Winners' bio and brief descriptions of the submitted pieces |
1st Place
|
Jean Ahn
안 진
Jean Ahn is a 4th year Ph.D. student at UC Berkeley. She was born in Korea and received her B.A. and M.A. at the Seoul National University.
Recent awards include the De Lorenzo Prize and a fellowship to Aspen Music Festival. As a two time recipient of Korean Traditional Music Festival Award, she has also written many pieces for Korean and other eastern asian traditional instruments. Her music for Koto and electronics has been played in CNMAT (Berkeley) and CCRMA (Stanford) concerts.
“Nil-Lili” for solo piano. Using the theme of Korean tune “Nil-Ni-Ria”, this music extends the piece by juxtaposing chromatic scales or pentatonic clusters. The piece has the joyful lightness of the original tune which is one of the most popular folk songs from Kyung-gi Province.
top |
1st Place
|
Jeong Kyu Park
He won the 1st Prize at the Dong-a music competition in 2003.
His music has been performed in 2004 Tongyeong International Music Festival, 2004 Korea Creative Choral Festival by Seoul Chamber Orchestra, Seoul Metropolitan Chorus, Incheon City Chorale, Daejeon Municipal Chorus, U.C. Irvine Choir, World Vision Korea Children's Choir, Quarter-X, Ensemble Geomun, Muse Ensemble, KNUA Ensemble.
“Toad” for violin solo. A piece of eight variations, it is based on a theme derived from a Korean traditional children’s song “Du-Gup-Ah, Du-Gup-Ah” (Toad, Toad). It starts with a slow tempo, gradually accelerating to finish with a strong and stormy ending.
박 정규
한국 예술 종합학교 작곡과 졸업 및 동 대학원 재학중
(사사: 황성호, Feliciano, 유병은 교수님.)
2003년 동아 음악 콩쿨 작곡 부문 1위 입상.
2004년 통영 국제 음악제 작품 초연.
2004년 대한 민국 창작 합창 축제 작품상
2004년 서울시 합창단 작품 공모 당선
2004년 대전 시립 합창단 작품 공모 당선
작품 해설:
이곡은 전래동요 "두껍아, 두껍아"의 선률을 가지고 발전시킨 변주곡이다. 8 개의 작은 세션들이 연결되어 있으며, 굉장히 조용하고 느리게 시작 되었다가 점점 속도가 빨라 지고 강하게 몰아치며 곡이 마치게 된다.
top |
| 3rd place |
Sung Joo Hong
홍 성주
" .. Sung Hong has written a wonderful string quartet that mixes the sad warmth of barber with darker shades of Shostakovich. It culminates in a bitterly brilliant, propulsive finale ...(from The New Yorker, Alex Ross)"
Sung J. Hong born in Seoul, Korea, studied music in Paris and Los Angeles. He is now a bachelor's degree candidate at Manhattan School of Music. He has studied composition with Hojun Lee, Giampaolo Bracali, and he is now studying with Richard Danelpour.
His music has been performed in both Los Angeles and New York with various players and ensembles such as the Claremont Ensemble, the Manhattan Composers' Orchestra, Manhattan Chamber Ensemble, and Virtuoso Artists.
His recent awards have included the Pasadena Arts council Composition Award, the 2001/2002 OMC scholarships, and the Claremont Prize at Manhattan School of Music.
“ Bell Flower” for piano solo. This piano piece is based on a theme from a Korean folk tune “Bell Flower” or “Doraji”. The piece also includes rhythms from Korean “PungMul Nori”. This piece attempts a musical recollection to make Korean folk tune and rhythm materials into a piano music.
top |
| Honorable mention |
David Evan Jones
David Evan Jones is a composer of instrumental, vocal, and electronic music and a theorist writing about relationships between phonetics and music. In 1980-81, he was Composer-in-Residence at the University of York, England. He has subsequently taught at Dartmouth College and now at the University of California Santa Cruz. He has composed in residence at the Elektronmusikstudion, Stockholm and at L'Institut de Recherche et de Coordination Acoustique/Musique (IRCAM), Paris.
Jones' works have been recognized by grants from the National Endowment for the Arts, the California Arts Council, and the New Hampshire Arts Council, and by an invitation to present two full concerts of his works at the Festival d'Automne in Paris. He has been awarded first prize in the Premio Ancona International Composition Competition ( Italy, 1983) and first prize in the competition sponsored by the American New Music Consortium (New York, 1985).
His articles have appeared in Perspectives of New Music, Computer Music Journal, Electro-Acoustic Music, and Ex Tempore. Jones' competitions appear on compact disks from Wergo Records, Contemporary Recording Studios (Broomall, PA), Musical Heritage, Centaur Records, Capstone Records, and Composers' Recordings Inc. (New York). His latest CD, New-Balkan Jazz and Concert Music, was recently released by Centaur Records.
Jones' first chamber opera, Bardos, was staged in Seoul by the Seoul Contemporary Opera Company in march 2004. He is currently at work on his third chamber opera.
“Eemulnori: Memory and Reflection ” for violin and piano was inspired by the Samulnori (사물놀이 ) tradition and composed as a gesture of respect for the spirit and musical sophistication of traditional Samulnori performers.
As the title suggests, Eemulnori is in two sections. Each half remembers and develops a specific rhythmic cycle from the Samulnori performance on the compact disk set from the National Center for Korean Traditional Performing Arts.
