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EUGENE LEE

Eugene Lee (Korean: 이여진; Chinese: 李如辰;  born 29 August 1942) is a Korean-American composer, music theorist and educator established the music research center in Korea for the first time. He is particularly noted for his new 18-tone music.

[EUEGNE LEE / 이여진 / 李如辰]

Contents

·       1. Biography

o   1.1 Seoul 1950s: early years as a boy-soprano

o   1.2 New York City 1960s and 1970s: Columbia University

o   1.3 Seoul 1980s: The first Music Research Center in Korea and Veritas Musicae

o   1.4 Seoul 1990s: The first Computer Music Studio

·       2. Music

o  2.1 List of compositions

o  2.2 18-Tone Music

·       3. Publications

o   3.1 Music Theory Books

o   3.2 Major Articles

o   3.3 Discography

o   3.4 Musical Terms

o   3.5 Music Journals

o   3.6 Translation Series of Medieval and Renaissance Treatises

·       4. Dialogues

·       5. References

·       6. External links

Biography

Seoul 1950s: early years as a boy-soprano

Eugene Lee’s father Insun Lee, M.D. studied music in Italy in 1930s and  introduced Western Operas, La Traviata and Carmen for the first time to Korea in 1948 and 1950, respectively. Eugene began training in the Bel canto style singing from three years of age and was recognized as a child prodigy.

Eugene helped raise $20,000,000 and over 600 freight cars of aid goods as a soloist of the Korean Children's Choir during a twelve week tour of the United States in 1954 which included more than 280 concerts and 97 TV appearances, including at Eddie Fisher’s Coconut Grove opening and two appearances on the Ed Sullivan’s Show.

Eugene was invited to the White House by Mamie Eisenhower, First Lady of the United States on May 10, 1954. He sang “Danny Boy” as well as “Jennie with the Brown Hair” and the tearful audience at the banquet called for an encore performance of “Danny Boy”.

On June 6, 1954, Eugene captivated an audience of 15,000 with a rendition of “Danny Boy” in an outdoor performance in Houston, Texas. In an encore, he sang “Danny Boy” in English which segued into a sing along chorus with those in attendance.

Eugene was awarded the Ambassador of Good Will from the City of Oklahoma in

June 9, 1954.

New York City 1960s and 1970s: Columbia University

Eugene Lee came to the U.S.A. after winning the First Prize of Dong-A Nationwide Music Competition in Composition when he was a junior in College of Music, Seoul National University, 1964. After earning a B.M. degree at Wayne State University in 1969 he came to New York. He had the opportunity to study with many composers and theorists, including Charles Wuorinen, Chou Wen-chung, and Patricia Carpenter, at Columbia University. A decisive turning point for Lee occurred in 1973 when he took private lessons in composition and theory for five years from the French composer, pianist and conductor Jacques-Louis Monod who became Lee's principal teacher. While Lee was studying at Columbia University by Joseph Mosenthal Fellowship, he also had an opportunity to attend the master classes of Elliott Carter and Bruno Maderna by the Crofts Fellowship at Berkshire Music Center in 1972. Just before finishing his M.A. degree in 1973 he won the Rapoport Prize at Columbia University. He obtained his Doctorate of Musical Arts with Distinction from Columbia University in 1978. He defended his Doctoral Dissertation before an Examining Committee which included Milton Babbitt. He was a Theory Instructor at Columbia University while working for the Mobart Music Publications as Assistant Editor and the A.P.N.M. as Vice Director in 1977-1981.

Seoul 1980s: The first Music Research Center in Korea and The Veritas Musicae

In 1982, Lee joined the faculty at Hanyang University and founded the first Music Research Center in Korea. He established the Journal of the Science and Practice of Music, the first academic journal of music published in Korea. Other publications include the Music Theory Translation Series of such treatises as Musica Enchiriadis, Micrologus, and Terminorum Musicae Diffinitorium. He also presented Symposia and Concert-Symposia of new music, including works by Arnold Schoenberg, Igor Stravinsky, Anton Webern, Alban Berg, Edgard Varèse, Milton Babbitt, and Jacques-Louis Monod.

