윤이상의 땅, 인간, 하늘을 향한 염원 - 작품 <거리> (Distanzen fr Blserquintett-undStreichquintett, 1988) 분석을 중심으로

초록

Since the early 1970s, Isan Yun's musical style has simplified drastically under the influence of taoism, the chinese philosophy that has had a strong influence in Korea, as well as traditional Korean Music. In this piece, Yun has divided up the instruments into four groups:Lower Strings(Viola, Cello, and Double Bass), High Strings(Violin Ⅰ,Ⅱ),Four Woodwinds(Flute, Oboe, Clarinet, and Bassoon), and Horn. In his biography, Yun is quoted as saying that these groups are based on Taoism. He characterizes these four groups as; 1) struggling man (lower strings,In-gahn), 2) Taoist priests (high strings, Bo-sal), 3) the pure spirits in heaven(four winds, Sa-shin) and the king of heaven(horn, Ok-hwang-sang-jae). The ritualistic group settings of this piece are emphasized not only by the division between the strings and the woodwind quintet but also by a split between the high and low instruments. Yun uses these groups for acoustical reasons as well, to “specialize” the music; he suggests that this piece be played with the players around the entire hall, surrounding the audience. Yun also mixes traditional Korean musical concepts with Western ideas. He combines traditional vibrato, Nong, with the ornamentation in the wind parts. Furthermore, other traditional music concepts — such as holding notes, tone centers, Yin and Yang in contrasting the high and low register — are found in this piece.