Type of Document Dissertation Author Lee, Sanghee URN etd-04122006-131603 Title DahnGoon for Orchestra Degree Doctor of Musical Arts Department Music, College of Advisory Committee
Advisor Name Title Ladislav Kubik Committee Chair Andre Thomas Committee Member James Mathes Committee Member Jane Piper Clendinning Committee Member Keywords
- Korean Myth
Date of Defense 2006-03-20 Availability unrestricted AbstractABSTRACT
My dissertation, DahnGoon for orchestra, is for a relatively small-size orchestra with a harp and a quite extended percussion group. The title of the piece is adopted from well-known Korean traditional myth, DahnGoon.
This myth tells us how ancient Korea was founded, and what was the important spirit for the foundation of the country. There was God in heaven, and his son, named Hwan-Woong. Hwan-Woong wanted to go to the earth to help the people and all of nature to have better lives. God allowed his son to go down as a king of the land with several important other gods of agriculture such as wind, rain, and cloud. One day, a bear and a tiger wanted to be human, so they pleaded to Hwan-Woong to turn them into humans. Hwan-Woong gave them garlic and artemisia with one condition: Eat only these for one hundred days without seeing any daylight. The tiger was the failure and the bear, who was the winner, became a beautiful woman named Woong-Nyo. The son of God, Hwan-Woong and Woong-Nyo married, and they had a son named DahnGoon, who was the founder of ancient Korea.
The whole musical scheme of my piece shows aspects of the story, and this piece can be divided into four sections; Introduction, the First section: tiger and bear, the Second section: glorious transformation, the Final section: marriage and foundation. Symbolic assignments of instruments describe the characters of the myth as follows: trumpet and clarinet for the son of God; cello, flute and violin for bear and Woong-Nyo, trombone for tiger. However, all the instruments that I mentioned above for each character are not used simultaneously. For the son of God, one can find a simple Gregorian chant-like tune in mainly pentatonic scales respectively, which is initiated in the opening of the piece both horizontally and vertically. Also, other melodies for characters can be heard and found throughout the piece in manipulated form, such as different musical textures, transpositions, and voicing. Downward glissando and upward glissando in mark tree symbolize the tiger’s failure and bear’s success at the end of the second section and beginning of the third section.
In addition, I quoted a Korean traditional melody at the end of the piece. The tune is called “Jihn Doh AhRiRahng” which originated from the southwest Korean peninsula. The reasons I borrowed this melody among other AhRiRahngs are as follows: first, almost all famous traditional vocal music in Korea has a southwest dialect with a strong southwest accent. I believe that using this melody makes the music more original and unique; second, it is the most cheerful tune compared to other AhRiRahngs, and because it is the most cheerful tune, it is a perfect melody to be heard at the end of the piece, where one can hope anticipate the creation of the great nation of Korea for all the people.
Since I started studying music in the United States, I found my music showing much more influences of Korean traditional music, consciously or unconsciously. This work is the culmination of my exploration of Korean traditional music within the Western musical context.
Filename Size Approximate Download Time (Hours:Minutes:Seconds)
28.8 Modem 56K Modem ISDN (64 Kb) ISDN (128 Kb) Higher-speed Access SL_DahnGoon.pdf 2.19 Mb 00:10:06 00:05:12 00:04:33 00:02:16 00:00:11