List of Works

Rainy Window for voice and piano 1971

Image on Victimae Paschali Laudes for organ 1974

Image on Veni Sancte Spiritus for organ 1974

Image on Lauda Sion for organ 1974

Epic for flute, viola, and cello 1975

Missa for mixed chorus and strings 1977 (Soo Moon Dang, 1977)

Trio for flute, marimba, and double bass 1978

Composition II for Korean instruments for three daegeums, yanggeum, two antique cymbals, and ajaeng 1982 (Soo Moon Dang, 1982)

Image on Dies Irae for organ 1985 (Soo Moon Dang, 1990)

Image on Stabat Mater for organ 1985 (Soo Moon Dang, 1990)

In Your Forest I for voice and piano 1985

In Your Forest II for voice and piano 1987

Garak I for gayageum 1987 (Soo Moon Dang, 1990)

Garak II for daegeum 1987 (Soo Moon Dang, 1990)

Sinawi for four percussionists 1991

Stabat Mater for soprano and percussion 1993 (KSWC, volume 8-1)

River I, II, and III for voice and piano 1994–1998

Morrow, a Bright New Morning for tenor, bass, chorus, and orchestra 1999 (Soo Moon Dang, 1999; Chugye Music Festival CD no. 2, Chugye University of the Arts, 1999)

Window for voice and piano 2000

Heterophone for geomungo and computer-generated sound 2000 (KSWC, volume 7)

Garak III for piri 2001

Empty or Full for voice and piano 2002

Calm Breeze for voice and piano 2002

Homage to Yeak for Korean traditional instruments 2002

Eclogue for solo violin 2004

Collage for six players (gayageum, daegeum, vibraphone, cello, piri, and buk/janggo) 2004


Music Examples

Image on Dies Irae

Example 1: mm. 29-39, showing the first statement of the opening phrase of the Dies Irae chant in the pedal with dissonant harmonies. 


Image on Stabat Mater

Example 1: mm. 1-10, showing the use of stepwise descending lines and quartal harmony.


Stabat Mater

Example 1: mm. 26-41, showing the ascending minor third motive, minor seconds with some octave displacement, and recitative-like phrases on the first verse of the text. 

Example 2: mm. 52-62, showing the accelerating/decelerating percussion rhythms, unusual intervals in the voice, and treatment of the word "lugeam" at the end of verse nine. 

Example 3: mm. 78-87, showing the contrast between static pitches and large leaps and percussion interludes between phrases on the seventeenth verse.


Mass for chorus and string orchestra

Example 1: Gloria, mm. 72-83, showing the climax on "tu solus altissimus Jesu Christe" followed by imitative writing on "cum sancto spirito in Gloria Dei Patris." 

Example 2: Credo, mm. 13-24, showing the thinner texture and lower pitches for the crucifixion follwed by the fuller-textured, ascending lines for the resurrection. 

Example 3: Agnus Dei, mm. 14-24, showing the minor seconds on the second Agnus Dei statement followed by four-part imitation on the third statement.