Abstract

Born in Korea, Isang Yun (1917-1995) became one of the most prominent avant-garde composers in the world. Yun made use of a distinctive musical language that synthesized Far East Asian philosophy, especially Chinese Taoism, with Western techniques and Korean traditional instrumental idioms. Isang Yun left more that 100 works, including twelve works that feature the flute. This essay will discuss Yun’s five Etüden für Flöte(n) solo (Etudes for solo flute(s)), which are highly representative of Yun’s solo music for flute. The document will include a discussion and performance guide for each of the five etudes. This document will present an discussion of the five etudes and an examination of how Yun’s study of Korean traditional instrumental techniques, Western avant-garde procedures, and his oriental philosophy and ideology are reflected in these works. The fusion of Korean instrumental techniques, Chinese Taoist philosophy, and the “main tones” Yun refers to as Haupttöne, is exemplified in the five Etüden für Flöte(n) solo.

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