Lee introduced the music of the Second Viennese School systematically to Korea for the first time and in the subsequent development of 12-tone music in Korea.

Lee also founded the Veritas Musicae, a non-profit organization of composers and music theorists in Seoul that produced international exchange concerts of Korean and American contemporary music and open seminars of doctoral dissertation.

Seoul 1990s and 2010s: The first Computer Music Studio

In 1991, after moving to join the faculty at Ewha Womans University, Lee established the first Computer Music Studio in Korea and published another journal of music, Currents in Musical Thought. He was instrumental in establishing the department's undergraduate and graduate core curricula. Computer music was included for the first time in the curricula.

Currently he is Professor Emeritus at Ewha Womans University and also serves as Honorary Director of the Veritas Musicae.

Music

List of compositions

Lee's music is published by the Mobart Music Publications, Jerona Music Corporation, Schott Music Publishing, Calabrese Brothers Music, A.P.N.M., and Veritas Musicae.

·      Fantastic Variations for Piano (1964).

·      Rondo for Piano (1965).

·      Composition for Five Woodwind Instruments (1971).

·      Transience for Chamber Ensemble (1971).

·      String Quartet (1972).

·      Chamber Symphony (1973).

·      Composition for Eight Instruments (1975).

·      Afterimages (SATB) (1977).

·      Composition for Flute Solo (1978).

·      Quintet for Nine Instruments (1978).

·      Composition in Two Movements for Violin Solo (1978).

·      Mutationes for Twelve Instruments (1980).

·      Mutationes for Violin and Cello (1980).

·      Trihexadral Ballads for Three Violins with Computer-generated Sound (1997).

·      76 Years for Computer-generated Sound (1997).

·      Interferences for Three Flutes and Three Violins with Computer-Generated Sound (1998).

·      Piano Etudes Nos. 1~10 (1998-2005).

·      Western Wind for Flute Solo (1999). (Commissioned by Soyoung Lee).

·      Telekinesis for Flute Solo (2000).

·      Affinity for Flute and Two Pianos (2000).

·      Twelve Variations on "Haenschen klein" for Flute Solo (2000).

·      Duo for Two Flutes (2000).

·      Ip-Sori (Oral Sound), A Cycle of Songs for High Soprano and Piano (2002). (Commissioned by Mr. and Mrs. Paolo Subriz).

·      Noncombinatorial Combinatoria for Solo Vibraphone (2004). (CGNJ Vibraphone Commission).

·      The Breathing of a Diathirdtonic Cosmicity (2005).

·      Suite for Cello Quartet (2005).

·      The Singing Drums for Four Timpani. (CGNJ Timpani Commission), 2005.

·      Kyrie eleison for Three Sopranos (2006).

·      Hawaiian Quartet for Clarinet, Violin, Cello, and Piano. (Commissioned by the Ebb and Flow Arts, 2006).

18-Tone Music

Unlike electronic music of the past, Lee now uses the computer to control the overtones which determine the specific timbre of sound. In essence, the computer has become the musical instrument, allowing him new unparalleled ability to manage all aspects of his music. Furthermore, the computer allows the realization of new more complex theories that go beyond the 12-tone equal temperament. While most of his compositions are based on 12-tone equal temperament, Lee developed a new system, employing 18-tone divisions within an octave. His compositions, such as Trihexadral Ballads for Three Violins with Computer-Generated Sound and The Breathing of a Diathirdtonic Cosmicity are based on these new “diathirdtonic” scales, a third-tone system of equal temperament, or the division of whole tones by one-third. In Trihexadral Ballads, the performance of three human violinists merge with computer generated sounds, realizing a composition that advances the concept of diathirdtonic intervals to determine not only the melody, harmony and counterpoint, but also the overtones. In such periodicals as Sonus(2000), and Organised Sound(1997) Lee defined the sixteen all-combinatirial sets in 18-tone music comparable to the six all-combinatirial sets in 12-tone music by Milton Babbitt.

