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Title Page

ABSTRACT

VITA

Contents

CHAPTER 1. INTRODUCTION 14

1.1. A Biography and the Works of Unsuk Chin 14

1.1.1. Early years 14

1.1.2. 1985-1988: Studying with Ligeti in Hamburg 16

1.1.3. 1988-89: At the Electronic Music Studio in Berlin 17

1.1.4. 1990s–2000s: Contract with Boosey & Hawkes in 1994 18

1.1.5. 2000s–2010s: The Grawemeyer Award for Violin Concerto 19

1.1.6. 2010s–2016: The Influences of Different Art Genres 21

1.2. The Characteristics and Musical Style of Unsuk Chin 22

1.2.1. Beyond Nationality: The Influence of Non-European and Historical Music 23

1.2.2. Colorful Textures: The Influence of Spectral and Electronic Music 25

1.2.3. Inspiration from Different Genres of Art and Literature 28

1.2.4. Virtuosity: Six Concerti and Six Piano Etudes 29

1.2.5. The Influence of György Ligeti 32

1.2.6. Structure, Texture, Harmony, and Rhythm 34

CHAPTER 2. A COMPARISON OF LIGETI'S AND CHIN'S PIANO CONCERTOS 37

2.1. A Brief Introduction to György Ligeti's Piano Concerto 38

2.1.1. The Usage of Various Percussion Instruments 38

2.1.2. Overview of Ligeti's Piano Concerto 41

2.2. Similarities between Ligeti's and Chin's Piano Concertos 56

2.2.1. Simultaneous Use of Different Rhythmic Pattern 57

2.2.2. Fractal concept 60

2.2.3. The Influence of Conlon Nancarrow's Studies for Player Piano 63

2.2.4. Mixture of White/Black Keys 64

2.2.5. Exploring Extreme Registers 66

2.2.6. Economical Usage of Motives and Additive Rhythmic Pattern 69

2.3. The Influences of György Ligeti on Other Pieces by Chin 73

2.3.1. Gamelan Ensemble 73

2.3.2. Chaos Theory 75

2.3.3. Equidistantial scale or tonal structure 76

2.3.4. Aksak (Bulgarian) rhythm 78

CHAPTER 3. AN ANALYSIS OF UNSUK CHIN'S PIANO CONCERTO 80

3.1. First Movement: Overview 80

3.2. Structure and Motivic Usage 81

3.3. The Pedal Tone, the Tonal Center, and the Interval of the 2nd(이미지참조) 87

3.4. Layers of Different Rhythmic Patterns and Rhythmic Taleas 90

3.5. Second Movement: Overview 93

3.6. Structure 94

3.7. The Influence of Gamelan Music 96

3.8. Virtuosity and the Experiment of Different Registers 100

3.9. Pedal Tone and Tonal Center 102

3.10. Clusters and a Mixture of Black and White Keys 104

3.11. Third Movement: Overview 105

3.12. Thirty Motivic Fragments and Two Harmonic Pillars 106

3.13. Hyper-Instrument and Resonances 109

3.14. Fourth Movement: Overview and Structure 113

3.15. F-Pedal Tone and Resonances 114

3.16. Layers of Different Rhythmic Patterns: The Influence of Ligeti 117

3.17. The Cadenza: The Influence of Conlon Nancarrow 118

CHAPTER 4. A CONVERSATION WITH PIANIST SUNWOOK KIM 121

4.1. General Opinions about Contemporary Music 122

4.2. Unsuk Chin's Piano Etudes and Piano Concerto 124

4.3. The Process of Making Recordings with Conductor Myung-Whun Chung and the Seoul Philharmonic Orchestra 128

CONCLUSION 130

BIBLIOGRAPHY 132

APPENDIX: COMPOSER'S NOTES 135

List of Tables

Table 1. A formation of percussion instruments in Ligeti's and Chin's Piano Concertos 40

Table 2. Rhythmic layers in the 3rd movement of Ligeti's Piano Concerto(이미지참조) 48

Table 3. Ligeti's new conception of harmony (quasi-equidistantial interval or scale) 49

Table 4. Tuning of harp in Chin's Piano Concerto 60

Table 5. Structure of the 1st movement(이미지참조) 82

Table 6. Rhythmic talea in the A-a section (piano) 92

Table 7. Rhythmic talea in the A' section (piano) 93

Table 8. Structure of the 2nd movement(이미지참조) 95

Table 9. Musical structure: Javanese gamelan vs. Chin's Piano Concerto, 2nd movement(이미지참조) 98

