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.
Similitude
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.
Durée
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.