXNESS, PENNESS and ACUTENESS are lotted in terms o the requencies o the irst two resonances. The aroximate ositions o some reresentative vowels are indicated Figure 69 PENNESS TRANSPSITIN in bar 9-10 in Snow Baby in Graz Figure 70 The transormation o sound colour in ACUTENESS in bar 17 and in bar Figure 71 The order as related to the ten colours o hang... 9 Figure 7 The ith section eaturing the colour black in Snow Baby in Graz... 9 Figure 7 The second ink section in Snow Baby in Graz... 9

5 Portolio o comositions Water Song (009) (revised 01), or trombone and ercussion Premiered March 1, 010: Barrie Webb, Damien Harron, St. Paul s Hall, Huddersield, UK The Colour o Light (010), or string quartet Premiered Setember 7, 011: Nouvel Ensemble Moderne, Lecture Hall, Shanghai, China, New Music Week December 7, 011: Nouvel Ensemble Moderne, Chaelle Historique, Montreal, Canada Fan Dance (011), or trumet and string quartet Unerormed Mesmerizing in-yi Hwang (011), or solo mezzo sorano Unerormed The Scent in the wind (011) (revised 01), or solo iano Premiered March 1, 01: Ermis Theodorakis, St. Paul s Hall, Huddersield, UK The ourney o the Sun (01), or 16 instruments Unerormed Clouds, Landscae, Human Being (01), or lute, Bb clarinet, violin, violoncello, and iano Premiered uly 7, 01: Curious Chamber Players, Koulukeskus School Centre, Viitasaari, Finland, Time o Music 01 Festival Four seasons o ogakbo (01) (revised 01), or solo baritone saxohone Premiered March 11, 01: Ryan Muncy, St. Paul s Hall, Huddersield, UK Snow Baby in Graz (01), or solo horn in F Premiered une 18, 01: Corey Klein, rheus Institute, Gent, Belgium uly 1, 01: Corey Klein, Galleria Borgoarte, Borgomanero, Italy uly 1, 01: Corey Klein, Pro Loco Trivero, Marconi, Italy uly 16 01: Corey Klein, Conservatorio Statale di Musica "G. Cantelli", Navaro, Italy uly 1, 01: Corey Klein, Natoliński środek Kultury, Warsaw, Poland

6 Setember 8, 01: Corey Klein, Galerie Unterlechner, Schwatz, Austria Rent a Musician Klangsuren Internationale Ensemble Modern Akademie CD contents (recordings): 1: The Colour o Light (erormed by Nouvel Ensemble Moderne) : Clouds, Landscae, Human Being (erormed by Curious Chamber Players) : Four Seasons o ogakbo (01 version, erormed by Ryan Muncy) : Snow Baby in Graz (Studio Bijloke (studio recording), recorded by Corey Klein) 6

7 CPYRIGHT STATEMENT i. The author o this thesis (including any aendices and/or schedules to this thesis) owns any coyright in it (the Coyright ) and s/he has given The University o Huddersield the right to use such Coyright or any administrative, romotional, educational and/or teaching uroses. ii. Coies o this thesis, either in ull or in extracts, may be made only in accordance with the regulations o the University Library. Details o these regulations may be obtained rom the Librarian. This age must orm art o any such coies made. iii. The ownershi o any atents, designs, trademarks and any and all other intellectual roerty rights excet or the Coyright (the Intellectual Proerty Rights ) and any reroductions o coyright works, or examle grahs and tables ( Reroductions ), which may be described in this thesis, may not be owned by the author and may be owned by third arties. Such Intellectual Proerty Rights and Reroductions cannot and must not be made available or use without the rior written ermission o the owner(s) o the relevant Intellectual Proerty Rights and/or Reroductions. 7

8 Abstract This dissertation rovides the concetual and aesthetic background o the comositions comosed throughout the course o my doctoral studies. I will introduce Korean hilosohies and aesthetics and then exand uon these elements to demonstrate how they have inluenced my aroach to music comosition. Furthermore, I will demonstrate how I intertwine the use o colour and Korean hilosohies. Chater 1 delineates the elements o Korean hilosohies and aesthetics that have inluenced my musical language. The chater ocuses on how the Korean handcrat art ogakbo and the Korean hilosohies o Yin-Yang, hang and Meak are related to each other. Additionally, I examine the origin and structure o ogakbo, with a articular ocus uon the key variables o shae and colour. The examination o ogakbo causes me to establish how orm and structure are linked in ogakbo, and then how I aly this orm and structure to my comosition. Furthermore, I will describe how the aesthetics o Yin-yang, hang and ogakbo orm the core o my musical language by examining the unction and unlanned aroach to the dierent coloured scras o material in ogakbo. Drawing uon this examination, I describe how I have taken the colours rom these scras to orm the colours in my music. In relation to this, I investigate the musical techniques o sectral comosers, with an emhasis on musical colour, looking at seciic comosers techniques and establishing how they have inluenced my own comositional techniques. Finally, I will discuss the role o the hilosohy o Maek generating linearity on the horizontal structure o music. Chater discusses individual ortolio ieces comosed throughout the doctoral course chronologically. I will demonstrate how selected Korean hilosohies, aesthetics, and the techniques o ogakbo have gradually evolved to lay a larger role in the comosition o my ieces. In articular, the colours used in ogakbo and the hilosohy o hang lay a more direct role in creating the structure and orm o the ieces comosed in late 8

9 course. In the conclusion, the research throughout my doctoral course has been summarised, and limitations and other challenges reached while alying the research to my comositional rocess are examined. Finally, the conclusion ends with a discussion o otential directions to urther this research. 9

10 Introduction In Aril 009, Korean comoser Chan-Hae Lee and Israeli comoser Dan Yuhas, his wie, and I visited the Korean traditional Royal Palace ChangDeokGoong. While we were walking around the alace, the beauty o the landscae mesmerized us. Dan Yuhas noted that Korean architecture went well with nature. In articular, he and his wie exressed their areciation or the decoration o the roo o the alace, imressed with how the decorations consisted o various shaes and colours. The shaes o the decorations were comosed o geometric atterns: triangles, quadrangles, and circles; and o images rom nature: the sun, the moon, and the clouds; and o lower atterns: roses and lotus. Additionally, the decoration was comosed o a variety o dierent colours. When we looked at the decoration on the roo, the same attern aeared to reeat itsel over the course o the alace, however uon closer examination we noted subtle dierences in the colours and shaes and careully reared transitions through these colours and shaes. Chan- Hae Lee exlained the comlexities within the decorations by comaring them to a lea. Although the colour o the lea is regarded as green, each lea contains slightly dierent shades o green: ale green, yellow green and olive. And like the lea, Korean architecture is ainted using a multitude o dierent colours and shades, however, some colours may share similar roerties with regards to colour. Chan- Hae Lee continued to exlain that to the untrained eye these roerties may look similar, but or those that send more time and look beyond the surace level, there lies the rich beauty o Korea. (Yuhas and Lee ersonal communication. 1 Aril 009) Ater the conversation with Dan Yuhas and Chan-Hae Lee, I relected uon my comositional rocess and ound mysel considering the ollowing line o questions: What is colour? What is colour in music? I I aly colour to music, can I exress the multitude o dierent shades and colours in my music and by extension exress these colours through the use o seciic roles or each colour? n a more 10

11 ersonal level I also osed the question: What constitutes the beauty o Korea, seciically the art and the rocess behind the ormation o its art? This questioning sarked urther thought on how I, as a Korean comoser, might draw rom the beauty o Korea or the uroses o comosition. However this also led me to consider whether the beauty o Korea is already relected in my music, considering that my cultural background is a art o me. To erceive and comrehend the beauty o Korea, I researched the heritage o Korea such as the Korean art orm o ogakbo and the Korean hilosohies o Yin-Yang, hang, and Maek, and through this research, I discovered a otential rocess or their alication in my comosition. 11

12 1. The Beauty o Korea 1.1. Background My interest and research into the unctions o colours rom a musical ersective began during my ostgraduate studies at Yonsei University in South Korea. At that time, I was ocused on the relationshi between colours and musical timbres as well as how musical timbres can exress colours. I studied the work o Helmut Lachenmann (197), in articular, his solo clarinet iece Dal niente(interieur III), which enabled me to understand the notion o colour when it is generated by instrumental techniques. The iece introduces a relationshi between instrumental technique and orm, where each section eatures a rimary instrumental technique and exlores its own unique sound. For examle, the irst section o the iece eatures the combination o key noise sounds and standard clarinet itches. The key noise sounds are transitioned into toneless sounds o blowing with rescribed ingerings (Lachenmann, 197, erormance instructions), which then in turn, orm the basis o the second section. This timbre-based orm o the iece encouraged me to research additional musical orms related to timbre or the uroses o develoing my own musical language. During the early stages o my doctoral studies, I ocused on develoing my understanding o how to comose with musical timbres through researching the music o Tristan Murail and Gérard Grisey, who both ocused on investigating musical timbre and the hysical roerties o sound. Additionally, their aroach to musical orm derives rom the transormation o sounds and sections. Finding this dierent concet or organising sections to be interesting, I decided that adding the concet o transormation-based orm to my current rocess o timbre-based sections warranted urther research. 1

13 It was around this time that I became interested in the Korean traditional handcrat art ogakbo. This art orm is created rom worn-out scras o dierent colours and shaes, and eatures sequences o scras showing the inter-change o colour rom one shade to another. Although there are many dierent tyes o ogakbo, ranging rom multi-coloured to multi-shaed, or me, the most ascinating are the ones that resent slightly dierent shades o colours to ortray a rich array o colour sectrums. To elaborate, the real beauty lies not in the use o a multitude o dierent colours but in the use o slightly dierent shades o colours such as olive green, dark green, bright green, ale green to exress a dierent dynamic and a rich texture. Through the dierent shades o colours o the scras, I could eel a connection between the ogakbo and my interretation o the beauty o Korea. This, to me, is reminiscent o the intricate decoration on the roo o the Royal alace (see.10) in Korea where the use o dierent shades o material heled create the decoration. The subtle use o dierent shades amongst the scras insired me to use greater subtlety and nuance within my musical language. Furthermore, I could detect a similarity between the sequence o the scras o ogakbo and Murail and Grisey s musical orm in relation to their use o colour change. For instance, the scras have their own identity with colour and shae, and these scras are connected to each other without any develoment. Corresondingly, an asect o the orm o Murail and Grisey s music is that their music is comosed o several sections where each section has its own sound, and the sections are connected without develoment rom a revious section to the next. The similarities between the sequence o the scras ound in ogakbo and the sequence o the sections used in the musical orm o Murail and Grisey ascinated me and this became a oundation or me to exeriment urther along these lines. 1

14 1.. ogakbo and Korean hilosohies: Yin-Yang, hang and Maek ogakbo is a handcrat art that originated during the oseon Dynasty ( ) in art as a means to collect remnants o cloth and ind a ractical use or them. The ordering o colours and atterns o the recycled scras while crating ogakbo is based uon the rincile o Yin-Yang and hang, which is that the basic colours being used are erceived to eature qualities that are combined to orm sequences o increasing and decreasing energies. What at irst aears to be the ree-orm combination o irregular scras rom cast-o materials is actually the creation o art eaturing a large-scale harmony derived rom increasing and decreasing energies through the connection between meaningul colour schemes and ormal atterning. Figure 1 ogakbo (01) The colours o scras are based uon the hilosohy o hang, a hilosohy that details the relationshi between the ive dierent elements that comose the universe: water, ire, wood, metal, and earth; the ive directions and the two colour grous in the hilosohy o hang; known as -ung Saek and -Gan Saek. -ung Saek consists o ive active and ositive colours: black, white, blue, red, and yellow. These ive colours are regarded as the colours that created the universe. n the 1

15 other hand, there are ive assive and negative colours, which are called -Gan Saek. Gan means between, so -Gan Saek consists o colours reerred to as being between the ositive colours due to the act that they are generated through the combination o colours rom -ung Saek. Seciically, the colour green is generated by combination o blue and yellow while the colour ink is generated by the combination o white and red, the colour urle by red and black, the colour sky by white and blue and the colour sulurous yellow by yellow and black. In this manner, -Gan Saek is a combination o two dierent ositive colours including green, ink, urle, sky, and sulurous yellow. The combination o -ung Saek and -Gan Saek is called -Bang Saek. (Lee, 1997,.76, cited in Kim and Lee, 011, ) Figure -Bang Saek: -ung Saek and -Gan Saek (Han, 1987,.1-1 cited in Kim and Lee, 011,.118) The scras eaturing these active and assive colours are sequenced throughout ogakbo allowing or the transition o colours rom ositive to negative or rom negative to ositive to be erceived. The sequence also allows or the ercetion o increasing and decreasing energies, and these invisible increasing and 1

16 decreasing energies, which low in ogakbo, create not only a balance between the scras but also a large-scale harmony. The invisible energy used in ogakbo is understood as Maek in Korean hilosohy. Beore discussing how the shaes o the scras o ogakbo relate to the hilosohy o Yin-Yang, allow me to irst briely discuss Yin and Yang. The characters Yin( 陰 ) and Yang( 陽 ) are related to darkness and lightness resectively. For examle, the ictogram or Yin is created by the combination o the ictograms or the words hill( 丘 ) and cloud ( 雲 ). This ictogram reresents a cloud existing above a hill and bringing about a shade that generates darkness. n the other hand, the ictogram or Yang( 陽 ) is created by the combination o the ictograms or the words hill( 丘 ) and Sun ( ). This ictogram reresents a sun existing above a hill and brings about a light that creates brightness. René Guénon in his book The Great Triad urther elaborates that Yin is assive, negative or eminine and that Yang is active, ositive or masculine (001,.6). In this regard, Yin signiies negative and decreasing energy and Yang stands or ositive and increasing energy. As already stated, the atterns o the scras o ogakbo are based on the Yin-Yang hilosohy. For instance, the scras are comosed o the shaes o circles, triangles, and rectangles. The circle is considered to be Heaven and the rectangle is regarded as the Earth in Korean hilosohy. To continue, the circle corresonds to Yang generating an increase in the level o energy and the rectangle corresonds to Yin generating a decrease in the level o energy. In addition, the triangle is described as a human, connecting and controlling the orce o the Heaven and the Earth. Furthermore, the triangle regulates the circle as well as the rectangle s increasing and decreasing energy. The hilosohies o Yin-Yang and hang ascinated me, as I realised that the rinciles o these hilosohies may be alied to the comosition o music. For examle, each musical arameter and instrumental technique may contain its own 16