Lee has also recalculated the ratios and cents of Barbour’s 180 tables in his History of Tuning and Temperament in cycles per second to convert them into sound files in his History of Tuning and Temperament in Living Sound. As a result, we are able to hear the living scales from the Greek tuning to irregular system for the first time.

Publications

Music Theory Books

·      The Language of Twelve-Tone Music. Seoul: Eumyoun, 1995. (ISBN 89-86385-00-7).

·      Schoenberg’s Klavierstük, Op. 33a: Structural Analysis. Seoul: Hahn-hak Munwha, 1999. (ISBN 89-86327-15-5).

·      Creativity and Analysis: Vol. I, Gregorian chant to Brahms. Seoul: Chunchu Music Publishing Co., 2002. (ISBN 89-13-01010-0); Vol. II, Verdi to Webern. Seoul: Chunchu Music Publishing Co., 2003. (ISBN 89-13-01084-4); Vol. III, Schoenberg to the 18-Tone Music. Seoul: Chunchu Music Publishing Co., 2004. (ISBN 89-13-01010-0).

·      Coherent Relationships between Preludes and Fugues by J. S. Bach’s Well-Tempered Clavier: Vol. I, BWV 846 to BWV 851. Seoul: Chunchu Music Publishing Co., 2011. (ISBN 978-89-13-01229-7); Vol. II, BWV 852 to BWV 857. Seoul: Chunchu Music Publishing Co., 2012. (ISBN 978-89-13-01251-8).

·      History of Tuning and Temperament in Living Sound. Greek Tunings to Irregular System. Seoul: Chunchu Music Publishing Co., 2015. (ISBN 978-89-13-98510-2).

·      The 12-Tone Music Theory. Seoul: ECCS Music Publishing Co., 2018. (ISBN 89-13-01010-0).

·      INSTRUMENTATION. Vol. I, The Woodwind Instruments. Seoul: Chunchy Music Publishing Co., 2020. (ISBN 978-89-13-98582-9); Vol. II, The Brass Instruments. Seoul: Chunchy Music Publishing Co., 2020. (ISBN 978-89-13-98583-6).

Major Articles(in English)

·      “Benedicamus Domino: Coherent Relationships between Plainsong and Organum Duplum.” In Theory Only 6/5 (1982), Journal of the Michigan Music Theory Society (Ann Arbor, MI. U.S.A.), pp. 17-48.

·      “A Notational System for Third-Tone Music.” Organised Sound 3/3 (1997), An International Journal of Music Technology (Cambridge University Press, UK), pp. 215-223.

·      “Some Aspects of 18-Tone Composition.” Sonus 20/2 (2000), A Journal of Investigation into Global Musical Possibilities (Cambridge, MA. U.S.A.), pp. 37-56.

Major Articles(in Korean)

·      “To Liberate Musical Concepts”. Journal of the Science and Practice of Music, Vol. II (1985), Music Research Center (Seoul: Hanyang University Publications), pp. 183-214 (Commissioned by the 14th International Symposium, The National Academy of Arts in Korea.).

·      “Tradition in Modernism”. Journal of the Science and Practice of Music, Vol. III (1986), Music Research Center (Seoul: Hanyang University Publications), pp. 193-204.

·      “Basic Concepts of Computer Sound Synthesis for Music Composition and a Possible Configuration for a Computer Studio”. Currents in Musical Thoughts, Vol. I (1991), The Guild of Musicians at Ewha (Seoul: Ewha Womans University Publications), pp. 47-108.

·      “Counterpoint or Contra-counterpoint?” Currents in Musical Thoughts, Vol. I (1991), The Guild of Musicians at Ewha (Seoul: Ewha Womans University Publications), pp. 109-146.

·      “Musical Acculturation?” Currents in Musical Thoughts, Vol. II (1993), The Guild of Musicians at Ewha (Seoul: Ewha Womans University Publications), pp. 143-174.

·      “Music in Crisis in Korea”. Currents in Musical Thoughts, Vol. III (1994), The Guild of Musicians at Ewha (Seoul: Ewha Womans University Publications), pp. 175-218 (Commissioned by the 22nd International Symposium, The National Academy of Arts in Korea.)

