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dc.contributor.advisorRush, Marken_US
dc.contributor.authorKim, YeonJinen_US
dc.creatorKim, YeonJinen_US
dc.date.accessioned2011-12-05T21:57:59Z
dc.date.available2011-12-05T21:57:59Z
dc.date.issued2010en_US
dc.identifier.urihttp://hdl.handle.net/10150/193679
dc.description.abstractThe purpose of this study is to create a performance guide for Young-Jo Lee's violin works, Honza Nori for solo violin and Doori Nori for violin and piano, and to introduce his work to a wider audience. This study contains a biography of the composer and a compositional analysis that shows how Lee includes the concepts and techniques of Korean traditional music in his violin pieces. In this analysis, I will identify the composer's characteristic style, inspired by Korean compositional techniques, traditional Korean instruments and their characteristics. Additionally, the incorporation of Asian philosophy, and Taoism in particular, into Lee's music will be examined and cited throughout, demonstrating how Lee employs these ideas to create compositional techniques that differ from other twentieth century Asian composers. Lee is one of the most significant Korean composers living today and is known for combining Eastern and Western musical styles. He utilizes the core of Korean traditional music and performance practice and applies this to his compositions in a distinctive style that amalgamates both Western and Eastern (particularly Korean) musical traditions. Lee creates a balance between his native heritage and his knowledge of Western traditions, and he extracts his distinctive compositional ideas from various genres of Korean music, such as court royal music, traditional folk music, harvest music, Pansori, Samul nori, and Korean zither music. Lee is also interested in Western compositional techniques such as twelve-tone technique and chromaticism, which he combines with his knowledge of Korean traditional music and its techniques to create various works in a unique and distinctive fashion.
dc.language.isoenen_US
dc.publisherThe University of Arizona.en_US
dc.rightsCopyright © is held by the author. Digital access to this material is made possible by the University Libraries, University of Arizona. Further transmission, reproduction or presentation (such as public display or performance) of protected items is prohibited except with permission of the author.en_US
dc.subjectHonza Nori Doori Norien_US
dc.subjectKorean Musicen_US
dc.subjectYoung-Jo Leeen_US
dc.titleTHE MUSICAL STYLE AND COMPOSITIONAL TECHNIQUE OF YOUNG-JO LEE, AS REFLECTED IN HIS VIOLIN COMPOSITIONS “HONZA NORI” FOR SOLO VIOLIN AND “DOORI NORI” FOR VIOLIN AND PIANOen_US
dc.typetexten_US
dc.typeElectronic Dissertationen_US
dc.contributor.chairRush, Marken_US
dc.identifier.oclc752261118en_US
thesis.degree.grantorUniversity of Arizonaen_US
thesis.degree.leveldoctoralen_US
dc.contributor.committeememberMcLaughlin, Carrolen_US
dc.contributor.committeememberXiao, Hongmeien_US
dc.identifier.proquest11275en_US
thesis.degree.disciplineMusicen_US
thesis.degree.disciplineGraduate Collegeen_US
thesis.degree.nameD.M.A.en_US
refterms.dateFOA2018-06-23T04:36:36Z
html.description.abstractThe purpose of this study is to create a performance guide for Young-Jo Lee's violin works, Honza Nori for solo violin and Doori Nori for violin and piano, and to introduce his work to a wider audience. This study contains a biography of the composer and a compositional analysis that shows how Lee includes the concepts and techniques of Korean traditional music in his violin pieces. In this analysis, I will identify the composer's characteristic style, inspired by Korean compositional techniques, traditional Korean instruments and their characteristics. Additionally, the incorporation of Asian philosophy, and Taoism in particular, into Lee's music will be examined and cited throughout, demonstrating how Lee employs these ideas to create compositional techniques that differ from other twentieth century Asian composers. Lee is one of the most significant Korean composers living today and is known for combining Eastern and Western musical styles. He utilizes the core of Korean traditional music and performance practice and applies this to his compositions in a distinctive style that amalgamates both Western and Eastern (particularly Korean) musical traditions. Lee creates a balance between his native heritage and his knowledge of Western traditions, and he extracts his distinctive compositional ideas from various genres of Korean music, such as court royal music, traditional folk music, harvest music, Pansori, Samul nori, and Korean zither music. Lee is also interested in Western compositional techniques such as twelve-tone technique and chromaticism, which he combines with his knowledge of Korean traditional music and its techniques to create various works in a unique and distinctive fashion.


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