Table 10. Structure of the 3rd movement(이미지참조) 106

Table 11. Structure of the 4th movement(이미지참조) 114

List of Figures

Figure 1. Two sets of tunings: Pelog & Slendro 24

Figure 2. A Sunday Afternoon on the Island of La Grande Jatte (1884) by Georges Seurat 27

Figure 3. Ligeti's Piano Concerto, 1st movement, mm. 1-4 42

Figure 4. Ligeti's Piano Etude No.1 Désordre, mm. 1-8 43

Figure 5. Ligeti's Piano Concerto, 2nd movement, additive rhythmic pattern in the...(이미지참조) 44

Figure 6. Messiaen's Modes of Limited Transposition, No. 3 44

Figure 7. Ligeti's Piano Concerto, 2nd movement, mm. 32-36(이미지참조) 45

Figure 8. Ligeti's Piano Concerto, 2nd movement, mm. 70-71 46

Figure 9. Ligeti's Piano Concerto, 3rd movement, in m. 18, multiple rhythmic layers(이미지참조) 47

Figure 10. Ligeti's Piano Concerto, 3rd movement, mm. 53-54(이미지참조) 49

Figure 11. Ligeti's Piano Concerto, 4th movement, m. 1 and mm. 10-11(이미지참조) 50

Figure 12. Ligeti's Piano Concerto, 4th movement - two different levels of rhythmic...(이미지참조) 51

Figure 13. Fractal 52

Figure 14. Ligeti's Piano Concerto, beginning of the 5th movement(이미지참조) 53

Figure 15. Ligeti's Piano Concerto, 5th movement, mm. 3-4 (piano part: right and left...(이미지참조) 54

Figure 16. Ligeti's Piano Concerto, 5th movement mm. 13-14(이미지참조) 55

Figure 17. Ligeti's Piano Concerto, 5th movement mm. 81-88(이미지참조) 56

Figure 18. Chin's Piano Concerto, 1st movement, mm. 92-96, multiple layers of rhythm(이미지참조) 57

Figure 19. Ligeti's Piano Concerto, 5th movement, mm. 23-30(이미지참조) 58

Figure 20. Chin's Piano Concerto, 1st movement, mm. 15-21(이미지참조) 59

Figure 21. Basic motivic fragment #2 62

Figure 22. Varied version of motivic fragment #2 62

Figure 23. Chin's Piano Concerto, 3rd movement, m. 72: Bitonality & Pentatonic scale(이미지참조) 65

Figure 24. Chin's Piano Concerto, 2nd movement, mm. 203-209 65

Figure 25. Emphasizing the registral gap in Chin's Piano Concerto (Continued) 66

Figure 26. Chin's Piano Concerto, 2nd movement, mm. 165- 176(이미지참조) 68

Figure 27. Chin's Piano Concerto, 2nd movement, mm. 164-167(이미지참조) 69

Figure 28. Ligeti's Piano Concerto, 5th movement, mm. 9-10 (continued)(이미지참조) 70

Figure 29. Chin's Piano Concerto, 2nd movement, mm. 39-40(이미지참조) 71

Figure 30. Chin's Piano Concerto, 2nd movement, mm. 57-61 and mm. 67-72(이미지참조) 72

Figure 31. Chin's Piano Etude No. 2, m. 18 76

Figure 32. Chin's Piano Etude No.2 Sequenzen, mm. 30-34 77

Figure 33. Chin's Piano Etude Nos. 3 and 4 78

Figure 34. Bartok's Six Dances in Bulgarian Rhythm in Mikrokosmos Sz. 107, Vol. 6,... 79

Figure 35. Ligeti's Piano Etude No. 4 Fanfares mm. 1-4 79

Figure 36. Four types of motives based on a triad (piano part) 83

Figure 37. Basic motives in the woodwind part 84

Figure 38. Basic motives in the string part 84

Figure 39. Basic motives in the percussion part 85

Figure 40. Chin's Piano Concerto, beginning of the "C" section. 86

Figure 41. Chin, Grisey, and Ravel's motives. 87

Figure 42. Pedal tones: A Section (mm. 1-66). 88

Figure 43. Pedal tone: B Section (mm. 67-91). 88

Figure 44. Grisey's Vortex Temporum, 1st movement.(이미지참조) 89

Figure 45. Chin's Piano Concerto, 1st movement.(이미지참조) 89

Figure 46. Chin's Piano Concerto, 1st movement, mm. 68-91(이미지참조) 90

Figure 47. Ligeti's Piano Concerto, 3rd movement, mm. 65-66.(이미지참조) 91

Figure 48. Ligeti's Piano Concerto, 5th movement, mm. 23-24.(이미지참조) 91

Figure 49. Chin's Piano Concerto, 1st movement, mm. 1-7 (A section)(이미지참조) 92

Figure 50. Chin's Piano Concerto, 1st movement, mm. 149-153 (A' section).(이미지참조) 93

