윤이상의 사회참여 작품 -한 망명작곡가의 자화상-

Abstract

This paper investigates the emigrant composer Isang Yun under his living in exile. Yun’s identity as an exiled composer began with the East Berlin Spy Incident in 1967. The first chapter exposes aspects of Yun’s social engagement after this incident. Particularly Yun uses the poem of the exiled jewish female poet, Nelly Sachs, in his vocal work. Since the mid-1970's, Yun tried to express through the instrumental concerto the relationship between individual and society. Since 1980's he had intensive contact with North Korea, and at the same time he participated in the Korean Democracy Movement. The next two chapters analyze the cantata 「Mein Land, Mein Volk!」(1987) and the 「Engel in Flammen: Memento für Orchester mit Epilog」(1994). The 「Mein Land, Mein Volk!」, which embodies the Yun’s hope for Korean unification, has the following stylistic characters: the 'Sprechstimme' technic is used in the symbolic sentences; the tone 'a' has symbol character as in his other works; in the forth period of this work, Yun uses Korean folk melody and rhythm. The 「Engel in Flammen」, Memento für Orchester mit 「Epilog」, which embodies the Korean Democracy movement, has the following stylistic characters: the work is composed by two third interval class; the dramatic direct technic of orchestra comes out very vividly in scene 3. Yun sets in his last work 「Epilog」 the meaningless syllables, which are similar to the japanese phonetic element. The East Asian tradition and the reality of Korean society, which have persisted in Yun’s consciousness since the East Berlin Incident, are overlapped in his social engagement work. Into the social engagement work, Yun integrates the Korean emigrant society reflecting his ill-fated life in exile. This society is located between South Korea, North Korea, and Western modern society. Particularly 「Mein Land, Mein Volk!」, born on its boundary, narrates the unique modern history of Korea.