A Combination of Asian Language with Foundations of Western Music: An Analysis of Isang Yun's Salomo for Flute Solo or Alto Flute Solo
This dissertation introduces a Korean composer, Isang Yun (1917-1995), who embraced European traditions but retained Asian characteristics in his compositions. Attending the 1958 summer course in Darmstadt in Germany, Yun was strongly influenced by the avant-garde style of Boulez, Stockhausen, Nono, and Cage. In addition to his work as a composer, Yun distinguished himself, as one of the most important Asian composers to blend Eastern and Western music; and although his musical training focused on Western music, he continued the pursuit of Eastern sounds and philosophies throughout his musical life. Imprisoned in 1967 by the South Korean government, Isang Yun's music, particularly in later life, incorporates his beliefs on social and political issues together with musical ideas. Although his love of country was deep, Isang Yun was not allowed to return to South Korea, and he lived in Germany for the remainder of his professional life. In this study, my purpose is to investigate the development of Yun's musical ideas from his acceptance of Taoism four structures in the world: the Tao, heaven, earth, and man. The presence of both Western and Eastern influences in Yun's music provides the basic of his musical style, and analysis of Salomo fur Altoflote oder Flote is included in this dissertation.
The fusion of Korean and Western elements in Isang Yun's Konzert für Flöte und Kleines Orchester
The Korean born composer, Isang Yun (1917-1995) is renowned for his synthesis of traditional Korean music and Taoist philosophy with Western compositional techniques. Yun adapted the Eastern concept of a single tone as the basis of a work into Western music. Yun’s early works (1959-1975) are based on the twelve tone system, while the compositions in his later periods (1975-1992) use a simplified musical language based on Eastern sounds. Yun’s Konzert fur Flote und Kleines Orchester (Concerto for Flute and Small Orchestra, 1977) features this language. 
The Konzert is influenced by three elements: first, the sound and performance techniques of traditional Korean wind instruments including the daegum, the danso, and the piri; second, Taoism, particularly in the way the work evokes a pervasive dialectic of Yin and Yang; and third, a programmatic fantasy influenced by two Korean poems, the anonymous Chungsanboelkok (Poem of a Clear Mountain) and Seok-cho Sin’s related poem, Chungsana, Malhayeora (Speak, the Clear Mountain). Focusing on the intersection of these three elements, this document explores the flute concerto in detail. It includes an overview of Yun’s stylistic influences, in particular the Korean instruments and performance practice he evokes in the work. It also describes the short period in which Yun composed his thirteen concertos (1976-1992), the musical style of which reflects his experience of abduction and imprisonment as well as his broader political and social concerns. This is followed by a compositional and stylistic analysis of the work, including a discussion of the programmatic fantasy. Finally, the document presents a detailed guide to the technical requirements for the solo flute in this work which requires the soloist to possess a high techniqual ability in order to play them according to the composer’s intention.
Frank Must Marry Money: Men, Women, and Property in Trollope's Novels
There is a continuing debate about the extent to which women in the 19th century were involved in economic life. The paper uses a reading of a number of novels by the English author Anthony Trollop...