17 colouration such as light, dark, shimmery, warm, cold, sot, and harsh. These colours are comarable with the colours o ogakbo. In addition, when the arameters are combined or connected to each other, relative colourul qualities may be realised, or examle one arameter may be lighter or darker than the next. These relative qualities o musical arameters allow or the ercetion o increasing and decreasing energies. In this regard, I realised there is a arallel to the hilosohy o Yin-Yang between musical arameters. I ursued alying the character o ogakbo as well as the hilosohies o Yin-Yang, hang and Maek to my musical language. First, in relation to the oosing rincials o Yin-Yang I exlored the oosite comonents ound in musical materials and the role these comonents may lay in music. Additionally, the hilosohy o Yin-Yang is urther reerenced to comose transitions o timbre rom one sound to another sound between set musical arameters. For examle, the transition o timbre can show the transormation rom light to dark or rom dark to light. Second, I related the qualities o the colours o ogakbo to the musical colours in my music, while urther investigating common roerties between visual colour and musical colour. Additionally, in order to exlore my own musical structure and orm, I alied the sequence o the dierent colours and shaes o the scras in ogakbo, to my musical structure and orm. Finally, I emloyed the hilosohy o Maek to exlore the linear low o sound in the horizontal structure. 1.. Musical language in a general sense The section Musical language in a general sense, will describe the integration o the character o ogakbo as well as the integration o the hilosohies o Yin-Yang, hang and Maek into the musical language o my comositions. This integration is seen throughout my comositional rocess both on a local level, through the use o itch, and on a global level with regards to musical structure and 17

18 orm. To begin with, the irst chater Pitch rganisation, will discuss the treatment o itch material and my research o sectral comosers, with the intention o alying asects o their sectral comositional rocess to my Yin-Yang and hang based comositional rocess. Next, the second chater Musical Colour, will dislay how the colours and shaes o the scras ound in ogakbo are translated into my musical language and connected with musical structure and orm. In this chater, I esecially ocus on the common vocabulary between visual colour and musical colour. The third chater The hilosohy o Maek, will discuss how my comositional aroach develoed with a desire to integrate the law o Maek with regards to the low o invisible energy being alied to the low o sound. I will be reerring to seciic ieces within my ortolio to urther exlain this integration o the aorementioned concets into my comositional rocess Pitch rganisation My aroach to itch is inluenced by the work o sectral comosers ocused mainly on the music o Gérard Grisey and Tristan Murail. Sectral comosers concentrate on studying musical timbre and the hysical qualities o sound. Furthermore, they also exlore the transormation and the transition o the roerties o sound over time (Rose, 1996,.7-8). Among the research areas o sectral comosers, the most romising area or me is the research o the harmonic sectrum. The reason is that the ractical and instrumental harmonic sectrum is comosed o imerect comonents that generate slightly distorted sounds. Theoretically, the mathematical law o requency exlains the harmonic sectrum. oshua Fineberg states: It is deined by an integer relation between a undamental requency and the other comonents o a sound (000a,.8-86). However, Fineberg oints out the other roerty o the harmonic sectrum, which is inharmonicity o the ractical or instrumental harmonic sectrum: Western instruments have been develoed or the most art, to have sectra which are very close to ure harmonic sectra, so as to 18

19 emhasize clarity o sound and itch. However, because o the hysical system o sound roduction that they use, the sounds are never comletely harmonic. (Fineberg, 000a,.86-87) Fineberg s oinion about the harmonic sectrum states that the realistic harmonic sectrum is not theoretical and is made u o irregular artials, which are generated by a hysical system o sound roduction, and thus the artials are nontemered or slightly distorted. Tristan Murail describes a similar view with regards to the imerection o instruments harmonic sectra and seciically the distorted nature o the harmonic sectrum in the iano, in his article Sectra and Srites. In reality, the iano sectrum is not erectly harmonic. It contains a slight distortion, which stretches the highest requencies. This allows us to move smoothly and naturally into the inharmonic domain, or which we have many instrumental models. (Murail, 00a,.1) This idea o inharmonicity analysed by Murail (00a,.1) can also be related to the bell sound, as the bell sectrum includes the minor third over the undamental note, and thus this sectrum contains the minor third and the major third artials simultaneously. This combination o minor third and major third artials demonstrates that the actual sounding bell sectrum does not conorm to the theoretically understood harmonic sectrum. Figure A tyical bell sectrum (Murail, 00a,.1) I was ascinated by harmonic sectra comosed o irregular and distorted comonents, as even though the itch might be the same, the harmonic sectrum o the itch is slightly dierent deending on the instrument. Thus, the shades in the 19

20 tone o the same itches dier slightly based uon the dierent instruments roducing the tone. Furthermore, even when the same itch is generated in the same instrument, the shades in the tone may be dierent deending on the undamental note. In addition, when the same itches generated on dierent undamental itches are laced next each other, a change o timbre is roduced as the itches are layed. Furthermore, i the same itches are layed simultaneously, a relative colour in the tone will be generated through the combination o the itches. ne itch might be lighter and clearer, and the other itch might be darker and more vague. As the hilosohy o Yin-Yang revolves greatly around the balance between lightness and darkness, the caacity or itches to relect this lightness or darkness based on their undamentals allowed or an even greater integration o the hilosohy into my comositional rocess. In this rocess, the lighter and clearer itch would generate a more increasing and exanding energy while the darker and more vague itch would generate a more decreasing and contracting energy. I was greatly interested in the individual tone colour o itch in dierent harmonic sectrum and the relative tone colour between the itches. I attemted to exlore this dierent tone colours between the same itches in The Colour o Light or string quartet. In the irst section o The Colour o Light or string quartet, I exlored the dierent tone colours and relative tone qualities o the same natural harmonic itches, when the two elements are combined simultaneously. 0

21 Figure Microtonal natural harmonics (Strange and Strange, 001,.118) Figure shows the natural harmonics on the G string on the violin. Following this rincile, I made a table o natural harmonics on each o the strings on the violin. 1

22 Violin I(E) # e # # e # e e e # e e # e e # e e e e e e # e # e x e n n # # n n# # n## n n n# # # # # # e # e ne e # e # e n# n# n# # # e x x x x x x x x e ne ne e ne e # e e n# n# n# n# n# n# n# # n# n# n# n# II(A) # e # # e ne e e e e e # e # e e e e e # e # e # e x e b b b n n n n # # n # # n n n # ## # # e e e ne e # e # n n# n# # # e e ne ne ne ne ne e # e x x x x x x x x n# n# nb n n# n# n# n# # n# n# n# n# III(D) e # # e ne e e e e # e e # e e e x e # e e e e e b b b n n n n # # n # # n n b n # # # n # e e e e e # e # n n # n# # # e e ne be ne ne ne # e e x x x x x x x x b n n# nb n n# n# b n n# # n# n# b n n# IV(G) e # e e e e x e e e e e e e e e e e b b b n nb b n n n## n n e e b n # # # # e e e e e e # n b n n # # e be x x x x x x x x e # e ne ne e e # e b n n # n b nb n n# b n n # # b n n# b n n# Figure Microtonal natural harmonics table in Violin In Figure, the bottom (diamond) note is the inger osition and to note is the sounding itch. As we can see, there are dierent natural harmonics rom the sounding itch E6 on the irst and second strings in violin and these dierent natural harmonics o the sounding itch E6 are emloyed in bar 1- o The Colour o Light. Although the natural harmonics create the same sounding itch E6, their tone colours are subtly dierent. In order to exlore this changeable tone quality, I emloyed natural harmonics on the second and irst string in violins I and II resectively. In addition, the natural harmonics generated on the itch E are used in the viola and on the itch E6 in the cello.

23 Violin I q= Œ II S.T. S.V. ȯ o ȯ S.P. w o S.T. ȯ N lautando. Œ Œ ȯ o Violin II I w o o S.T. S.V. S.P. w o S.T. ȯ o o Ó S.T w o Viola Œ I S.T. S.V. E o S.P. S.T. Œ o Violoncello Ó Œ I S.T. S.V. ȯ o w o S.P. w o Figure 6 The irst section in The Colour o Light These our natural harmonics generate the same sounding itch E6, however, I created slightly dierent sounds rom the itches. For examle, the harmonic itch E o violin II is clearer and lighter than the one o Viola, because the harmonic o Violin II is created on a real note, so the layer can discover the itch easily and make the sound clearly. However, the harmonic in the viola is generated rom a itch that is one octave lower than the sounding itch. In this regard, there exist subtle dierences o timbre between the natural harmonic sounds. Additionally, I integrated the idea o the increasing and decreasing energies o the hilosohy o Yin-Yang in this section. When these dierent harmonic sounds are mixed together, some itches might generate an increasing and exlosive energy while other itches might create a decreasing and contracting energy. To demonstrate this idea, I added bowing techniques and bowing ositions to the itches. For examle, the art or violin I in bar eatures the itch E at the osition o sul onticello with a down bow, while the art or violin II eatures the same itch at the osition o sul tasto with an u bow. For this reason, the sound rom the art o the violin I is caable o being louder and generating more increasing energy than the sound rom the art o violin II, whereas the art o violin II can sound quieter and roduce decreasing energy. Accordingly,

24 there exist contrasting qualities o timbre and orces between itches. These subtle dierences o timbre can be seen in violin II and I rom bar 18 to. I used the same sequences o sounding itches, B, F#6, B6, F#6 and B but the itches are generated by dierent harmonics techniques such as less standard harmonics and standard harmonics techniques in violin II and I resectively. (see igure.7) In this manner, the sounding itches can be slightly dierent between violin II and I. Vln. I 17 ȯ S.T E o ~ hal harmonics. o ȯ ȯ o o # o m o m Vln. II ~ ~ III IV E I # e e III IV j j Vla. III IV m III I IV m hal harmonics. # m Œ IV E Vc.? Ó IV S.T o o o w o ȯ ȯ N S.P m gliss. S.T o Vln. I 1 o o o # o o o S.T. o o o o # ȯ N ȯ S.P. o j m Vln. II III E o o o # e IV m III e m e e n Vla. j hal harmonics. S.T. S.P. # # j # # j Œ # o N Vc.? N S.T. N S.P. Œ m S.T. Figure 7 The dierent harmonics techniques in bar 17- e The exloration o the qualities o timbre and oosite energies between itches is also carried out in the solo iano iece The Scent in the Wind. My undamental idea or this iece was to comare the dierent qualities o timbre o sounds: clear or nebulous, ocused or unocused, etc. I took insiration rom certain

25 elements exlored by Casar ohannes Walter (010) in his work Intererenzen. His work includes various sounds, such as multihonics, harmonics, unreared itches, and izzicato, which are generated on a single iano string. Four erormers roduce these sounds with multile rhythmic atterns, such as trilets, quintulets and setulets, resulting in the ormation o comlex textures and layers in the sounds. Additionally, the erormers change the ressed ositions on the strings and generate the transition o the sounds such as rom multihonic to harmonic sound. I was interested in the combination o these various sounds and attemted to aly these sounding materials to my comositional strategy. First, I chose the lowest itches C, Db and D as central itches o the comosition The Scent in the Wind and exerimented with the multihonic sounds generated by these itches. Figure 8 rte von Flageolettes und Flageolettmehrklängen au der vorderen Hälte einer Klavier-Basssaite (Walter, n.d.)

