List of Works

Heterophony for flute, bass clarinet, and piano 1992

St. Francis’ Song for flute, alto flute and cello 1993

A Bonding with Dasol for soprano, clarinet, guitar, and marimba 1993; revised for soprano, flute, guitar, and viola, 2006.

Octet for flute, oboe, percussion, two violins, viola, cello, and double bass 1993

At a Glance for solo piano 1994

Light Through Twelve Windows for orchestra 1997

Wild World for electro-acoustic sounds 1997

Plus ça change for daegeum, gayageum, saenghwang, Western and Korean percussion, flute, clarinet, bassoon, and cello1998

Monkumpo Variation for flute, oboe, violin, cello, and piano 1998

Night Prayers for two violins, viola, and cello 2001 (KSWC 2003-03)

Five Variations on the Hymn “When It Storms at Night” for two cellos 2002

Rounds I for solo saxophone 2002

Rounds II for clarinet, violin, and cello 2003

Durée for orchestra 2003

Melodies for clarinet and piano 2004

A World of Seeing for violin, cello, and piano 2005

Similitude for violin, viola, and cello 2006

The Day for flute, violin, and cello 2007

Ok-Ryun-Hwan for solo gayageum 2008

Sea of Glass for horn, two violins, viola, and cello 2008

Jonah’s Song for chorus and piano 2008

Vine for flute, clarinet, and cello 2009

An leuchtenden Frühlingsmorgen for two violins, viola, and cello 2010

I Will Let You Fly for children’s chorus and piano 2010

Picture Books of my Heart for flute, clarinet, bassoon, violin, and cello 2011

Psalm 23 for mixed chorus and piano 2011

Sector 7 for oboe, clarinet, violin, cello, and double bass 2011


Music Examples

Rounds II

Example 1: mm. 1-11, with common intervals from Arirang hidden within the chromatic lines.

Example 2: mm. 73-98, with phrases from Arirang presented with altered rhythms, syncopations and chromaticism.


A World of Seeing

Example 1: mm. 1-11, with its series of interlocking ascending thirds and descending seconds.

Example 2: mm. 91-98, with its more syncopated variants upon these motives.



Example 1: mm. 1-32, showing dissonant harmonies, melodic lines outlining seconds and thirds, and the relationship between melodic ideas.

Example 2: mm. 49-64, showing more syncopated/disjunct string parts followed by sustained passage centering around G with quarter-tones.



Example 1: mm. 1-12, with staggered entrances followed by a melodic idea outlining seconds and thirds, and overlapping woodwind solos with clashing pitches.

Example 2: mm. 37-44, with two-note motives and slower-moving ascending lines.

Example 3: mm. 205-220, with competing rhythmic layers leading to the climax of the work.