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.