26 Figure 8 is a diagram by Casar ohannes Walter to show the ositions generating mutihonic sounds on a single iano string. I materials such as blue-tack and clis are laced on a osition a little lower than osition /11 on the iano string as seciied by the diagram, artials [,7,11,1] o the undamental note are created. Also, i those materials are laced on a osition lower than osition /9, then artials [1,,9,1] are roduced. In line with this rincile, I created artials [,7,11,1] on the itch C, [1,,9,1] on the itch Db and [,,9,1] on the itch D by rearing the iano with blue-tack and clis and used these as rincile multihonic sounds in this iece. { I 1/6 µ w bw? I 1/6 bw bw w w w C [,7,11,1] bw Bw w n#w nw Db [1,,9,1] D [,,9,1] Figure 9 Multihonic sounds on the lowest itches C, Db, and D { In the irst section o The Scent in the Wind, two multihonic sounds based on % the itches C and Db are eatured. First, in order to emhasise the timbre o each multihonic sound, the multihonic sounds are reeated in bar 1-. For examle, the multihonic sound generated on the itch C is reeated in bar 1 and the other multihonic sound roduced on the itch Db is reeated in bar. Ater the reetition o each multihonic sound, the two sounds are combined in bar. This combination o the sounds creates a new quality o sound dierent rom each individual sound s quality, thus sounding transition is generated between bar and bar. Ater the laying o the multihonic sounds, the unreared high itches o C and D are added based on the combination o multihonic sounds in bar 6. In this way there exist oosite timbral sounds between multihonic and unreared itches, because 6

27 I I multihonic sounds might generate a darker, ainter, less ocused and more rounded sound than the unreared itches, which are a lighter, clearer, ocused and more enetrating. According to this henomenon, multihonic sounds generate more decreasing and assive energy while unreared itch sounds roduce more increasing and active energy. In this manner, the combination o multihonic sounds and unreared itch creates dierences o timbre and dierent energies between sounds. { Piano? I q=6 m m sz? {? (real sound) m I 1/6 1/6 µ n b b b µ 1/6 n n b n 1 b b? Ú 1? 1/6 1 b b b b b b b b Ó - b b b b- b - b b R b b - - R b 1 m m m 1 b b b b b b b b b b b Figure 10 The irst section in The Scent in the Wind As discussed reviously, the oosite qualities o colour between itches and { sound can be linked to the hilosohy o Yin-Yang, which contains oosite qualities such as lightness and darkness. These colourul eects o musical materials are also related to the hilosohy o hang and the character o ogakbo. I will discuss these colourul eects in more detail in the ollowing chater Musical Colour My other interest is in the sequence o the scras o ogakbo. While each 7

28 scra has a dierent attern and colour, when the scras are connected, a new colour sectrum is generated. Furthermore, balanced harmony is created between the scras by a combination o ositive and negative energy rom the colours. I was ascinated by the unusual colour sectrum, as in some ogakbo the colour sectrum is changed rom one colour to another colour slowly, while in other ogakbo the colour sectrum alternates the colours dramatically between scras. Accordingly, there exist many dierent tyes o colour sectrums in ogakbo and this variety o array o colours rovides ogakbo with delicate and comlex textures. I wondered i there could be a way to aly the colour sectrum to my musical structure and orm? I so, how could I associate the colour sectrum o ogakbo with musical structure and orm? Moreover, what is the common vocabulary o visual colour and musical colour? In order to comrehend the correlation between visual colour and musical colour, I started to examine the ersectives o other comosers on this correlation Visual Colour and Musical Colour A variety o comosers have investigated colour in relation to sound. In this examle, the Russian comoser Alexander Scriabin matched scales with colours by his synesthesia. Scriabin recognised the scales C, D and F# as the colours red, yellow, and blue resectively (Sabaneev, 199,.7 cited in Peacock, 198,.96). The other scales colours are resumed by the order o the colour sectrum, which is the nearest relationshi between the colours and the scales associated with the ascending circle o iths (Peacock, 198,.96-97). For examle, in the circle o iths, the scale G comes ater the scale C, which is associated with the colour red, and beore the scale D, which is associated with the colour yellow, resulting in the scale G being associated with the colour orange. However, Scriabin s colour system is dierent rom that o the Russian comoser Nikolai Rimsky-Korsakov. Figure 11 shows both Scriabin and Rimsky-Korsakov s view o each major key. 8

29 Key Alexander Scriabin Rimsky-Korsakov B major Mid-blue/earl Dark blue Bb major Dull dee ink Darkish A major Green Rose/ink Ab major Lilac/light violet Grey/violet G major range Brown/gold F# major Bright blue/violet Grey/green F major Dee red Green E major Sky blue Sahire blue Eb major Crimson Grey/blue D major Yellow/golden Golden/yellow Db majors Intense violet/urle Dusky C major Intense red White Figure 11 Scriabin and Rimsky-Korsakov: maings o musical keys to colour (Adkin and Dickens, 01,.8) As we can see rom the table, Scriabin and Rimsky-Korsakov have dierent oinions regarding the colour o each scale suggesting that the reaction to colour and sound may dier deending on the ercetion o each individual comoser. Because o the subjective discreancies between sound and the erceived colours, I decided to research another uniying actor: the sychological eects o colour and sound. To examine the sychological eect o visual colour and sound, I investigated the research o scholars on colour. Korean Scholar Nury Im and Inyoung h state about colour: Colour might stimulate or cause eole to eel eaceul, excited, and aciied. Additionally, colour transers hot or cold, and sorrowul or joyul eelings to eole. Also, colour may cause eole to eel assion or to raise their mental strength. In addition, colour rovides the oosite sychological eect, such as closeness and arness, masculinity and emininity, lightness and darkness, strength and weakness, and good and bad. In this regard, i colour is understood, a new dimension is oened in our ercetional system. (Im and h, 010,.) Im and h state that colour has the ower to change eole s emotion and sychology as eole may eel dierently in resonse to visual colour and so in this regard, visual colour has an imact on eole s ercetion and sychological attributes. This comrehension o the sychological unction o visual colour led me to the questions: is it ossible to erceive the change o the sychological eect o 9

30 musical colour in music? How can colour be deined in music? Furthermore, what is the sychological eect o sound in relationshi to visual colour? To examine these questions, I roceeded to research Georg Friedrich Haas s aroach to visual colour and sound, as he is also interested in the sychological eect o visual colour. Georg Friedrich Haas (006) utilises light as a musical arameter in Hyerion, his concerto or light and orchestra, in order to exlore the musicians ercetions o sounds combined with dierent visual colours. Haas states the unction o the light in the introduction to Hyerion: Changing colours alter the ercetion o sounds. Temorally organised light unctions like a silent ercussion art... our orchestral grous are laced around the our walls o the room. A dierent light source is laced in ront o each o them, clearly visible to the layers. The musicians react to the light, in the same way that they react to the visual signals o a conductor. What this visual element actually looks like deends on the ree decisions o the erson resonsible or the lighting. The score only rescribes when something has to haen. And it is necessary that these events should be clear enough or the erormers to be able to erceive them. Sudden changes rovide demarcation oints in the stream o sound. (Georg Friedrich Haas, 006) Haas exlores whether the aearance o visual colour can have an imact on a erormer s ercetion execting that the aearance o the dierent coloured lights would create a division in the low o sound. Haas s aroach to visual colour shared with me a new ersective on the unction o visual colour in music with regards to the sychological and siritual resonse. This sychological eect o visual colour allowed me to connect the interaction between visual colour and musical colour since both eature a sychological unction. Russian ainter and art theorist Wassily Wassilyevich Kandinsky discusses the sychological eect o each visual colour descritively in his book Concerning the siritual in Art. In 1911, Kandinsky states that yellow is warmth, blue is cold, green is exressed as restul colour, and light warm red as giving a eeling o strength, vigour, determination, triumh (010). Furthermore, Kandinsky describes the ainter s alette in two rocesses; one being the hysical and otical interretation o colour. He states: 0

31 In the irst lace one receives a PURELY PHYSICAL IMPRESSIN, one o leasure and contentment at the varied and beautiul colours. The eye is either warmed or else soothed and cooled. (010,.) The other one is a sychic eect o colour: But to a more sensitive soul the eect o colours is deeer and intensely moving. And so we come to the second main result o looking at colours: THEIR PSYCHIC EFFECT. They roduce a corresonding siritual vibration, and it is only as a ste towards this siritual vibration that the elementary hysical imression is o imortance. (010,.-) I was interested in Kandinsky's two dierent hases o understanding colour, because there are similarities with the ercetion o sound. For examle, irst, eole can understand sound hysically with their ears such as loudness and quietness or astness and slowness. Second, sound can be interreted as a sychological henomenon or sensation such as warmness or coldness and hainess or sadness. This sychological eect o sound insired me to investigate the sychological eect o sound and how to relate this to the visual colours o the scras o ogakbo Sound colour There are a variety o terms to exlain musical colour, such as musical timbre, tone colour, instrumental colour, and sound colour. Among these terms, I used the term sound colour to exlain the sychological eect o sound. The term sound colour ocuses more on the unction o sychology and sensation than on sound itsel. Wayne Slawson discusses the term sound colour in his article The Color o Sound: A Theoretical Study in Musical Timbre : Sound color as I am using the term is a sychoacoustic attribute or set o attributes o sound, joining such amiliar attributes as itch and loudness. Sound color does not necessarily reer to musical instruments; it is, rather, an abstract roerty o auditory sensation. By deinition it has no temoral asect. Sounds may vary in color over time, but the variation in a sound is not itsel a color. Thus, or examle, the graininess o a sound, its degree o vibrato, and the characteristics o its attack are not asects o sound color. (Slawson, 1981,.1) In Slawson s view, the term sound colour is related not to sound itsel but to auditory sensation. For examle, when we hear a sound, we can eel the sound is 1

32 warm or cold, light or dark and ocused or unocused. I used Slawson s interretation o the term sound colour as a basis to exeriment with the sychological unction o sound in my music. During the early stages o research, I ocused on the colour o itch in dierent registers and dynamics: how each itch has a dierent colour, how the itch can be made lighter or darker in musical colour based on changes in dynamics and registers. However, I shited towards concentrating more on instrumental techniques due to the act that the roerties o each sound are aected by each instrumental technique. For examle, in the strings, the sound created with light bow ressure is dierent rom the sound created with extreme bow ressure, even while the itch and register may remain unchanged (the ormer sound being light and weak and the latter being dark and strong). Additionally, string techniques which involve natural harmonics generate sounds that are more shimmering and resonant than techniques which involve hal-harmonics. These techniques using hal-harmonics roduce sounds that can be abrasive as a result o the instrumental technique used to roduce the sound. For these reasons, I wanted to urther investigate instrumental techniques in order to exlore the colour o sound and to classiy the techniques with their relating erceived sychological roerties. My main concern regarding musical structure and orm in relation to the colour sequence o the scras o ogakbo is the need to discover a common comonent between visual colour and musical colour. I decided to use the sychological eect between visual colour and musical colour as this common comonent. The method to connect the colour sectrum o the scras o ogakbo to my musical structure and orm is as ollows: First, I related the colour change o the scras to each bar s change o timbre with secial emhasis on subtly changing the colour between bars. This relates to the beauty o Korea in the decoration on the roo o the Royal alace reerred to at the start o my thesis (see.10), which also has a character o slightly dierent shades in its comonents. Secondly, I associated

33 instrumental techniques with the ositive and negative colours (-jung Saek and - Gan Saek) comosed o ogakbo. Each visual colour o ogakbo was matched to an instrumental technique, which has the same sychological eect (sound colour). For examle, in my baritone saxohone iece Four Seasons o ogakbo, I matched the colours o ogakbo such as black, white, red, yellow, green with the saxohone techniques such as multihonic sounds, air sounds, sla tongue, and key clicks through common sychological eects, such as seriousness, ureness, excitement, and warmness, between visual colour and instrumental technique. I alied these techniques to each section as a central element o the section and exlored the changes o the sound colours between the sections. I will urther discuss how visual colour is associated with instrumental technique in the ieces Four Seasons o ogakbo and Snow Baby in Graz in more detail The hilosohy o Maek Ater researching musical structure and orm or the uroses o my comositional rocess, my ocus shited to the concet o the low o sound and linearity on a horizontal structural level: How the dierences in musical timbre and sound colour between notes, bars and sections could create linearity within the overall structure and how the music lows on a horizontal level desite the act that the sections are laced side by side without any linkable materials. To discover the answer to these questions, I examined the Korean hilosohy Maek. To begin with, to exlain the hilosohy o Maek, it is necessary to discuss Taoism rom which Maek originates. Taoism derives rom the word Tao, which means way, ath, and rincile. The scholar Gilbert Reid states about Tao : This word is best understood i translated as universal Law, or the Law o Nature, such a law being the way or course in which nature oerates, or in which God, the great First Cause, known in Chinese as the Great Extreme, has been oerating through the henomena o the universe. (Reid, 1917,.79)

34 When considering Reid s view that Tao is already the determinate law o nature oerating the henomena o the universe, one can surmise that all objects and beings have a destiny laid out and a course to ollow. Within this law o nature, there is also an invisible lowing energy, Maek, which hels the comonents connect to each other or ollow their ath in accordance with the laws o nature. To urther research the utilisation o Taoism in my comositional rocess, I studied the comositional aroach o Isang Yun. The Korean comoser Isang Yun describes his music in relation to Taoism, thus: My comosition is an exression o Tao in relation to ursuing the rincile o Tao. What looks like the start o my music is just a continuation o what had already existed and resonated beyond hearing. Similarly, what looks like the end o my music is a sound, which continuously resonates beyond hearing. (Yun and Sarrer, 199,.1 cited in Lee, n.d..7) From this oint o view, Isang Yun describes his music as having no beginning or ending. Rather the music lows continuously ollowing the rincile o Tao in natural sace: when the sound starts, it is not new but instead the combination o an existing un-hear-able sound driven by Maek. Additionally, when the sound stos, Maek drives the un-hear-able resonation or energy o the sound to another oint in natural sace. Thereore, even though the last sound o the iece has already been sounded, the un-hear-able resonation or energy o the sound continues to low constantly and linearly in natural sace. This linear low o un-hear-able resonation relates one sound to another sound. My aroach to comosition with regards to Maek is similar to Isang Yun s, however my comositional rocess is more deartmentalised. For examle, Isang Yun s music relates more to Tao and the global low o sound rom the music s beginning to its end. However, my comositional aroach ocuses more on Maek between the itches and sections, and on creating linearity in the low o sound as oosed to the beginnings and ends o my ieces. To imlement Maek into my comositions, I emloyed musical materials such as the rest and the ermata.