Figure 51. The structure of Javanese gamelan music 97

Figure 52. Chin's Piano Concerto, 2nd movement, mm. 22-27.(이미지참조) 99

Figure 53. Chin's Piano Concerto, 2nd movement, mm. 81-87.(이미지참조) 100

Figure 54. Chin's Piano Concerto, 2nd movement, mm. 150-153.(이미지참조) 101

Figure 55. Ligeti's Piano Concerto, 1st movement, mm. 57-60.(이미지참조) 102

Figure 56. Pedal tones in the A section. 103

Figure 57. Chin's Piano Concerto, 2nd movement, mm. 1-5.(이미지참조) 104

Figure 58. Chin's Piano Concerto, 2nd movement, mm. 199-202.(이미지참조) 105

Figure 59. Two harmonic pillars 108

Figure 60. Fragment 17: Varied version of the harmonic pillar, mm. 39-42. 109

Figure 61. Chin's Piano Concerto, 4th movement, mm. 1-6.(이미지참조) 110

Figure 62. Chin's Piano Concerto, 3rd movement, mm. 17-19. 110

Figure 63. Chin's Piano Concerto, 3rd movement, mm. 81-83. 111

Figure 64. Chin's Piano Concerto, 3rd movement, mm. 48-57. 112

Figure 65. Chin's Piano Concerto, 4th movement, mm. 1-3.(이미지참조) 115

Figure 66. Motivic development in the A section (piano) 116

Figure 67. Chin's Piano Concerto, 4th movement, mm. 34-36(이미지참조) 117

Figure 68. Chin's Piano Concerto, 4th movement, mm. 72-76.(이미지참조) 118

Figure 69. Chin's Piano Concerto, 4th movement, mm. 136-137 (cadenza)(이미지참조) 119

Figure 70. Chin's Piano Concerto, 4th movement, mm. 147-148 (coda).(이미지참조) 120

Figure 71. Colon Nancarrow's Studies for Player Piano No. 36, p. 19 (system 58-60) 120

초록보기

 Korean composer Unsuk Chin (b. 1961) is regarded as one of the leading classical composers of the 21st century. Her vivid oral imagination; ability to express a wide range of musical colors; diverse influences, including non-European music and electronic music; and enthusiasm for the virtuosity have opened up, in particular, the various possibilities of a concerto genre. So far, from 1996, she has composed six concerti, one each for six different instruments: piano, violin, prepared piano and percussion, cello, the Chinese instrument sheng and clarinet.

This dissertation examines Unsuk Chin's Piano Concerto (1996-7), providing a biography of the composer and explaining her musical style in chapter 1, analyzing the influence of her teacher György Ligeti and similarities of her Piano Concerto with Ligeti's Piano Concerto (1985-88) in chapter 2, and offering an in-depth study of each movement of her Piano Concerto in chapter 3. The final section of the dissertation is composed of an interview with pianist Sunwook Kim, who recently performed and recorded her Piano Concerto with conductor Myung-whun Chung and the Seoul Philharmonic Orchestra.

한국 작곡가 진은숙은 21세기를 이끄는 클래식음악 작곡가로 알려져 있습니다. 그녀의 음향적 상상력과 다채로운 음악적 색깔을 표현해 내는 능력, 또한 비유럽 국가의 음악 및 전자음악의 영향과 더불어 기악음악에서 널리 찾을 수 있는 음악적 기교성을 향한 그녀의 열정은 협주곡 이라는 장르의 다양한 가능성을 열어주고 있습니다. 1996년 이래로 지금까지 여섯개의 독주악기-피아노, 바이올린, prepared piano 와 타악기, 첼로, 중국악기 생황, 클라리넷을 위한 협주곡을 작곡하였습니다.

이 논문은 진은숙의 피아노 협주곡을 집중 조명하며, 제 1장은 그녀의 생애 및 음악적 스타일을, 2장은 그녀의 스승이었던 헝가리 작곡가 리게티의 피아노 협주곡과의 상관성, 3장은 각 악장 별 분석내용, 그리고 마지막 4장은 정명훈의 지휘아래 서울 필하모닉과 진은숙 피아노 협주곡 연주를 가졌던 피아니스트 김선욱의 인터뷰가 실려있습니다.

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