Dongryul Lee, Composer / 이동렬, 작곡가
Dongryul Lee, Composer / 이동렬, 작곡가
Composer/작곡가:
I seek to write music that is deeply oriented around the acoustical nature of sounds and the playfulness of classical performance practice. Sometimes with the joy of rendering ludic permutations or interstellar sonic fables, I try to touch the human spirit in epistemic ways. The dual identities of my backgrounds, a Korean immigrant living in the States, a born Catholic and learned Buddhist thinker, and a composer with a computer science degree, also greatly influence my musical language. Please visit my website dongryullee.com for more details.
시카고에 거주중인 클래식 현대음악 작곡가 이동렬입니다. 저는 작품에서 음향학적 원리에 바탕을 둔 새로운 사운드를 전통적 주법을 통해서 표현하고자 합니다. 이 채널에는 저의 공연 영상 외에도 악보와 함께하는 연주 영상, 음악 이론 및 작곡 강의, 일상적 사운드 및 이명 치료 연구 관련 비디오를 공유하고자 합니다.
Пікірлер
sodelicious...........................
Thank you, dear Dongryul. I like this lecture. And also I love your music!
Thank you deeply, Dmitry.
Very impressive, to quote late Arne Nordheim:" it sounds like something I have never heard before". Outstanding pianist as well. Thanks for uploading.
Thank you for watching it and your generous comment! I am glad that it sounds anew. And indeed, she is amazing!
@@dongryulleecomposer my pleasure.
Interesting piece, thank you for sharing.
Thank you for listening.
Entirely fascinating, I have so many questions right now, one of which:is there a score of this? 😊Amazingly played as well, congratulations.
Thank you very much for listening and your generous comment. The score is not published yet. Please contact me for the score.
0:00 Epoch 001 * 0:50 Epoch 003 1:38 Epoch 009 1:54 Epoch 005 * 2:54 Deadlock 3:32 Epoch 009 * 3:47 Epoch 010 3:56 Epoch 012 4:22 Epoch 022 * 7:06 Epoch 017 * 8:13 Epoch 014 8:53 Epoch 003 9:46 Epoch 004 * 10:05 Epoch 063-6 * 11:37 Epoch 063-6, Seed: Fantasy in C minor, KV366 13:23 molto rubato e espressivo, a la Romantic 15:11 Misterioso * 19:21 Epoch 059 * 23:22 Epoch 062-2, Tempo giusto * 26:26 Timeless *
damn i have to hear that second half!
Thanks. It seems to me that a characteristic of not only ferneyhough, but most contemporary classical music composers, is their irregular treatment of rhythm. If I had to define the way ferneyhough described above in one word, it would be "superimposition"(중첩). It's like layers upon layers, right? For example, Hosokawa has a series of works called "vertical time studies". I intuitively understood it to mean that the rhythm was developed vertically rather than horizontally (time development). Here, the rhythm unfolds vertically, which seems to have something in common with ferneyhough's rhythmic superposition (multiple layers). So for other contemporary classical music composers...(Lachenmann, Jarrell, Saunders....etc ), how do they create their own unique irregular effects...do they have a way of controlling their own rhythms? Or is this concept of rhythmic superimposition common to most composers...and they each apply their own individual methods underneath?
Thank you for your comment. I will reply in the range of my understanding and knowledge. In music in general, there can be two ways to approach Rhythm. As you mentioned here, one would be additive, and the other way would be subtractive. I think these concepts are what you mention here as horizontal and vertical. This is what Lutoslawski explained in his book. However, there can be other ways, like using aleatoric cues (Lutoslawski) or individual tempi juxtaposed together (Birtwistle). The additive way can be explained as adding small rhythmic values, e.g., 32nd notes, 64th notes, etc. You can think of Messiaen (Quartet for the End of Time), or Ligeti’s approaches in general. Please note that in most of cases composers use binary rhythmic values (1/2, 1/8, 1/64 etc), not to use overly complex notation in this case. The subtractive way is subdividing the basic beat into smaller subdivision beats, especially by using nested tuplets. It is largely explored by Stockhausen, and also by Xenakis, and here, Ferneyhough. Ferneyhough developed this way of subdivision, by using different timelines and by juxtaposing them in a single “master timeline,” using those complex rhythmic notations. There are other ways that composers approach the rhythmic domain. Carter and other new music composers (e.g., Lindberg) use metric modulation frequently, which I have a lecture here on my channel, and also meter changes (Stravinsky) help to break the rhythmic senses. Unfortunately, I don't know much about the music of Jarrell and Saunders. I believe Lachenmann uses both ways.
@@dongryulleecomposer Thank you for your detailed answer It is very interesting to me that you divided the control of rhythm into the concepts of addition and subtraction. I understood the concept of subtraction as breaking down the existing rhythm into smaller and smaller pieces...(You already showed the method in the video with Ferneyhough, didn't you?). But in the case of addition, it doesn't make direct sense to me to understand what you've described. Could you explain a little more specifically how you can distinguish between addition and subtraction? Also, when you say binary rhythmic values, am I to understand that you mean rhythms divided by even numbers? One more thing...for subtraction, it's more intuitive to think of it as a division, a division, after all, and I'd like to know in what way you're referring to it as subtraction.
@@lkh0120 Yes, I think division and subtraction are the same here. For the binary rhythm, you are correct. By using even numbered rhythmic values, you don't need to use tuplets. An example of rhythmic addition would be Messiaen. If you add a quarter value to an existing rhythmic unit, e.g., a half note, a quarter note, and a half note: this will become a half note connected with an 8th note, a quarter note connected with a 16th note, and a half note connected with an 8th note. This example is from the Messiaen's book, "my musical language." (Four 8th notes / Four 16 notes / Four 8th notes becomes Five 8th notes / Five 16th notes / Five 8th notes by adding a 1/4 of each rhythmic value)
Thank you so much for this lecture. Do you recommend any book is good for practicing complex rhythms?
Thank you for your comment. There are not many books for practicing rhythms, but here is one by Paul Hindemith, "Elementary Training for Musicians"
@@dongryulleecomposer Thank you so muc. I will search for that!
@@PhucNguyen-yn7ng If this is about compositional techniques, also check Olivier Messiaen's "The Technique of My Musical Language"
@@dongryulleecomposer Thank you so much for you recommendation. I am very appreciate your help!
sodelicious..................
sodelicious......
sodelicious...........
Real nice
Klickbait image, but iNTERESTING peace
Wonderfully original and inventive!!
Thank you for your comment!
Very interesting. Thanks for posting.
Very interesting. Does this information come from Ferneyhough himself, or is this through personal analysis?
It came from the Ferneyhough's book.
@@dongryulleecomposer I see. Which book if I may ask?
@@christophedevos3760 This one: Collected Writings - Brian Ferneyhough (Harwood Academic Publishers, 1995) Unfortunately, it is out of print now..
@@dongryulleecomposer Thanks. I will look into it.
I love your music! It is truly inspiring
Thank you. 🙏
so good...
so good...
Thank you.
so good...
so good...
Still here
so good...
Very impressive !
What a marvellous music !
I finally started working on this piece...I went through all fifty and it took me 3 to 4 years...lol...not nearly enough practicing like I wanted ( I went without practicing for months, then I started back)..but, I am finally on my last exercise...
Thank you for practicing this work. Please let me know if you have any questions. The performers practiced about two months to perform this piece, I remember. This is a live recording.