35 , Bb(B-0) [u] + r [a] + r Πr [a], m m m m [a], [u] + :x r. r j - [a], B(B-) [a] + - r r R Figure 1 Rests between itches in Snow Baby in Graz,, As we can see in igure 1, there are rests between the itches and these K K B rests interrut the low o sound, so the music seemingly stos between the itches. However, when the written itch C disaears in bar, the reverberant resonation rom the sound remains in the duration o the rests. In accordance to the laws o Maek, the assage is comosed in a manner that allows or the written C in bar to resonate through the rests until bar where it is relaced with the next written C. In this regard, Maek lays a role in linking the sounds o the itches, even though the itches are not directly connected to each other. To demonstrate the hilosohy o Maek, I also included ermatas between the sections. In my music, each section has its own musical character in accordance with timbre while the sections are juxtaosed side by side and so ater one section inishes, a new section starts with new musical material and gesture. In this rocess, the music would seemingly come to a sto between sections, however the ermata between the sections generates a silence in the temoral sace and low, allowing or the existence o Maek. For examle, in igure 1, I emloyed a ermata with a silence between the ourth and the ith section in Clouds, Landscae, Human Being or ive instruments. In this sace o silence, there exists the connection o decreasing and increasing energies at the same time. For examle, ater inishing revious section, the erormers generate decreasing and disaearing energy. However, the erormers also have to reare or next section, so as to generate increasing and aearing energy. Through the connection o these two energies, the low o invisible energy can be generated in this sace. Thereore, the sections are connected

36 invisibly, un-hear-ably and linearly by silence, which allows this lowing energy to exist. In this manner, the sections o my comosition are connected to each other linearly in a horizontal structure. This rocess allows my music to low without stoing and ceasing rom beginning to end. q=60 Fl. 10 U Ó whistle-tones ~~~~~~~ ~~~~~~~ ~~~~ ~~~~~~~~~~~~~~ ~~~~~~~~~~~~~ air [shi] # ~ #) # 6. r # 6. # 6. # 6. m [] [t] [k] [t] Cl. rubato Œ breathy U # Ó Ó # # o breathy tone b o m Vln. Vc. rubato Œ rubato sz Œ I ord. # m? #.... # j # # µ # # # µ # #. ij # sz ij n # n sz S.P. # i j # i j Œ Œ III S.T. # e # m # *glissando on the string with a nail { Pno.? U rit. # # Ó U Ó Figure 1 Silence with ermatas between the ourth and the ith section in Clouds, Landscae, Human Being So ar, I have discussed how the Korean hilosohies Yin-Yang, hang and Maek as well as the colours and shaes o ogakbo have been a source o inluence or my musical language and how I have translated these comonents into musical comonents. These hilosohies and the character o the handcrat art ogakbo are used as musical materials at a local level such as itch, and at a global level such as structure and orm. In the next chater, I will exlain how these hilosohies and the character o ogakbo are intertwined in my music. To demonstrate this rocess, I will discuss my comositions throughout my doctoral studies in more detail. 6

37 . Commentary The commentary o this chater will discuss the rogression and develoment o the music in my ortolio in chronological order throughout my doctoral studies. While examining the comositions o my ortolio, I will elaborate uon how my initial interest in exloring timbre, the relationshi between the Korean hilosohies and my music, and creating my structure based on the character o ogakbo develo within each iece. Furthermore, my interest in the concet o sound colour is exlained in greater detail in my comosition Snow Baby in Graz or solo horn in F..1. Water Song (009) In the comosition Water Song or trombone and ercussion, I attemted to comose a iece where the orm was based on ogakbo. My initial aim was to relect the structure o ogakbo, in which the shae and colour o the cloth scras rovide ideas or the orm o a iece. In this regard, I comosed with ive sections eaturing timbral dierences with various gestures, rhythms and the use o dierent ercussion instruments. Luciano Berio s (1968) Sequenza V insired me to use the elements ound within this iece. For examle, the use o a metal lunger mute enables the creation o dierences o timbre o the same note with the technique o oening (o) and closing (+) the bell. Additionally, Berio's request or the trombone layer to sing while laying the trombone allows or multile concurrent timbres in the sound. These elements to vary timbre are widely used in Water Song. For examle, I also exlored a subtle change in the shades o the itches, which are generated on the dierent undamental notes o the trombone. Furthermore, I used harmonic glissandi techniques to exlore the dierent artials generated rom the dierent undamental itches with regards to the theory o harmonic sectra. As the hilosohy o Yin-Yang revolves around the change o colour rom lightness to darkness or darkness to 7

38 lightness, the irst section relicates this kind o change between lightness and darkness through subtle changes o timbre o the same itches. For examle, in bar 9, the irst Eb is layed in sixth osition and the second Eb is layed in third osition, creating a delicate change o timbre. Thus, in this hrase, a slight transition o tone colour can be erceived. Tbn. 9? VI b III b (VI III VI III etc.) b III n µ n B n (VI III VI III etc.) µ n Œ m m m m m m Perc. / {? bn b bn b b bn b b bn b n bn b bn b n b b Œ Ó Figure 1 The irst section in Water Song In the second section, I wanted to urther exlore the instrument s structure, so I used harmonic glissandi on dierent undamental itches. The itches on the trombone are determined by the harmonic sectrum eatured in each trombone slide osition, allowing or the harmonic glissandi to generate raid movement through the { artials o the undamental itches. Thus, the colourul dierence o the dierent artials between the dierent undamental itches might be exerienced. Additionally, I changed the ercussion rom Marimba to Vibrahone to underline the ormal sections through dierences o timbre. Tbn. 1? Ó harmonic glissando II # m j Œ IV m III Œ b b Perc. / { j Œ m m m? Figure 1 The second section in Water Song 8

39 I attemted to create more exciting and dynamic gestures in the third section. { For this reason, I used tongue rams and growl sounds on the trombone and unitched ercussion such as tom tom, temle-block and bongo. The reetitive atterns o the un-itched ercussion enlarge the more energetic and lively eect o the sound. Tbn.? without mute ^ ΠY j Perc. / / { / Tom Tom j 6 m m m m m m m Figure 16 The third section in Water Song As the ourth section is a variation o the irst section, slightly dierent changes o colour o the same itch are resented on trombone again. Tbn. 81? b b b V m m IV b b n m V (V I V I etc.) without mute b ΠPerc. / { Vibrahone sot mallet? b b b b b b b b Figure 17 The ourth section in Water Song The ith section resents the most dynamic and active gestures in the iece; or examle, the leaing gestures and li trills with glissando techniques can be seen in the trombone art. Additionally, susended cymbal, tom tom, bongo and temle 9

40 { blocks are emloyed in the ercussion art moving raidly between timbral categories o skin, metal and wood in the ercussion art. Tbn. 96? Li trill Ÿ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ b # # # b # # b b lz. b b Perc. / Ó Œ Ó Œ R Ó m m / { / m m R R Ó Œ Ó R R R Ó Ó i j j m Figure 18 The ith section in Water Song Water song is the irst iece in which I sought to comose a iece while exloring ormal articulation through sectional changes o instrumental timbre. The next iece The Colour o Light or string quartet also exlored a similar orm though with more subtle changes, due to the relative homogeneity o timbre o the stringed instruments... The Colour o Light (010) In The Colour o Light or string quartet, I used the harmonic sectrum based on the itch E as the basis or almost all o the musical material. As the itch E is a common harmonic itch on ive strings (C,G,D,A,E) excet the G string, I chose the itch E as a central itch. In the oening section, the same sounding itches E are resented in harmonics on the instruments. This strategy o using the same itches in dierent instruments is similar to Gyorgy Ligeti s (1971) use o itches in the second movement o his String Quartet No.. Ligeti emloys the same itch G in each instrument in the oening section, and resents slightly dierent timbres between the itches. Ligeti also exhibits the changes o timbre by asking the musicians to use their bows in dierent locations on the strings. Similarly, I utilised 0

41 the same sounding itch E in each instrument available as natural harmonics. This is because I wanted to exress a very aint and veiled sound o the igure o light as well as to exlore subtle dierences o timbre. (see igure.6) Ater the luctuating sound o the itch E o the oening, the artials B, G#, and D rom the harmonic sectrum o the itch E aear slowly in each instrument and a uller harmonic sound is gradually created. Vln. I 9 N gliss. S.P. # e m molto S.P. # I. S.P. e B B Ȯ S.T. m S.P. Vln. II S.P S.T. N # Œ S.P. N I. E m S.P. Ȯ Vla. lautando j S.T. S.P. S.P. j # m S.T. # Ȯ # # j Ȯ ## j. N m S.P. Vc. N S.P. molto S.P. o o E? gliss. m S.P. S.T. R N S.P. Ȯ m? Figure 19 The oening section in The Colour o Light The second section starts with the quartet laying our artials o the itch E: E, G#, B, and D, at the same time. In this art, I was aiming to exress the sectral shae o light, so I used the technique o tremolo at the oint o the bow. Additionally, the viola art highlights the artials o the itch E. Vln. I 1 III at the oint. E ~ S.T. j ȯ w o o N Vln. II Vla. Vc. IV at the oint. #Ȯ # ~ w? III at the oint. E IV at the oint. E ~ ~ w ~ # ~ ~ Œ IV e o hal harmonics. Œ III I. e j e Ó Figure 0 The oening art o the second section in The Colour o Light E ~ 1

42 As the iece rogresses, more artials o the itch E are gradually emloyed rom bar 0 and the artials generate a richer harmonic sound; or examle, the itch F# is resented as the highest note with accent and ortissimo dynamic in violin I in bar 0 and the itch A is resented in bar in violin II. Additionally, the sounding itches C and D# are aeared in violin II in bar and in bar 6 resectively. In this manner, the harmonic sectrum o the itch E is more and more emhasised in the second section. Vln. I 17 ȯ S.T E o ~ hal harmonics. o ȯ ȯ o o # o m o m Vln. II ~ ~ III IV E I # e e III IV j j Vla. III IV m III I IV m hal harmonics. # m Œ IV E Vc.? Ó IV S.T o o o w o ȯ ȯ N S.P m gliss. S.T o Vln. I 1 o o o # o o o S.T. o o o o # ȯ N ȯ S.P. o j m Vln. II III E o o o # e IV m III e m e e n Vla. j hal harmonics. S.T. S.P. # # j # # j Œ # o N Vc.? N S.T. N S.P. Œ m S.T. Figure 1 The highlighted artials o the undamental itch E e In the third section, I exlored the combination o harmonic sound and normal sound. For examle, the cello generates the harmonic sound rom the itch G to the little bit lower itch F. At the same time, the second violin lays the same itches o

43 the cello by shiting to an octave higher as normal notes with lautando technique in bar. This lautando technique generates a sot and whisered sound, which hels the harmonics sound o cello to be erceived clearly and strongly. Vln. I 1 Vln. II Œ lautando 6 6 n n# # n n n # # n n n# n µ n n µ n µ n µ n µ n nn Vla. B # # # # 6 6 # # # µ µ n # n µ Vc. o o o o o II e #e e # n e n # j # n n e # Figure The third section in The Colour o Light In the ourth section, I emloyed a Distorted Sectral Pitch Scale. This Distorted Sectral Pitch Scale can be seen in my later ieces such as The Scent in the wind or solo iano and The ourney o the Sun or 16 instruments. My method o creating a Distorted Sectral Pitch Scale is that I chose some artials rom the harmonic sectrum o the undamental itch intuitively or considering the array o the itches. In this manner, the igure resents the Distorted Sectral Pitch Scale o the itch E. Figure Distorted Sectral Pitch Scale I used this scale as an ascending igure in violin 1 in bar 9 and gradually this scale is resented in other instruments in the ourth section. The altered trajectory o the Distorted Sectral Pitch Scale through the microtonally altered

44 itches is intended to exress the light deriving rom the rays o light rom the sun, which lack clear or straight trajectories. Vln. I 7 molto distort. < Ÿ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ q=6 µ B # B m Vln. II molto distort. < Ÿ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ izz. m gliss. Vla. B # molto distort. Ÿ~~~~~~~~~~~~~~~~~~~~~~~ # # # izz. gliss. # m Vc.? # molto distort. izz. Ÿ~~~~~~~~~~~~~~~~~~~~~~~ vibr. #? gliss. m Figure Distorted Sectral Pitch Scale in the ourth section The ith section is comared with the oening section. In the oening section, music is started as the sound o harmonics and then is gradually changed to the sound o normal itch throughout the second section. In a reverse rocedure, the ith section is started as the sound o normal itch and is gradually changed to the sound o harmonics. I wanted to exlore this interchange o sound with a variety o string techniques; or examle, I emloyed mutes on the strings to create sot and dense sound. Additionally, the combination o dierent bowing techniques such as sul onticello, sul tasto, senza vibrato and vibrato, hel create comlex timbral textures in the resulting sound.

45 Vln. I Vln. II Vla. 9 B Ó Œ Œ con sord. S.T. S.V. gliss Ó j # r Ó m Vib. µ Œ con sord. S.T. gliss. gliss. µ # B o S.V. N n j w con sord. S.T. S.V. Œ Œ j o Vib. gliss. n # Vc.? N Vib. w w Œ j w # III S.P. S.V. gliss. S.T. Figure The ith section in The Colour o Light The next section is comosed o leaing notes and glissandi. The interval o the leaing note gets narrower and leads to a glissando technique generated on one note. This glissando technique symbolises the shae o the intensity o shining light. S.P. Vln. I 19 # # N # # # # # # n n n n n n Vln. II µ µ µ µ # # # # n n µ S.P. # N # # # # Vla. B µ µ µ µ µ µ # # # # # # # # # # # # S.P. µ # Vc.? b b b b b b b b b b b b b b b b Figure 6 The glissando technique in the sixth section in The Colour o Light In the last section, the sound becomes more distorted and noisy with vibrato glissandi and extreme bow ressure technique. Descending glissandi with vibrato and molto distort. technique symbolises more intensive and darker shades o light. This distorted sound is most dramatic in the iece and hints at the ending o the work.