·      “Some Compositional Properties in the Music of Schoenberg, Webern and Berg”, Currents in Musical Thoughts, Vol. IV (1995), The Guild of Musicians at Ewha (Seoul: Ewha Womans University Publications), pp. 223-252.

·      “Physical Aspects of Music”. (2007) New Scientific Technology (Seoul: Ministry of Science and Technology, pp. 141-156. (ISBN 978-89-87203-84-3 03400).

·      “A New Horizon of Music by the Advancement in Scientific Technology”. (2008) Orbis Sapientiae (Seoul: Acanet), pp. 116-135. (ISBN 978-89-5733-143-9 03000).

Discography

·      Flute Possibilities. Eugene Lee, Composition for Flute Solo; Otto Luening, Suites for Solo Flute; Chester Biscardi’s Tenzone; Robert Dick’ Alterlight. CRI SD 400, New York.

·      Variations. Eugene Lee, Western Wind for Flute Solo; G. Briccialdi, Il Carnevale di Venezia; F. Silcher, Variations; F. Chopin, Variations, Op. post; J. L. Tulou, Introduction et Variations, Op. 55; T. Boehm, Air varie de la Molinara; P. A. Genin, Carnaval, Op. 14. Skarbo DSK 4071, Paris.

·      ''Eugene Lee’s 12 and 18-Tone Music. (Telekinesis for Flute Solo; Twelve Variations on "Haenschen klein" for Flute Solo; Duo for Two Flutes; Noncombinatorial Combinatoria for Solo Vibraphone; Kyrie eleison for Three Sopranos; Piano Etudes Nos. 3, 8, 10; 76 Years for Computer-generated Sound; Trihexadral Ballads for Three Violins with Computer-generated Sound; The Breathing of a Diathirdtonic Cosmicity).'' Universal Music, DU 7398.

·      “Danny Boy”, “Jennie with the Brown Hair”, and “Longing for Brother” solo by Eugene Lee. Urania Records, URLP 7125, N.Y., 1954.

Musical Terms

·      “Foreign Musical Terms”. Journal of the Science and Practice of Music, Vol. II (1985), Music Research Center (Seoul: Hanyang University Publications), pp. 427-527.

·      ''“Musical Terms in Music History”. Journal of the Science and Practice of Music,'' Vol. III (1986), Music Research Center (Seoul: Hanyang University Publications), pp. 393-413.

·      ''“Musical Terms in Music Theory and Composition I”. Journal of the Science and Practice of Music,'' Vol. II (1985), Music Research Center (Seoul: Hanyang University Publications), pp. 281-393.

·      ''“Musical Terms in Music Theory and Composition II”. Journal of the Science and Practice of Music,'' Vol. I (1984), Music Research Center (Seoul: Hanyang University Publications), pp. 277-286.

Music Journals

Lee was the director and editor of two musical journals, Journal of the Science and Practice of Music, and Currents in Musical Thoughts. The two journals were new publications which provided a survey of current issues and research, particularly those concerned with furthering the development and pracrice of music theory. To enhance mutual understanding and respect between the East and the West by promoting intelectual interaction, Lee encouraged the submission of papers by providing a unique and much needed outlet for works in the various fields of music. Articles either in English or Korean were invited from theorists and musicians.

·      Journal of the Science and Practice of Music. Vols. I (1984), II (1985), III (1986), IV (1987-88), Music Research Center (Seoul: Hanyang University Publications).

·      Currents in Musical Thoughts. Vols. I (1991), II (1993), III (1994), IV (1995), The Guild of Musicians at Ewha (Seoul: Ewha Womans University Publications).

Translation Series of Medieval and Renaissance Treatises

Lee as a General Editor initiated the Translation Series of Medieval and Renaissance Treatises. The translated treatises were published by Music Research Center, Seoul: Hanyang University Publications.

·      Johannes Tinctoris(c. 1435-1511), Terminorum Musicae Diffinitorum(1986).

