List of Works

Overture for orchestra 1971

Symphony no. 1 for orchestra 1973

Symphony no. 3 for orchestra 1974 Psalm

Symphony for soprano, baritone, mixed chorus, and orchestra 1976

Spinning Wheel for mixed chorus and piano 1979

Ganggangsuwolrae for orchestra 1980

Houseng for soprano, baritone, violin, cello, and piano 1980

Chosaeng for soprano, baritone, flute, oboe, violin, cello, piano, and jing 1981 (Soo Moon Dang; Ye Dang, 1992)

Galpiri for solo clarinet 1982

O Lord, Here I Am for three choirs a cappella 1983 (Soo Moon Dang; Ye Dang, 1992)

Glorification for three percussionists 1990 (Ye Dang, 1992; CD KSWC, volume 1)

The Martyr for string orchestra 1993

Statics and Dynamics for gayageum, two violins, viola, and cello 1995

Motherland for soprano and piano 1997

From the Point, From the Line for solo violin 1997 (KSWC 2001-11; CD KSCM, 2001)

Transfiguration for two violins, viola, and cello 1998 (CD KSWC, volume 8-1)

Sunrise, Moonrise for mixed chorus and piano 1998

He (musical) 1999

Flame (Concerto) for violin and orchestra 1999 (CD KSCM, volume 30, no date given)

Tabernacle for four percussionists 1999 (CD KSWC, volume 9)

The Progress for Pilgrims for solo daegeum 1999

Sorickil for solo daegeum 2000 (KSWC 2004-12; CD KSWC, volume 7)

Be a Light of the Eastern Land for orchestra 2000

A Beautiful Land for male chorus and orchestra 2001

Creation (musical) 2001

A Total Eclipse of the Sun for flute, clarinet, cello, and three percussionists 2001

The Island Under the Full Moon for solo trombone 2001

Korean Fantasy for solo piano 2001

Celebration for wind orchestra 2002

Ave Maria Stella for mixed chorus a cappella 2002

Black and White for baritone and percussion 2002

The Planet Earth for two drummers and orchestra 2002

The King (musical) 2003

Color in Color for clarinet, violin, and cello 2003

Sin Offering for haegeum and percussion 2003

Back to the Origin for six singers, female dancer, vocal trio, and chamber orchestra 2002–3

Toward You for mezzo-soprano and piano 2004

Heunhwaga for mezzo-soprano or baritone and piano 2004

Heunhwaga for mixed chorus and piano 2004

Boat Song for male chorus and Korean drum 2004

Womb of the Earth for daegeum, gayageum, and Korean traditional orchestra 2004

Womb of the Earth for daegeum, gayageum, and Western orchestra 2005

Sunrising for mezzo-soprano or baritone and piano 2005

Pansori Sugungga for pansori singer, percussion, violin, viola, cello, and piano 2005

Pansori JeokByukGa for pansori singer, four saxophones, violin, cello, piano, and percussion (with alternative winds instrumentation of flute, clarinet, French horn, and bassoon) 2005

FurtherMore for clarinet, violin, and piano 2006

Crane Dance for violin, cello, and piano 2007

With for trombone, two violins, viola, and cello 2008

Pansori Heungboga for pansori singer, piccolo/flute/alto flute, trombone, double bass, piano, and three percussionists 2008–9

Pansori Chunhyangga for pansori singer, saenghwang, haegeum, two violins, viola, cello, piano, and one percussionist 2010

Pansori Simcheongga for pansori singers, daegeum, gayageum, flute, violin, cello, piano, and five percussionists 2010

Frozen Land, you are Melting for two pianos 2010


Music Examples

O Lord, Here I Am

Example 1: opening section, with pitch center Ab, other pitches forming dissonances (Ab-Bb, Ab-G), and tritones. 

Example 2: closing section, with an emphasis on tritones and other intervals. 


From the Point, From the Line

Example 1: movement 1, mm. 1-23, showing harmonics, and contrast between bowed disjunct lines with conjunct pizzicato figures. 

Example 2: movement 2, opening, showing Bb-A motive, double stops and quadruple stops. 

Example 3: movement 3, conclusion, showing rapid figurations leading to climax on Ab6, followed by Ab3 in the low register of the violin. 


Korean Fantasy

Example 1: mm. 1-9, with hidden references to the last part of phrase one of "Arirang" (Bb5-Ab5-Gb5-Eb5-Db5) and the first four pitches of "Arirang" (Db5-Eb5-Gb5-Ab5). 

Example 2: mm. 30-46, showing the more harmonically-oriented second section in mm. 30-37 followed by the beginning of the animated third section. 

Example 3: mm. 155-177, conclusion with arpeggios, rapid figurations, and harmonies with up to eight different pitches.



Example 1: opening section, showing large range and diverse sounds, expressive chromatic lines, and carefully-treated long tones. 

Example 2: closing section, showing animated passagework with tritones and other large intervals, and the concluding Bb5 followed by several long rests. 


Color in Color

Example 1: mm. 1-30, with minor seconds and microtonal intervals and natural harmonics, followed by artificial harmonics with a half-step motive in the clarinet. 

Example 2: mm. 72-90, with melodic material from the clarinet introduced into the violin and violoncello, followed by thirty-second note patterns with conjunct intervals. 


Crane Dance

Example 1: mm. 1-7, with whole tone scale beginning on C used both melodically and harmonically. 

Example 2: mm. 13-21, with rapid figures favoring intervals of the sixth, third and fifth.

Example 3: mm. 57-66, with the crane resting by the water shown through a combination of sustained pitches, soft dynamics, trills and glissandos.


The Planet Earth

Example 1: movement 1, mm. 30-51, showing mixture of whole tone and pentatonic scales and pentatonic violin melody beginning at m. 40.

Example 2: movement 2, mm. 18-38, showing special sound effects in strings and woodwinds.

Example 3: movement 3, mm. 156-166, showing conclusion of this three-movement work.


Womb of the Earth

Example 1: movement 1, mm. 71-83, showing return of previously stated hexachordal material and ostinatos in solo kayagum. 

Example 2: movement 2, mm. 12-31, showing pentatonic scales centering around Ab (Eb-F-Ab-Bb-Db or Eb-Gb-Ab-Bb-D) and the beginning of the heterophonic tutti section. 

Example 3: movement 3, mm. 92-118, showing return of tutti material, the use of 5/8 and 7/8 meters, and vertical intervals outlining a pentatonic scale (Ab-Bb-Db-Eb-F). 



Example 1: scene 1 ("Dowon Determination"), mm. 24-41, with steadily-paced tone clusters, and expansion of female pansori singer's range with intervals of the second, third and fourth. 

Example 2: scene 6 ("Shooting with Bows"), mm. 19-54, with conflicting cross-rhythms between the male pansori singer and the instruments. 

Example 3: scene 7 ("Jeokbyuk Battle"), mm. 1-35, with descending three-note motive in saxophones, a wide range with large leaps in the male pansori singer's part, and competing rhythmic layers. 

Example 4: scene 10 ("Call the roll"), mm. 89-96, with female pansori singer using asymmetrical ten-beat rhythmic patterns and rhythmic counterpoint in the saxophones (measure numbers are consecutive from scenes 9 through 10, with scene 10 beginning in m. 89). 

Example 5: scene 11 ("Releasing JoJo"), mm. 178-206, with two saxophones doubling the pansori singer and the animated instrumental conclusion.