46 Vln. I 11 ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ µ µ # # R ~~~~~~~~~~~~~~~~~~~ gliss. ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ gliss. gliss. # gliss. ~~~~~~~~~~~~~~~~~~~~~~~~~~ ~~~~~~~~~~~~~~~~~~~~~~~~ molto distort. # j # Vln. II ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ gliss. ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ ## gliss. b ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ b # # ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ gliss. ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ Vla. Vc. gliss. gliss. B B B j #? ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ gliss. j molto distort. gliss. 6 gliss. j j ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ molto distort. gliss. Figure 7 The last section in The Colour o Light The dierent string techniques lay an imortant role in each section to resent the dierence o timbre between sections. The use o these techniques was successul in creating a sectional-based orm, and this success encouraged me to ocus more on exloring instrumental techniques to generate urther articulations in musical structures... Fan Dance (011) My aroach to Fan Dance or trumet and string quartet was dierent rom the revious two ieces. The revious ieces were quite highly re-lanned in relation to the timbral elements or the itch materials o each section. However, Fan Dance is ar more intuitive in the choices o itches and in the whole structure and orm. In this iece, I ocused on exloring the instrumental technique o the trumet and the harmonised sound o trumet and string quartet. I alied the erormance aesthetic o the traditional Korean Fan Dance into my thinking in the iece. Fan Dance is a Korean traditional grou dance. A ew women dance together and make beautiul shaes such as lowers and clouds with ans. The ascination o the Fan Dance is that when the an is olded, unolded, sun around, and srinkled, the sounds o squeaks are generated, and these sounds are harmonised with the accomanied Korean traditional music, so the sound adds to the overall sensory leasure o the dance. Furthermore, when the women dance, they 6

47 wear Korean traditional cloth. When the women stretch out their arms, their clothing generates lines, arabolas, and curves. Additionally, the sinning movement o ans creates the blooming shae o lowers. All o these eects result in the Fan Dance being a beautiul and secial erormable art. I translated these ideas and shaes into my comosition. Figure 8 Fan Dance (Reuters, 01) To begin with, in order to exress the olding and unolding shaes o an, I worked with changing the meters or the length o quavers in each measure in the irst and last sections. For examle, to relect the shaing o the olded an, the meter is decreased or the length o quaver rom bar to bar 8. In contrast, the meter is increased rom bar 9 to bar 1 to relect the shae o the unolded an increasing its san. 7

48 Trumet in C Violin I Violin II Viola Violoncello straight mute. 1/ valve trill Ÿ~~~~~~~~~~~~ Œ b b b - 1/ valve trill Ÿ~~~~~~~~~~~~~~~~~~ µ b. - b Œ b. b.- b Œ i j b k b 1/ valve trill Ÿ~~~~~ b b b b. b n. n. n. b. b. b. b. b. n. gliss 7 m m m m m m B 8 1? 1 8 C Tt. 8 1 Œ without mute. Ÿ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ b n b. b. b. b. b. m m lz. b Bb m m m gliss gliss µ 8 1 b m bend Bb r Vln. I sul tasto 8 1 bbȯ j ord. b Ȯ gliss sul ont. ord. 8 1<b b Ȯ b m b b m b b m gliss. Vln. II 8 1 Œ sul tasto bȯ b j b b ord. gliss n n m gliss b b b b sul ont. 8 1 Ȯ b b m ord. b m b b m gliss. Vla. sul tasto ord. gliss B 8 1 bbȯ bb b b m gliss sul ont. 8 1 b b Ȯ bb b b m ord. Vc.? IV ord. b ȯ o Figure 9 The decreasing meter change Second, I emloyed an arch orm o linear lines in the string arts to exress the Fan Dance s lines o arabola and curve. For examle, violin I lays an ascending line bar and a descending line bar -. This combination o ascending and descending lines orm arch shaes, and or me, are associated with the lines o arabola and curve o Fan Dance. C Tt. wa-wa mute + # b j j j m o Vln. I Vln. II Vla. # - Vc. j? - b R b # bn # b - # B # b b n # b # # m # b n Ÿ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ Œ 6 sz m # n # b # - # j - b- j n - m 6 # b m 6 m Ÿ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ Œ izz «# j j Œ Œ b.. b.. #.. b. n. # j b j j Ó izz «b j Œ Œ. b.. #. n. n. b.. #- n b b - # Œ Ó izz «j Œ m izz «# j Œ m m m arco siccato. #. n. #. n.. b.. b.. arco siccato arco siccato m arco taing m m #. n.. b.. #. n.. b.. m m m Figure 0 The arch orm o the linear itch rogression In order to exress the sinning shae o ans, I used the reetition o several itches eaturing leaing gestures and the lutter tongue technique in the trumet art 8

49 in the last section. To relect the centriugal orce generated when the an is sinning, I emloyed reetition o leaing itches. C Tt. 97 lz. b m sz b n # n # n # # b n b n # n # n # # b # b b b b # b # # # n # # # n # n b Vln. I b w ord. b w gliss. sul ont. # sz Vln. II ord. sz w gliss. sul ont. b Vla. B ord. sz w gliss. sul ont. # Vc. ord.? w w sz sul ont. # b b n n # # n # # # b b n n # Figure 1 The reetition o the itches in trumet b # b # # b Ÿ~~~~~~~~~~~~~~~~~~~~~~~ Fan Dance is the irst iece where I alied my Korean cultural background to the music directly. This alication o Korean cultural background can also be seen in the next iece Mesmerizing in-yi Hwang... Mesmerizing in-yi Hwang (011) I used a Korean traditional oem, written by in-yi Hwang (oseon Dynasty ( )) in the iece Mesmerizing in-yi Hwang or solo mezzo sorano. My initial idea was to exlore the dierence between words and sounds, that is the dierence between semantic meaning and the exressiveness o ure sonic material. For this reason, I wondered whether or listeners who do not understand Korean, i the language as sound would lead to dierences in how the music can be understood? I this were so, how could I use the text o the oem to deliver the meaning o the Korean words to the listeners? These initial questions served as a momentum to comose this iece. First, I used the Korean words as a source o honetic sounds; or examle, I divided the word cheing (which means blue) to ch and eing and jalang (which means boast) to ja and lang. To create a orm based on sections, I divided the Korean text into ive sections, with each section comosed o honetic ragments o 9

50 the Korean words. Ater arranging the honetics derived rom the Korean words, I looked at the English translation o each hrase. Korean English The irst section Cheing san li byuk gay su ya Resectable Byuk Gay-Su The second section Su I gam eul jalang ma ra Do not boast o leaving so early The third section Il do chang he ha mawn Dol a o gi eo law u ni When you venture out to the sea, it will be diicult to return The ourth section Mawng wour i man gong san ha ni The ull bright moon above the emty mountain The ith section Shi eo gan deul eo teo ha li How about staying here to rest Figure The honetics o Korean and the meaning in English in each section The other oint or the comosition o this iece was to emloy the atching technique o ogakbo. I used the atching technique to generate my own musical language by comosing measures that have similar shaes juxtaosed side by side. For examle, the measures are juxtaosed rom bar 1 to bar with similar shaes in the use o seaking sounds. However, I changed the rhythms rom our quaver notes rom bar 1 to a quintulet in bar and then to a sextulet in bar. This use o rhythmic change relects the slightly dierent shaes o the scras in ogakbo. q=6 m gliss. r 8 ÍÍÍÍÍÍ [ch] m [ch] [ch] [ch] [ch] [ch] m [ch] m [ch] [ch] [ch] m [ch] [ch] [ch] m [ch] [ch] breathy [ch] tone. [eing] Figure The rhythmic change 0

51 In order to exress the change o colours o the scras in ogakbo, changes o vocal techniques are utilised. For examle, in bar 0 and in bar, similar rhythmic atterns are used. However, the seaking technique is used with semiquaver trilets in bar 0, whereas the normal itch changing to breathy sound with glissando technique is used in bar. rit. 0 #.. n.. b.. [i] [i] [i] r 8 ÍÍÍÍÍÍÍÍÍÍÍ [gam] a temo. [eul] [eul] [eul] [eul] [r/eul] breathy b 8 j b b b j -r ÍÍÍÍÍÍÍ b gliss. tone Figure The dierent vocal techniques in bar 0 and in bar Mesmerizing in-yi Hwang resents the dierent concets o word as meaning and as sound as well as the character o ogakbo, working with an irregularity o ormal lan akin to the scras and atching technique o ogakbo... The Scent in the Wind (011) In The Scent in the Wind or solo iano I sought to ind stronger musical analogues with the character o ogakbo, where sontaneity within the law o irregularity is generated. I exlored a variety o iano timbres, esecially multihonic sounds and use o harmonics by rearing the iano s strings to create a comlex hierarchy based on these timbres in the musical structure. I also exlored how small structures can be nested in a ormal canvas and landscaes. Thereore, this shae o nested ragments in large landscaes was something central to this comosition's concetion. As discussed in the chater Pitch rganisation, the central itches are C, Db and D, and I exlored multihonic sounds, which are generated rom the itches C and Db, to comare the colours between the multihonics and nomal itches. Furthermore, I comosed with the harmonic itch B based on the low itch G 1

52 to use the medium between multihonic sounds. This is because the itch B is the nearest tone o one { o the comonents o multihonics such as the itch B, 1/6 lower tone o B, and a lower quarter tone o B. Furthermore, in order to exlore the hilosohy o Yin-Yang, the harmonic sound B is used with the multihonic sounds at the same time and to resent o the dierent timbre and colour rom the multihonic sounds. [ Harmonic sound ] { real sound? % ~ G []! Figure The harmonic sound B generated on the itch G In the irst section o The Scent in the Wind, I used two dierent multihonic sounds in order to cause tension. Two multihonic sounds emerge in turn in bar 1- and they are erormed simultaneously in bar to give unctuation. In order to set u a comlex hierarchy o musical sound, the unreared itches C and D are layed in bar 6. Thereore, normal sounds are nested into the multihonic sound. This nested comonent s character can be seen with an interaction between meter and rhythm. In igure 10, the meter o each measure is changed as a ratio in the irst section. Similarly, the rhythmic attern o the itches C and Db in bar 6 is shown u in the ratio based on semiquaver (see igure. 10). Thereore, the combination between meter and rhythm shows that small elements and large elements build a variety o hierarchies in music. This nested comonent is also exlored rom bar 1 to 61. In this section, I

53 combined multihonic sounds, a harmonic sound and unreared itches. In igure 6, the itches C and Db are erormed in a high register and the multihonic sound o the lowest itch Db is erormed at the same time. In bar I added the harmonic itch B allowing or the unreared itches and the harmonic sound to be nested into multihonic. In this way, all timbral categories are brought together into a harmonised single relationshi. { 1? {? i b h= # n b b bb b b b b bb b b b b b b b b b b b ø ø b b b b b m % b b~ m b b b b b b b b bb b bb b b b b b b bb b b b b b b b b b b b b bȯ b~ b b~ b ø b b b b b b bb b b b b b b b b b b b bb b b b b b Figure 6 The nested comonents { In this iece, I also emloyed a Distorted Sectral Pitch Scale. First, I used multihonic notes rom the lowest itches C and Db, and then I added the itches G and A. The itch G is rom the lowest itch G, which generates the harmonic sound B and the itch A is added in order to connect between the itch G and Bb or considering the natural low o scale. This Distorted Sectral Pitch Scale is used in the second section and the ith section as an ascending scale.

54 { 0 I used this scale many times in the iece. Thereore, the seven artials o two multhonic sounds are more highlighted. II.Intersection:PatchingandStitchingTechniques Figure 7 Distorted Sectral Pitch Scale My interest in atching and stitching techniques has remained strong since # n 1 #n # b # n n b n b n b b n # n n my irst areciation or it. These techniques orm a natural connection - { 7 6 between m elements or sections. Thereore, musical structure and orm can be? 1 7 # n # b b n # n b n n b b intertwined delicately by these techniques.? nb b n # n # b n n 6 m ø ø ø The Scent in the wind is made u o ive dierent sections and each section is associated Figure 8 with Distorted the ollowing Sectral section Pitch by Scale stitching in the and second atching section techniques. Thus, stitching and atching techniques are used as the linking arts. The My interest in the character o ogakbo is also relected into this iece, or receding three linking arts, o the our linking arts, are comosed o examle the atching and stitching techniques o ogakbo are used to connect stitching technique. between measures or sections. The use o these techniques rovides a method o creating an intertwined structure. For examle, The Scent in the wind is made u o ive Multihonic+ sections Stitching++ and each Sectral+Scale section Stitching+ is associated Multihonic+ Stitching+ with the Extended+ ollowing Patching++ section Sectral+Scale+ by stitching sounds+o+ the+itches+ C+and+Db+ based+on+ Harmonic+ (rested+ Sounds+ and atching techniques. For this reason, the stitching and atching techniques are ++ unreared+ itches+ emloyed as the linking arts. +!! Examle 6: The musical orm o The Scent in the Wind Multihonic Sounds + Unreared Pitches techniqu e+ Stitching technique ++ Chords+ Sectral+scale+ Distorted Sectral Pitch Scale techniqu e+ Stitching technique Sound+ ++ Sound+ ++ unreared+ itches+ Multihonic Sounds + Harmonic Sound + Unreared Pitches techniqu e+ Stitching techqnique Stitching+ technique+ itches C and Db are layed as chords and areggios. The chords and Figure 9 The orm o The Scent in the Wind! 1! The rimary method o stitching technique that I emloyed in this iece is a rather literal imitation o the shae o the stitches in ogakbo with chords and ø Extended stitching technique Technique+ + measure)+ ø Patching technique (rest) The rimary way o stitching technique I used in this iece is chords and b ++ Multihonic+ ++ Harmonics++ Sound+ n! Distorted Sectral Pitch Scale + Multihonic Sounds + Harmonic Sound areggios. The itches generated rom the multihonic sounds, based on the