The first rhythmic cycle is from the familiar opening of the Samulnori performance. The entire first half of Eemulnori can be thought of as a series of variations on this theme. The rhythmic theme is stated clearly by the piano in bars 1-21. The violin takes the rhythmic theme in bars 22-42. The rhythmic theme is presented in a series of canons (with an added “free” voice) in the third variation that begins in bar 43. As can be seen from the score, the variations progress gradually in complexity. The fourth and last variation (bar 65) maintains a modified version of the phrase structure of the rhythmic cycle but obscures the original rhythm.
The second half of Eemulnori is based upon a faster rhythmic cycle (a condensed variation of the original cycle from the same Samulnori performance). The theme of the second-half of Eemulnori (bars 84-87) is based upon the subdivisions of this four-bar rhythmic cycle. The original Samulnori rhythm is stated clearly only near the end of Eemulnori at a tempo and in a manner intended to recall the excitement at the end of a Samulnori performance.
In Eemulnori, the two “objects’ played are not only instruments but rhythmic themes and emotional concepts (“memory and reflection”). The form of “play” concerns memory and change: the first half begins with a clear Samulnori rhythm and gradually diverges from it. The second half begins rather far away from the fast Samulnori rhythm but returns to it more literally at the end of the piece.
The difficulty of the piece is primarily in the Samulnori rhythms themselves. Some accommodations of parts can be made if necessary to make the piece more easily playable by students.
top |
| Honorable mention |
Soonmee Kahng
Professor, College of Music, the Sungshin Women’s University at Seoul, Korea.
Soonmee Kahng received her BM at the Ewha Women’s University, MM at the Manhattan School of Music, and PhD at the Michigan State University.
She composed “Arirang Fantasy for Violin solo”, one of the required pieces for the 2004 Sejong Music Competition.
“Petit Suite for Cello Solo:
(1) The Ring around the moon (Dalmuri),
(2) Ut-mori game,
(3) The Yearning (Dong Gyung),
(4) Dal ah, dal ah”
Korean folk tune "Dal ah, dal ah" is used in this music.
("Dal ah" means a calling the moon: Dal: the moon)
A beautiful ring around the moon is described by employing slow tempo and double stops with the tune in the first movement.
In the second movement, the Ut-mori jang-dan is used with the fragments of the tune.
(Ut-mori jang-dan which is one of typical Korean rhythmic patterns. The formation of the rhythmic figure is a consistent 10 beats. The player strikes the rim of a drum or changgu at the accented eighth beat regularly in this rhythmic pattern.)
Eastern modes and rhythmic patterns are used to represent the yearning for the moonlight voyage somewhat abstractly in the third movement.
In the fourth movement the tune, "Dal ah, dal ah" is repeated with its melodic rhythmic variations.
강 순미
첼로독주를 위한 작은 모음곡
1. 달무리 2. 엇모리 놀이 3. 동경 4. 달아, 달아
작품 해설
한국의 민요 "달아 달아"를 사용하여 이 작품을 만들었다.
1 악장에서는 느린 템포와 Double stops를 사용하여 은은한 달무리를 묘사하였다.
2 악장은 빠른 10박자의 엇모리 장단을 지속적으로 사용하였으며, 엑센트와 함께 "달아"의 선율적 파편이 등장한다. (엇모리란 한국음악의 전형적인 리듬 패턴중의 하나로 매우 빠른 10박자로 구성된다. 제 8박자에서 북의 온각자리나 장구의 변죽을 크고 강하게 친다.)
3 악장에서는 한국적인 모드, 음정, 리듬등을 사용하여 달빛 항해에 대한 동경을 다소 추상적으로 표현하였다.
4악장에서는 "달아 달아"의 선율을 주 소재로 한 빠른 변주곡을 만들었다.
top |
| Honorable mention |
Dae-Sung Kim
Composer. Lecturer, Joong-Ang University, Seoul, Korea. Grand prize winner of the KBS Music Composition Competition, Grand prize winner of the Best Musical.
“Chang-gu nori” for piano solo.
This music is based on Korean traditional “PungMul Nori” rhythm “Gil-gun-ak Chil-chae” and “Ma-dang Il-chae”.
This piece is an interpretation of Korean traditional rhythm into a piano music. The melodies in the middle of this piece with slow tempo derived from a Korean folk tune (Ihm-sil-gun, Bang-ah ta-ryung) from IkSan region of the Chun Buk Province and consist of “pyung-jo melody”.
The dynamic rhythm and beautiful melodies of Korean folk music were incorporated into this piano music.
김 대성
서울대 중앙대 강사,
개인 작곡 발표회 5회
개인 음반 4장 발매
KBS 작곡 대상.
뮤지컬 대상
피아노 독주를 위항 "장구놀이" 곡 해설:
이 곡은 피아니스트가 장구를 직접 학습하지 않고도 한국음악의 장단과 선율의 멋을 느낄수 있도록 작곡한 곡이다. 이 곡에서 사용된 장단은 '길군악 7채' 장단과 '마당 6채' 장단이다. 이 두 장단은 매우 특이한 혼합 박 형태의 장단으로 한국의 경기도, 충청도 지방을 중심으로 농민들이 연주했던 장단이다. 이 곡의 앞부분은 '길군악 7채' 장단이고 뒷부분은 '마당 6채' 장단으로 구성되어 있다.
이 곡의 중간부분에 나오는 아름다운 선율은 본인이 1992년 민요 현장 연구를 하면서 채집했던 선율로 '전라북도 임실군 사계면 두월리'라는 지역의 민요 선율이다. 이 노래의 제목은 '방아 타령' 이다. 선율은 '평조'의 선율로 되어 있다.
곡의 기교는 고등학생의 수준에 맞게 과도한 기교의 어려움을 피하였다.
top |
