Untersuchungen der Behandlung des Schlagwerks in den Kompositionen von Younghi Pagh-Paan

Abstract

This is the research of korean composer, Younghi Pagh-Paan, who is living in Germany and is working as a professor at Bremen Art University. The focus especially is made on her musical treatment of the percussion instruments, because it always has connection with her korean nationality, which means the usage of korean traditional rhythms, tone colors and the instruments. My reserch begins with this questions, especially what musical influences does she have from her childhood and how did she use it in her music.At first I wrote her personal bibliography, where I mentioned about her influences from religions and her musical backgrounds. On the other hands, there are some special korean emotions, so called as 'HAN', which are easy found especially among women, who keep their deep sorrow in their hearts and never let them show to others. In addition to this, her feeling of 'strangeness', as a foreigner apart from her home country plays an important role.The list of her whole work is made, with lots of viewpoints, various arrangements, dedications, premiers, ect. There are some remarkable turning points in her dompositions, which can be classified as 4 periods. Before and after arriving in Germany in 1974, after the great succes with SORI(1979/1980), which brought her big reputation. Next period will be in the year of 1999/2000, where she composed IO, which is based upon greek mythology. This theme continue for certain time as a main musical theme after long time of using korean material either directly in her music or in the title of her pieces.There are analyses of three important works. TA-RYONG IV(1991), TSI-SHIN-KUT(1991/1994) und IO(1999/2000). These three works are handled with lots of percussions. There is a certain classification of the instrumens in the viewpoints of the materials, which the instruments are made of. In eastern country, they devide it into 8 materials, such as, wood, metal, bamboo, fer or skin, silk, earth, stone and gourd. ' Enlarged form ' is her unique musical language, which refers to quotation of several passages, which came before in former compositions. With this technic she could reach the signal of content of her next piece, which is already in her planning.Still two continuing studies are concerned with different time conceptions in East and West and also with two differentiation between the musical styles of Younghi Pagh-paan and with another korean compower with a worldwide reputation Isang YunAt the end of this research, an appendix will be found with two interviews, one is carried out with composer Younghi Pagh-Paan herself, and the other with Nicolas Schalz, who has a long acquaintance with Younghi Pagh-Paan and who excellently understands her music and her philosophy .