55 areggios. The chords and areggios are layed either synchronously or asynchronously. These elements o the stitching technique are sometimes combined { with the multihonic sounds. For examle, the multihonic sounds o the itches C and Db can be seen in the second linking art. 9 {? q=60 nu n n m ø n n b sz n U # b n m U U b b n # b u sz sz ø ø ø b arox. '' b j arox. '' r b m * Figure 0 The stitching technique 1 The stitching techniques o small concets are also used as a mediator o musical elements; or examle, the irst ive ornament notes in bar 1 lay a role not only in linking notes between the second section and the third section but also in including notes o the third section. The shae o these ornament notes is extended as a normal rhythm in the last notes o the third section and is used the irst bar o the ourth section. Thereore, these ornament notes are used as a linking actor between notes, and demonstrate the nested comonent in this iece. { 1? i b h= # n b b bb b b b b bb b b b b b b b b b b b b b b ø ø b b b b b b b b b b b b bb b b b b {

56 { ø 6 {? q=60 q=68 nu n i bb # n U b- b- n m m m m U U b n n # b n u b j i b nb # n b b # ø ø ø ø ø b n # b m ø n # - - n b? # nb # b bnb n # n ø Figure 1 The stitching technique The atching technique is used throughout music. For examle, in the second section, each measure emerges in a reductive shae and in the third section; the measures having similar shaes are juxtaosed side by side. Furthermore, the atching technique can also be seen as the bridge between the ourth section and the ith section. There is an emty measure eaturing a long ermata between the two sections and, in this emty measure, there exists a silence connecting the two sections. I exlore the invisible lowing energy rom the hilosohy o Maek in this sace. For examle, the revious sound o the ourth section decays, and suggests a decreasing energy. At the same time, an increasing energy is generated by the erormer rearing to lay the ith section in this sace, which or me is a way o imagining an invisible energy lowing across the sections. q=7 # br j n n { ? m m m m b # b n ø # b # b b n b b n r nn n # b r j # b b b m n # n b n nn n b ø n # # n b b n # b 6 m { 6

57 { 7 { rit bb <b b b b b b? nb b n b # R n b - # m 1 j - b - - j e b - b -. - sz m * 1 arox. '' Figure The atching techniques in the second section and between the ourth and ith section In The Scent in the Wind, I exlored a variety o iano timbres through the usage o multihonic sounds, harmonic sound and unreared itch sound to relect the tactility exerienced rom the dierent layers o blowing wind. Additionally, the structure o The Scent in the Wind relects the visual shae and techniques o ogakbo, through the means o relecting atching and stitching, more directly than the revious ieces. I urther exlored this character o ogakbo and harmonic sectrum in the next iece The ourney o the Sun or 16 instruments..6. The ourney o the Sun (01) In The ourney o the Sun or 16 instruments, I ocused on the atching technique o ogakbo to comose a orm based on several sections. I also exlored harmonic sectrum o the itch A in the iece. For examle, the combination o artials based on the low itch A can be seen in the irst section. In the irst section, I combined the artials vertically and horizontally. I chose six artials o the low itch A intuitively in bar 1-6. These chosen artials migrate into other instruments and are combined with new artials in bar 7-1. Additionally, in order to generate a rogression, I created an ascending linear line with the seciic artials in violin I, II, and viola. 7

58 Violin 1 Violin Viola? Trb. Bar: w Bn. Horn. D.B bw µ w Bw w w w w w nw Fl. µ b. µ bb w n Trb. (add new artial) nw w # w # w w bw # w µ w w Fl. Tr. Horn. # µ bb n # n # µ bb n Horn. # # # n n # µ Horn. B Figure The artials o the low itch A in the irst section In the second section, I attemted to exlore the dierences o timbre between brass instruments. For examle, I used the straight and wa-wa mutes in each brass instrument (I used bass-trombone wa-wa mute on horn) to exlore the dierent tone colour o each instrument Hn. Tt. Tbn. o + j b? { Figure The second section in The ourney o the Sun In the third section, I used Distorted Sectral Pitch Scale in the woodwind and string arts. Having multile instruments laying the 'Distorted Sectral Pitch { m wa-wa + mute +. Œ / n 7 Scale' simultaneously allows or a better observation o the dierent timbres created by each o the instruments. m b... n. j Œ µ µ µ # µ # # µ # straight mute. j

59 Picc. Fl. b. Cl. Bsn. 81? B. R? 8 Œ Figure The third section in The ourney o the Sun In the ourth section, I seciically exlored the hilosohy o Yin-Yang. To aly the hilosohy o Yin-Yang to the transition o sounds in a vertical manner, I researched the concet o Harmonicity-Inharmonicity, which is associated with sectral comosers such as Gérard Grisey. In the article Introduction to the Pitch rganization o French Sectral Music, Rose discusses the technique o Harmonicity-Inharmonicity, which Grisey (197) used at the beginning o Partiels. The irst harmonic structure o Partiels is comosed o an overtone derived rom the low itch E. While this harmonic sectrum is termed harmonic, i any elements are not included in the harmonic sectrum, then this organisation is termed inharmonicity. The irst chord eatures the harmonic sectrum o the low itch E. During the eleventh reetition o this sonority, the comonents move to a lower register, through octave shiting. Thereore, the sound changes to become more and more inharmonic, and noise elements are combined to the orchestration. Consequently, ew artials o the low itch E remain in the sonority. (Rose, 1996,.8-10) m m m. lz. m m m m m Ÿ~~~~~~~~~~~~~~~~~ lz. gliss..... #. n n R µ B# µ # # B 8 R m m # lz.. R Œ # n. R gliss. 7 m m 6 # 8 R Œ Œ. n µ # B µ # n R Œ µ µ µ. µ R Œ Œ B µ # µ # # µ B n Œ Œ µ R R # # # B.. µ. n R m 19 9

60 Figure 6 PRGRESSIN FRM HARMNICITY T INHARMNICITY IN PARTIELS (Rose, 1996,.10) The ormal aroach demonstrated by Grisey with his Harmonicity- Inharmonicity technique where the transormation o sound based on these two oosite sounds occurs rovided an idea or me. I thought that Harmonicity could be considered as a light and ositive sonority while Inharmonicity could be considered as a dark and negative sonority. Thereore, enabling the transition o the sonority rom Harmonicity to Inharmonicity to relect a lowing sound or energy rom ositive to negative. In this context, I wanted to ollow u on Grisey s Harmonicity-Inharmonicity technique in the ourth section. In this section, I also took insiration rom elements exlored by Unsuk Chin (009) in her work Su or sheng and orchestra. Her work exlores the slow change o long notes with dierent techniques and dynamics, and this gradual change shows the transormation o the density o sound. I was interested in the slow change o 60

61 sound, so I combined the transormation o long notes and the Harmonicity- Inharmonicity technique o Grisey in this section. For examle, sound is translated rom a more dissonant and comlex state to a consonant and clariied state. All the comonents used at bar can be seen in igure 7. I have exanded on Grisey s techniques and created my own interretation. Grisey moves some artials downward by octave shiting in the harmonic sectra, thus he achieves an inharmonic sound. I, on the other hand, added inharmonic itches directly into harmonic sectra to roduce a dissonant sound. These inharmonic itches are ositioned in a narrow register, thereore allowing or a dense and dissonant sound to be generated.? # B # B n n n µ n µ # B µ # B n µ # B n µ # B n µ n n µ # B µ # B µ n n n µ # B µ n n µ # B µ # B µ # B n n µ n n µ µ µ Figure 7 Pitch comonents in The ourney o the Sun Figure 7 demonstrates the itches used in the ourth section. The itches are arranged by 1/ tone rom middle C. The reason or this is 1/6 or 1/8 microtone lower or higher itches are diicult not only to be erceived clearly but also to be layed accurately. I chose this degree o itch ustiication'. The itches with diamond note heads are comonents o a harmonic sectrum derived rom the low itch A, while the itches with black note are not related to the harmonic sectrum and in this manner, the black note head itches can be deined as Inharmonic. The itch zones are then combined to create a transition rom inharmonic sound to harmonic sound. 61

62 Fl. b. Cl. Bsn. Hn. Tbn. vibrahone tubular bells har. iano Tr. Vn 1. Vn. Va. Vc. D.B. 97? {? µ bµ# Bµn # µ# n# µ # n B µ# µ µ # # # b# n # # n BB µ b B Bn µ µ µ µ # n n Fl. b. Cl. Bsn. Hn. Tbn. vibrahone. tubular bells. har. 10 b? nµ # µ nb µ # µ #µ µ # # nµ B # # # B # B B iano. { n n# # # Tr. Vn 1. Vn. Va. Vc. D.B.? n B n # # n µ # n# B nµ n n # nn #n µ Figure 8 The rogress o chords at bar

63 Picc. Fl. 97 Œ # # j nw # Œ o m q=90 lz. 6 µ j Ó Ó B b. Cl. Bsn. Hn. 6 µ j b j µ j Œ # w n r Œ Œ Ó # o o m?? Œ µ µ r B r 6 µ Œ Œ # Œ n o m m Ó lz. n Œ R 6 r r Œ Œ Œ o o n µ # R 6 Œ Œ Ó Œ m o m o Tt. 6 Tbn.? R 6 Œ o o Perc. I / 6 Perc. I Perc. II H. Pno. { { { { 6? 6 6? 6 6? 6 6? 6 Vln. I Œ b gliss. q=90 6 µ Œ µ w gliss. µ Œ Œ R m m Vln. II Vla. Œ gliss. B 6 µ µ b m m B Œ gliss. 6 gliss. B B b Œ Œ n m m Œ Œ b gliss. µ Œ µ µ Œ µ gliss. Vc. Cb.? w w 6 Œ Œ Œ Œ Ó? m m 6 Ó w w Œ Œ o o o m 6

64 Picc. Fl. b. Cl. Bsn. Hn. 10 <B Œ Œ R? m m m m m <# Œ µ r Œ b Œ µ µ R m µ Œ R µ Œ R m m m m m? <# R Ó # o m m B R Œ # r Œ Œ # n Œ Œ Ó n Œ Œ Ó # # Œ Œ Œ o o o o Œ Œ r R Tt. Tbn.? Œ r Œ Œ Œ # R Ó o o o o r Ó Ó w w Œ Œ Perc. I / Perc. I Perc. II H. Pno. { { { { # w l.v. Ó?? Tubular Bells Vibrahone w l.v. Ó Ó # o j Œ # Œ? # nn # n Œ Ó? Vln. I R B R Œ B gliss. gliss. gliss. m µ R µ # Œ m m # Vln. II Vla. gliss. # Œ # n n j # r m m o m B Ó # # Œ Œ Œ R o o m B o gliss. Vc.? nw Œ n w r Ó Œ o m Cb.? Œ Œ Ó Ó w Œ Œ Œ o o o 6

65 Picc. Fl. b. Cl. Bsn. Hn. Tt. Tbn. 107 Œ? <#? µ Œ # # Bw R Œ Ó m m m m m <µ Œ µ µ R n w µ Ó R o # w Œ Œ # Œ µ w Œ µ µ µ R Ó m m o o B Œ Ó Ó o m m j Œ B Œ B Œ r Ó m µ µ Œ µ w m m m # # R Œ o o m Œ n n Œ Œ Ó B Œ Œ Perc. I / Perc. I Perc. II H. Pno. Vln. I Vln. II Vla. Vc. Cb. { { { {? Ó # #? m m m o m m m m m m m o m m m Tubrlar Bells? m m m m # w Vibrahone? w l.v. l.v. m n... n n. #. Œ Ó n gliss. gliss. B? <# n # R j n Œ n Œ Œ Œ Œ Œ? Œ w Œ Œ gliss. Œ Ó Ó Œ w b Ó gliss. µ # Œ # Œ # w R Œ Ó w # Œ Œ gliss. Figure 9 From bar 97 to bar 110 in the ourth section 6

66 The harmonic itches are added more requently while inharmonic itches are removed gradually. For examle, the inharmonic itches such as the itches F and D ¼ shar in the lute and oboe arts are ositioned in bar 97 whereas a harmonic itch is added continuously in dierent instruments ater bar 98. Also, the itch A in the double bass art is added in bar 98, the itch E in the cello art in bar 99 and the itch A in the bassoon art in bar 100 sequentially. In this manner, I decided to translate the vertical sound increasingly rom a dissonant and dark state to a more consonant and light state. This rocess o the transormation o sound in a vertical structure can be seen to relect the colour change rom darkness (Yin) to lightness (Yang) and the alteration o oosite energy rom negative to ositive energy o the hilosohy o Yin-Yang. To exand the concet o the hilosohy o Yin-Yang in the iece, I also exlored distorted and inharmonic sounds in the last section. For examle, the inharmonic multihonic sounds in the woodwind art and a strong lucking technique in the har are used. In this manner, the music begins rom the harmonic sectrum derived rom the low itch A in the irst section and ends with inharmonic sounds showing a structural trajectory rom clarity to distortion and noise throughout the whole structure o the iece. 66

67 ss \ \, ss,ss s ss \ \,,ss,,,, ss s s 8 Picc. Fl. b. Cl. Bsn. Hn. Tt. Tbn. Perc. I Perc. II H. Pno. Vln. I Vln. II Vla. Vc. Cb. G# G# Bs Bs D# D# 19 # # #?? { { { F n n B,ss,,, C# B # # # # # # / Y C# s F n n B l.v. distort distort distort N distort Y? l.v. l.v. l.v.? Z Z Z # # ## ## ## ## ## ## ## ## ## ## ##? # # # # # # # # # # # # # B? R # # # # µ N µ µ µ µ µ µ µ? S.P N l.v. B sdistort l.v. Figure 0 The last section o The ourney o the Sun 67