·      Aurelianus Reomensis(fl. 840-850), Musica Disciplina(1989).

·      Hucbald(c. 840-930), De Harmonica Institutione(1989).

·      psudo-Hucbald(c. 900), Musica Enchiriadis(1987).

·      Guido d'Arezzo(c. 991-1033), Micrologus(1986).

·      Hermanus Contractus(1013-1054), Musica(1987).

·      Jonannes Affligemensis(fl. 1100), De Musica(1989).

·      Anonymous(c. 1100), Ad Organum Faciendum(1987).

·      Anonymous VII(c. 1220), De Musica Libellus(1989).

·      Anonymous(c. 1230-40), Discantus Positio Vulgaris(1989).

·      An Annotated and Classified Bibliography, Harpsichord(1989).

DIALOGUES with PROF. EUGENE LEE

·      “Milton Babbitt”. Journal of the Science and Practice of Music, Vol. I (1984), Music Research Center (Seoul: Hanyang University Publications), pp. 231-260.

·      “Roger H. Sessions”. Journal of the Science and Practice of Music, Vol. III (1986), Music Research Center (Seoul: Hanyang University Publications), pp. 281-305.

·      “Bethany Beardslee”. Journal of the Science and Practice of Music, Vol. IV (1987~88), Music Research Center (Seoul: Hanyang University Publications), pp. 285-304,

·      “Charles Dodge”. Currents in Musical Thoughts, Vol. I (1991), The Guild of Musicians at Ewha (Seoul: Ewha Womans University Publications), pp. 50-60.

·      “Dr. Hye-ku Lee. Currents in Musical Thoughts, Vol. II (1993), The Guild of Musicians at Ewha (Seoul: Ewha Womans University Publications), pp. 263-284.

References

·        Janes, Liz. 2009. “Let’s Talk”. Maui News (September 3): C1.

·        Shin, Bokyeh. 1998. “The First Computer Music Concert”. Dong-A Ilbo (May 22).

·        The Friends of Music at Princeton. 1996. “Notable People”. Newsletter (Vol. VIII, No. 8, May).

·        “Webern’s String Quartets”. 1996. Chosun Ilbo (January 19): 19. Seoul.

·        “Interview: Eugene Lee”. 1993. Musica di Pianoforte (May): pp. 10-11. Seoul.

·        Lee, Sungchul. 1992. “The First Computer Music Studio in Korea”. Hankook Ilbo (February 24): 21. Seoul.

·        Kim, Mira. 1990. “Interview”. Eumak Choon Chu. (May): p. 119. Seoul.

·        Back, Sunghyun. 1988. “The Musician who Lives Today”. Music Education (January): pp. 18-20. Seoul.

·        “Translation Series of Medieval Treaties”. 1986. Dong-A Ilbo (December 5).

·        Shin, Sehmi. 1983. “Establish Musical Terms First”. Chosun Ilbo (September 17): 7. Seoul.

·        “Tradition and Art”. 1982. Hanyang News. (October 20): 5. Seoul.

·        Columbia-Barnard Course Guide. 1977. “Music V2100x”. Columbia University Press (Vol. 15, Number 1): pp. 435-436

·        Zakariasen, Bill. 1976. “Clang, ping, thump”. Daily News (May 27).

·        Henahan, Donal. 1972. “4 Works, 4 Rooms and Varied Sound”. New York Times (March 28).

·        “Father and Son”. 1954. New Yorker (May).

External links

·      Boelke-Bomart, Inc./Jerona Music Corporation on Website.

·      Association for the Promotion of New Music on Website.

·      Veritas Musicae on Website.

·       Eugene Lee’s 18-Tone Music, Internationales Symposium, MIKROTÖNE~MICROTONES, SMALL IS BEAUTIFUL on Website.

·      Contemporary American Composers: A Bibliographical Dictionary by E. Ruth Anderson on Website.

·      “Danny Boy” on YouTube.

·      “Jennie with the Brown Hair” on YouTube.

·      “Longing for Brother” on YouTube.

·      Eugene Lee and a US student exchanged flags in 1954 on YouTube.