68 .7. Clouds, Landscae, Human Being (01) Colouds, Landscae, Human Being or lute, clarinet, violin, cello and iano symbolises the lie o a cloud, the landscae and human being under the cloud; or examle to orm a big cloud, small clouds are combined, and then the big cloud gradually searates into smaller clouds again with a delicate attern in the sky. The rocess o the ormation o the clouds is a constant series o clusters and searation, which I exress through various means in the iece. In the irst section, this rocess o the ormation o the clouds is exressed with the central itch C# and many instrumental techniques such as use o breathy sound and li glissandi in the woodwind art as well as col legno and circular bowing techniques in the string art. The combination o many dierent techniques allows or a alette o subtle changes o timbre ocussed on the itch o C# in the dierent instruments. e=90 Sam Park Flute Clarinet in Bb Violin Violoncello 8 8 8? #. j # # 6 o m m m m m m m m o m m m m m o m m m ord r # 6 # 6 # 6 # 6. # # # - # 6 # 6 # µ 8. j Œ # j j # # # - # #.. #- III. j S.T. 7 8 # air [shi] [t] [k] [t] [shi] 8 # # ord. ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ ~~~~~~~~~~~~~~~~~~~~~ breathy tone ord. vib. vib. n.v. lz. ord. 1/ c.l.t. S.P. IV ord. j # III ne ne # e n.v. vib. molto vib. # e ne # e 8 # # n µ # b 8 c.l.b lautando ord. S.T. ord. S.P. # 7 8 # Œ # # # # # # # # 8 o m m m m m ~~~~~ ~~~~~ lz. [shi] [shi] [shi] ord. { Piano Œ Œ #. #. #. 8? 8 - #. #-. #. #. #- #- #- # #. #. #. #- #. # 7 8 R R 7 8 Œ # 8 - m m m Figure 1 The irst section in Clouds, Landscae, Human Being m The subtle change o timbre can be also seen in the iano art in the ourth section. I used three dierent sounds o the high itch G: one is a muted sound with maximum ressure alied; another one is a mute sound with hal ressure, and the 68

69 last one is a sound without mute. The alteration o these three sounds generates the slight change o timbre based on the high itch G. { Pno b # b# b# b # n # # Œ Œ # # # # # # # # # # # # # # # # # # # # # # # # # R R R R R G R R R R G R 8 R R R R G 8 R R R R G R G R R m? 8 8 Figure The subtle change o timbre in the iano art in the ourth section The second section relects the ormation rocess o the small clouds, which are slit rom the big cloud. To exress this ormation, I utilised whistle-tones in the lute art, harmonics in the string, and the notes o the high register in the iano art. Fl. 7 ~~~~~~~~~~~ ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ ) 6 R Œ # # # ~~~~~~~~~~~ ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ ~~~~~~~~~~~~~ ~~~~~~~~~~~~~~~~~~~~~~~~~~~~ ~~~~~~ ~~~~~~~~~~~~~~~~~~~~~~~ ~~~~~~~~~~~~~~~~~ ~~~~~~~~~~~~~~~~~~ ~~~~~~ ~~~~~~~ # ~~~~~~~~~ ~~~~~~~~~ ~~~~~~~~ ~~~~~~~~~~~~~~~~~~~~~~~~~~~ ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ # R ~~~~~~~~ m m m m m Cl. tone # R # Œ # # R m m m tone breathy tone # µ Vln. # R # # # # m RÔ # - - ## # # # R m m m # # ## R r # n # # ## R R R m 6 m Vc. Ó # o # # - # # # R # # # # R R m m # # - r # # - r - r # # m m { Pno. < Ÿ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ # n # # # # R # # # # # # # # R # # # n # # # # # # n # R m R Œ Œ # 6 6 m m m n- # # # - # # - # # R # # # # # m m # # # # # # # n Figure The second section in Clouds, Landscae, Human Being The third section and the ourth section relect the landscae and Human Being under the clouds and many varied dynamic gestures, rhythms, and instrumental techniques such as izzicato and key clicks in the woodwind art are emloyed. 69

70 Fl. 9 lz. Æ Æ Æ Æ lz. # Æ Æ Æ Æ Æ... Æ Æ Æ Æ Æ... # # # Æ µ # µ # Æ Æ Æ Æ Æ # # # # # # µ # # # µ # µ µ µ n # µ # # µ # µ # # µ # # # # # n # # µ # næ Æ Æ # n Æ Æ Æ n # 6 Cl. Vln. lz. Æ Æ Æ Æ. 6 lz. # # Æ. Æ. # Æ ' ' ' ' Æ Æ. Æ # # # # # # # # # # µ # µ µ µ # # # # n µ # µ # # n # µ µ µ # # #w 6 ' ' 6 # Æ R Ô n j ' 6 Ÿ~~~~~~~~~~~~~~~~~~~~~~~~~~~ 7 # # µ # n n # n# n # # # µ # µ # # B#. # µ # # n # # # # m 6 li gliss. Æ distort # # # n # #. # Æ n # # # Vc.? Æ ord. distort # ' 6 R Ô? # r n # # µ # # n # µ # # B# # #. ' µ n# n µ n n 7 B# # # # # µ # # # # n nn # # # ' # j # n # µ #. #. # n. # B. # #. # n. # µ. # #. #. # B. # µ. 6 m 7 { Pno... #.. # n # # # #. n # #. n # # # r # # n# # # ## n n # # # <#? r # # # <# <# # # # # # # m # # 6 6 # # # n # # r Figure The third section in Clouds, Landscae, Human Being # # # n # R # r Ó #. sz. #.. # # # #. # # # # ## r r Œ # #. #. sz sz Finally, the ith section symbolise the shae o the uniied cloud again and here, veiled and diluted timbres such as air sounds in the lute and a luctuation between the sounds o ordinary notes with hal-deressed- and ull-harmonics in the violin art. Fl. rit. [shi] # o wo o 1 # #~ # Œ Œ #) #) #) # 6 o m m Ó Cl. rit. # # µ # # o breathy # # # w Œ Œ Ó Vln. rit. ord hal harmonics harmonics ord hal harmonics harmonics # # n# n# n # # n# n # # n# n # # n # # n# n# # n# n# # n# n# # n # # # n# n# # n# n# # n# n# # n #- Œ # II # E # ~ Œ Ó o Vc. rit. r Œ # # # # µ µ n n µ µ # # o # # µ µ S.T. # # Œ # w Œ Ó { Pno. rit.? Ó o o o o E Ó #E Ó #E #E Ó # # # # Ó # # # Œ Ó Figure The ith section in Clouds, Landscae, Human Being 70

71 Clouds, Landscae, Human Being is similar to other ieces in regard to being comosed o several sections, which have dierent characters. However, the next iece Four Seasons o ogakbo or solo baritone saxohone is dierent. Four Seasons o ogakbo will resent how directly the shae o the scras in ogakbo and the Korean hilosohies are alied into the iece as central concets o the iece..8. Four Seasons o ogakbo (01) In my comosition The Four Seasons o ogakbo or solo baritone saxohone, I ursued musical analogies directly or the hilosohies o Yin-Yang, hang and Maek as well as the colour o the scras in ogakbo. The undamental concet or this iece, to exlore the invisible lowing energy o Maek and the achievable synergy between musical elements and ragments, is accomlished through the comosing o the iece with ive ragments and colours; each ragment relecting the correlating quality o its season and each colour reresenting its role in accordance with the hilosohy o hang. To exress dierent qualities o seasons and colours, the saxohonist erorms each ragment eaturing techniques unique to the saxohone in designated areas o the stage. The resulting movement between areas on the stage allows or Maek to be introduced to the iece, as having the erormer move around the stage reresents the invisible energy low o Maek between each o the seasons. First, to roduce the character o ogakbo, I translated the shaes and colours o the scras used or ogakbo, as well as the rocess used or creating ogakbo, into the musical materials used or the iece and also as the basis or orming the iece s structure. For examle, the scras o ogakbo are rom worn-out abric and quilts, which are then cut in an irregular ashion allowing or an abundant variety o shaes and colours or the scras. The seamstress ositions these dierent tyes o scras on the abric and although she does not have an exact mathematical or analytical lan or lacing the scras, she uses guidelines based on 71

72 tradition or lacing the scras on the abric and also or dividing the sace o the abric. In this manner, the skill o the seamstress or creating the ogakbo allows or the handcrat art to be rovided with an irregular division o the sace eaturing dierent colours o the scras. To aly this character o ogakbo to the iece, I created orty segments or the irst our ragments (note that the ith ragment Yellow Four Seasons does not eature these seciic segments), and then laced ten segments in each o the ragments. To relect the dierent shaes eatured by the scras o ogakbo, I generated dierent meters and gestures or the segments including: ascending and descending lines, leaing gestures, and multihonics. Additionally, I used seciic timbres derived rom saxohone techniques to show the dierent colours in the sound. In this manner, each segment has its own shae and timbre resulting in every segment having its own unique character. Ater comosing the segments, I ositioned these segments on the score so that an irregular division o the sace on the score would be created, and this irregular division allows or the shae o ogakbo to be exerienced visually in the score. 7

73 q= B K sz 1. Black Winter lz. Πj #. 1-. B i j K R sz 1-7 lz. # n 1-. B K R sz B K i sz 1-9 lz. b 1- B - K 1- B K B K 1-10 lz. j lz. # # j j # j x x1 x Figure 6 The segments and the irregular division o the sace in the irst ragment Black Winter in Four Seasons o ogakbo Second, the hilosohies o hang and Maek are exlored in the iece. hang is comosed o the ive elements that orm the universe: water, ire, wood, metal, and earth. In-Chan Park, in his article The Aroach o Human Sensibility Measurement based on The Cosmic Dual Forces and The Five Elements, describes the interaction between the ive elements: the Producing Cycle: wood uels ire, ire leaves behind ashes that become earth, earth rotects metal ound within the earth, metal allows or condensation and the roduction o water, and water nourishes wood (1998,.6). In order to maintain a harmonious balance o the universe, these comonents not only inluence each other but also, ollowing the aorementioned cycle, sel-regulate each other. In other words, the universe has a creative and sustainable system that is maintained through the circulation o these ive elements. Thereore, the concet o hang is not just that the basic ive dierent elements 7

74 comose the universe but also that the circulation o elements described in hang enables the universe to exist with a harmonious balance. I alied the system o cycles eatured in hang to the develoment o my musical orm. In the iece Four Seasons o ogakbo, I devised the erormer s movement through reroducing the cycle o the ive elements. For examle, the designated north area o the stage symbolises the element o water, and the designated east area reresents wood while the designated south area o the stage symbolises the element o ire. In this regard, the erormer moves rom the designated north area on the stage to the designated east area and also rom the designated east area to the designated south area. In this manner, the erormer s journey between ragments symbolises the system o cycles o hang. Additionally, to identiy the character o each ragment, I utilised additional comonents o the hilosohy o hang; or examle, I used not only the ive colours and elements comosing the universe but also the our seasons and ive directions. hang includes the ollowing: the our seasons: winter, sring, summer, and autumn; the ive colours: black, green (or sometimes blue), red, white, and yellow; and includes the ive directions: north, east, south, west, and centre. Figure 7 shows the dierent comonents o hang. Elements o Water Wood Fire Metal Earth the Universe Colour Black Green(Blue) Red White Yellow Season Winter Sring Summer Autumn Four seasons Direction North East South West Centre Figure 7 A variety o comonents o hang 7

75 1.##Black# #Winter#.#White# Autumn#.#Yellow# our#seasons#.#green# Sring#.#Red# Summer# Figure 8 The ragments osition o the stage Four seasons o ogakbo relects these comonents o hang: the irst ragment is erormed at the designated north art o the stage, and exresses the qualities o the colour black and the season winter. For examle, the colour black is exlained as: something burnt out, like the ashes o uneral yre, something motionless like a corse (Kandinsky, 010,.61). Moreover, winter, the most rigid season o the year, may eature an abundance o snow and many animals choose this season to hibernate and reserve their energy resulting in lie orms that are immovable or sleeing in one lace. In this regard, the irst ragment exresses the coldness, stillness, and the seriousness and darkness or otherwise stark nature symbolised by the colour black and season o winter. As can be seen in igure 6, I utilised multihonic sounds and the lutter tonguing technique combined with orte dynamics. The reason being that this combination o the technique and dynamics generates a dense sound with a high level o amlitude, which may be erceived in a sense very much akin to Kandinsky s descrition o the colour black. Furthermore, to ollow the limitations o the immobility and motionlessness o winter, I limited the intervals within the segments to semi-tones, hal-stes, and thirds. 7

76 The second ragment is erormed at the designated east art o the stage, and relects the qualities o the colour green and the season sring. The colour green is considered: restul, soothing, cheerul and health-giving. Green is thought to relieve stress and hel heal Green has long been a symbol o ertility (Wagner, 009,.-7, cited in Connor, 011,.1). Furthermore, sring, the season o ertility and warm weather, when lants begin to srout or bloom and many animals give birth, only urther reinorces the ercetion o vitality and ertility emitted rom the colour green. For these reasons, I decided to comose sounds that may be reresentative o this vitality and ertility through the usage o multihonics that are soter in amlitude and more alatable in contrast to the multihonics reviously heard in winter, and also by evolving the limited intervallic gestures rom the ragment o winter to more layul leaing gestures with intervals o 7ths and 9ths eaturing staccatos. q=6-6. Green Sring -1 - B K m - - B K m Œ -6-7 n... R. m µ. # # n n j m Ÿ~~~~~~~~~~~~~~~~~~~ - - B K m -8 n. r # j # n m B B B K K K. m b j #- j m - - B K - B K m m -10 j # n x x x1 Figure 9 The second ragment Green Sring in Four Seasons o ogakbo 76

77 The third ragment is layed at the designated south art o the stage and relects the roerties o the colour red and the season summer: Red... is stimulating and energising... Red is energising and excites the emotions (Logan- Clark and Aleby, 009,.10, cited in connor, 011,.1). Moreover, summer, the hottest season o the year, is an exciting and active season that is ull o motion. For examle, many eole go to the beach or go on a icnic and eole enjoy active sorts such as swimming and water-skiing during the summer. In this regard, I decided to comose sounds that may relect the excitement and motion reresented by the concet o the colour red and the season o summer through accented staccato material utilising ercussive eects on the saxohone such as the sla tongue and key clicks. q=6-6. Red Summer -1 1 sz m m R... Ÿ~~~~~~~~~~~~~~~~~~~ - 1 sz.- B K sz Œ j m. - B U K sz sz sz j r j B K - sz sz B... B K K R sz sz U B K 1 sz 6 1. sz x x x1 Figure 60 The third ragment Red Summer in Four Seasons o ogakbo 77

78 The ourth ragment is erormed at the designated west art o the stage, and describes the qualities o the colour white and the season autumn. According to Richard Colyer in Thoreau's Color Symbols, American Philosoher Henry David Thoreau used white "to symbolize urity and sirituality" (1971,.1001). Also, white is exressed as a light colour and has the harmony o silence (Kandinsky, 010,.61). Autumn eatures the transitional eriod rom warm to cold weather and is commonly identiied as the season o the harvest. Additionally, I think o autumn as a eriod in which the lants and the landscae may aear bare. I relect these qualities with sounds that are less dense and segments eaturing the techniques o air sounds and honetics. q=6-6. White Autumn -1 air -6 - [shu] [ta] [sha] [sha] [sha] [shi] [shi] B. 6 K ) 6. r m m [shu] [sha] [shu] [sha] [ta] [ka] [ta] [ka] B [shi] K R m m m - [ta] [ka] B K m [shi] [shu] [sha] - - [shi] -. [sha] [shi] [shu] [sha] -9 m m - [sha] 6. [shi] 6. - B K m m -10 [shi] [shu] [ti] [ka] [ti] m x x x1 Figure 61 The ourth ragment White Autumn in Four Seasons o ogakbo 78

79 The ith ragment is erormed at the designated centre o the stage. In this ragment, I chose to ocus more on the direction o centre as oosed to the colour o yellow given that according to the hilosohy o hang, the centre eatures the combined sum o qualities rom all our o the directions. This combined sum o qualities is very signiicant rom a comosition viewoint as it lends an organic conclusion to the structure o the iece. Thus, I used all orty segments and all the saxohone techniques o the revious our ragments in the ith ragment, in an attemt to relect the combined sum o the musical material eatured in the irst our ragments.. Yellow Four Seasons q= sz 1. sz 1 7 B K sz. [shu] [ta] [sha][sha][sha][shi].... Œ ) 6.. r R Ÿ~~~~~~~~~~~~~~ m m m.... R Ÿ~~~~~~~~~~~~~~~~~~~~~ n r. j m m # # n lz. # n n µ. # # n m n j lz. b lz. j #.. B K - B K. B K U j r [shi] B j m sz sz 6 - K - B K [shi] m m R Figure 6 The ith ragment Yellow Four Seasons in Four Seasons o ogakbo 79

80 To summarise with regard to how the hilosohy o hang inluenced the orm o this iece, each o the iece s ive ragments is layed in a dierent area o the stage and has its own sound quality. Furthermore, although each ragment has its own character, the ragments are related to each other through the use o common musical materials including multihonics and rhythms. To best ollow the law o Maek, and to hel symbolise its invisible energy low, the erormer is asked to move between the areas o the ragments resulting in a visualisation o Maek. Accordingly, we can witness Maek in both temoral and satial asects between the ragments. Ater determining each o the erceived sychological eects or the saxohone s techniques as well as the erceived sychological eects or each season and or each colour with the urose o comosing the ive ragments, I needed to decide the order to erorm the segments in each ragment. To determine this order, I alied the hilosohy o Yin-Yang to the structure o the iece. To exlore the hilosohy o Yin-Yang, I considered how musical materials used or my comosition might best eature the relationshi o Yin-Yang. As I mentioned reviously in section 1., I alied the hilosohy o Yin-Yang to my comositional rocess with the idea that while oosing musical materials (consonance and dissonance, sound and silence, etc.) may exist without their counterarts, they may however be best deined when laced together. In this regard, I attemted to imlement this hilosohical aroach into my musical language and to aly the hilosohy to the musical arameters o the iece Four Seasons o ogakbo. First, in my comositional rocess, I matched musical materials with the Yin- Yang hilosohy by eaturing segments that are both horizontal and vertical. The irst our ragments o the iece consist o ten dierent segments categorised into two grous; one grou eaturing sounds o a vertical nature and the other grou eaturing sounds o a horizontal nature. Each grou is comosed o ive segments, each with its own structure o notes and timbres. To generate sounds o a vertical nature in the 80

81 iece, I comosed a multihonic sound with dierent rhythms, dynamics, and articulations. For examle, the multihonic sound is layed with a quaver rhythm, staccato, accent, and sorzando, so that the multihonic sound generates a strong imact and a loud sound. Another multihonic sound is layed with a minim rhythm and decrescendo, so that the multihonic sound changes slowly rom loud to quiet throughout the duration o the minim. In this manner, each multihonic sound has a dierent character. These ive segments are ositioned on the let side o the score. The segments, which eature sounds o a horizontal nature, such as ascending and descending lines o itches and a reetition o notes, are laced on the right side o the score. This lacement o the segments on the score shows the oosite unctions o the vertical and horizontal sounds in a visual manner that is symmetrical with the visualising o the oosing nature o Yin-Yang. To urther reinorce the vertical and horizontal natures o the sounds, I irst isolated the vertical multihonic sounds to enable the iece to truly eel and sound vertical beore introducing the segments with the sounds o a horizontal nature. For examle, in Figure 6, the segments with the number rom 1-1 to 1- generate a vertical sound. These comonents are erormed twice regardless o any order. Ater this erormance, the horizontal materials, which are rom 1-6 to 1-10, are erormed twice in the same way. Accordingly these erormances demonstrate the oosing qualities o vertical sound and horizontal sound. It is also imortant to note that while the order o the segments allows or the reresentation o the oosing nature in the hilosohy o Yin-Yang, I also desired to relect the comlementary nature o the hilosohy. To best accomlish this eat, I categorised the sounds o a vertical nature with sounds that eature an increasing energy and conversely I categorised the sounds o a horizontal nature with sounds that eature a decreasing energy. The categorisation o vertical sounds with increasing energy is accomlished by using sounds that eature a strong ulse or the sounds o a vertical nature, so the sounds are more ocused and heavier and or 81

82 this reason, the sounds o a vertical nature generate increasing and exanding energy. Conversely, the sounds o a horizontal nature are lighter and soter and eature a very weak ulse or no ulse and result in weak and decreasing energies. And so ater the erormance o the two grous o segments, a balanced and harmonious aroach to the materials o the two grous is enabled by asking the erormer to lay each segment once with the idea that the interweaving o the segments, both horizontal and vertical, would cancel each other s energy low and allow or a neutral energy low to be created, one with a more harmonious eeling. Thus, the segments are erormed each once rom 1-1 to 1-10 without any seciic order. This balanced aroach to the erormance o the materials rom the two grous relects the comlementary unction o the hilosohy Yin-Yang because harmony, in the context o Yin-Yang, is symbolised by the reading o both the vertical and horizontal segments in a manner where their energies are neutralised. In this regard, the erorming order o materials ollows the hilosohy o Yin-Yang. The second method I used to exlore the hilosohy o Yin-Yang, also insired by ogakbo, is the interaction between the erormer and comoser, seciically with the intention o giving the erormer a more equal role in the control o the order o the ieces segments and with regards to the rocess o how ogakbo is created, relying seciically on the erormer s intuition or the exlicit uroses o controlling the order o the iece s segments. When a seamstress creates ogakbo, using guidelines derived rom the tradition o ogakbo, the seamstress relies in large art on her intuition or ositioning the scras. I alied a similar aroach to the creative rocess in this iece and ask the erormer to ulil the role o the seamstress and rely on his or her own intuition in choosing the order o the segments. From the irst to the ourth ragment, the erormer should choose the order o segments to lay. However, as the comoser, I also share in the role o the seamstress or the last ragment and choose the order o the ragment s orty segments. In this manner, the music allows or an almost equal resonsibility to be 8

83 laced on the intuition o both the erormer and comoser in eect relecting the very balance reresented in the hilosohy o Yin-Yang. The last method I used to exeriment with the hilosohy o Yin-Yang was the combination o sound and silence. Ater comleting the erormance o each o the irst our ragments, there is a silence as the erormer moves to another designated area beore laying the next ragment. This choreograhy o both sound and silence allows or the audience to exerience the oosite roerties o sound and silence. The hilosohy o Yin-Yang becomes art o the theatre o the iece. To summarise the comosition o Four Seasons o ogakbo, this iece was a challenge or me because it called or a deeer hilosohical and aesthetic aroach to the rocess o comosition. I alied not only musical materials insired by the crat o ogakbo but also the comonents derived rom hang into the iece. Additionally, the hilosohies o Yin-Yang and Maek are relected in various ways in the iece. In the next chater Snow Baby in Graz, I will discuss how my use o the dierent colours o hang is urther develoed and how the concet o sound colour is used in the iece..9. Snow Baby in Graz (01) In the iece, Snow Baby in Graz, I ocused on exloring musical structure and orm in relation to the atching technique o ogakbo, with regard to the relationshi between the colours o the scras o ogakbo and the colours o the horn s various techniques. First, I juxtaosed the bars so that each bar has its own dierent musical timbre and character allowing or the connection o bars to roduce a sequence o dierent sounds or musical timbres like the colour sectrums o ogakbo. Moving on, I connected sections that have dierent musical timbres and characters side by side and, through this rocess, I exected that the change o section by musical timbre and sound colour could be erceived. Next, I exlored the common language between the colours o the scras o ogakbo and the colours o the horn techniques. 8

84 In order to connect the visual colours o the scras o ogakbo and the colours o the horn technique, I exlored the sound colour erceived by a range o horn techniques, with secial ocus on ercussive sounds and stoed horn sounds. The techniques may generate a variety o sound colours. To create delicate changes o timbre in my musical structure, I utilised dierent horn techniques; or examle, the sto mute is alied in the irst section. ohn Ericson discusses the unction o sto mutes: Transosing brass stoing mutes are also manuactured to be used as a substitute or hand stoing. These do roduce the correct tonal color and also allow or the roduction o more volume than hand stoing (Ericson, 010). There is a hole at the bell o sto mute, so oening and covering the bell s oening generates the timbral dierences o notes. (see igure.6) Alying the sto mute, as oosed to allowing the horn layer to use their hand to sto the horn, allows or the generation o a weak, aded, and light sound. Figure 6 Sto Mute and Straight Mute (Ericson, 010) 8

85 F(F-0) [u] +, r + [u] + r Œ r +, [u] +, m m [u] + :x :x r Œ - j j - Figure 6 Snow Baby in Graz in bar 1- +,, + In Figure 6, the written itch C, which is a sounding F, is emloyed with a sto mute and the u vowel sound. The symbol means with sto mute, and o and + symbolise oening and covering o the bell s oening on the sto mute. Thereore, oㅡ + describes the transition rom the oening o the sto mute bell to the covering o the sto mute bell. In bar 1, the change o the technique rom oen to covered changes the shade o the sound rom a light and loud sound to a dark and sot sound, and so generates the subtle change o sound colour I sought. This change o timbre seems to me like the slight change o visual colour rom white to cream or rom white to ivory in the ogakbo. Additionally, by changing the vowel ormed by the horn layer s embouchure, a urther subtle change o sound colour is roduced. I use several vowels such as u, a, o and ich to exlore changes o sound colour. The change o the vowel rom u, a, o, to ich distorts the sound to become higher and lighter. These vowel sounds amliy through the horn s tubing, so the change o vowel sound can be erceived clearly. To urther exlain this rocess, I will introduce Source-Filter : a theory o Wayne Slawson. Wayne Slawson discusses the sound colour o vowel sounds by using the source-ilter theory, which states that i the sources are the same but the ilter is dierent, the resultant sound will be dierent. 8

86 SURCE H FILTER -SUND AmPLI SURCE SPECTRUM FREQ SPECTRUM E NVELPE 1 r-rlt r-- REU LT ANT SPECTRUM Figure 6 The source-ilter model o sound roduction (Slawson, 1981,.1) Figure 6 shows the rocess o sound roduction. Slawson describes source and ilter in relation to the roduction o seech: In vowels the excitation is generated by the vocal olds in the larynx; the ilter is the throat and mouth. The tension o the vocal olds and the volume o air we orce through them control the itch and intensity o the vowel. The shae o the vocal tract controls the vowel quality or color. As we all know, the excitation and the ilter in vowels are indeendent. We can utter a sot, low-itched [a] or a loud, high-itched [a] or we can utter an [a] and an [e] at the same moderate intensity and itch. (Slawson, 1981,.1) Through Slawson s research, the rocess o the roduction o vowel sound can be understood. Slawson also discusses several dimensions o sound color o vowel sound to exlain sound colour : the several dimensions o sound color, I shall discuss three that seem to be the most salient and musically useul. They are called LAXNESS, PENNESS, and ACUTENESS (1981,.1). 86