Proportion ¿¬±¸ : Stephano VanneoÀÇ Recanetum de Musica Aurea Á¦2±Ç,
20-37ÀåÀ» Áß½ÉÀ¸·Î
¹Ú Çý ÀÚ
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2007. 11. 24
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ÀÌÈ¿©ÀÚ´ëÇб³ ¹Ú¹°°ü ½Ãû°¢½Ç |
º£¸®Å¸½º ¹ÂÁöÄÉ À½¾ÇÁ¦ |
º£¸®Å¸½º ¹ÂÁöÄÉ ÃÊû°¿¬È¸ : ¹Ú»çÇÐÀ§ ³í¹®¹ßÇ¥ ½Ã¸®Áî XV (Á¦37ȸ) |
°üÇö¾ÇÀ» À§ÇÑ "¹Ù´ÙÀÇ ³ë·¡" (Song of the Sea for Orchestra) |
ÀÌ º¹ ³² |
2008. 11. 29
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ÀÌÈ¿©ÀÚ´ëÇб³ ¹Ú¹°°ü ½Ãû°¢½Ç |
º£¸®Å¸½º ¹ÂÁöÄÉ À½¾ÇÁ¦ |
º£¸®Å¸½º ¹ÂÁöÄÉ ÃÊû°¿¬È¸ : ¹Ú»çÇÐÀ§ ³í¹®¹ßÇ¥ ½Ã¸®Áî XVI (Á¦39ȸ) |
7 ¾Ç±â¸¦ À§ÇÑ "À¶ÇÕ¹°" ("Composite" for 7 Instruments) |
½É Çö ¾Æ |
2009. 11. 28
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ÀÌÈ¿©ÀÚ´ëÇб³ ¹Ú¹°°ü ½Ãû°¢½Ç |
º£¸®Å¸½º ¹ÂÁöÄÉ À½¾ÇÁ¦ |
º£¸®Å¸½º ¹ÂÁöÄÉ ÃÊû°¿¬È¸ : ¹Ú»çÇÐÀ§ ³í¹®¹ßÇ¥ ½Ã¸®Áî XVII (Á¦41ȸ) |
°üÇö¾ÇÀ» À§ÇÑ ¡°Karma" (Karma for Orchestra) |
Àå Ãá Èñ |
2010. 12. 11
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ÀÌÈ¿©ÀÚ´ëÇб³ ¹Ú¹°°ü ½Ãû°¢½Ç |
º£¸®Å¸½º ¹ÂÁöÄÉ À½¾ÇÁ¦ |
º£¸®Å¸½º ¹ÂÁöÄÉ ÃÊû°¿¬È¸ : ¹Ú»çÇÐÀ§ ³í¹®¹ßÇ¥ ½Ã¸®Áî XVIII (Á¦45ȸ) |
â±ØÀü¿ë±ØÀå ¼³¸³°ú ¹«´ë°ø°£ÀÇ ±¸¼º¿ä¼Ò¿¡ °üÇÑ ¿¬±¸ |
° ¿µ ±Ù |
2014. 4. 26
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ÀÌÈ¿©ÀÚ´ëÇб³ SK°ü ÄÁº¥¼ÇȦ |
º£¸®Å¸½º ¹ÂÁöÄÉ À½¾ÇÁ¦ |
º£¸®Å¸½º ¹ÂÁöÄÉ ÃÊû°¿¬È¸ : ¹Ú»çÇÐÀ§ ³í¹®¹ßÇ¥ ½Ã¸®Áî XIX (Á¦47ȸ) |
ÀÌ»ó±Ù °¡°î¿¬±¸ |
ÃÖ ±Ý ·Ú |
2015. 5. 9
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ÀÌÈ¿©ÀÚ´ëÇб³ SK°ü ÄÁº¥¼ÇȦ |
º£¸®Å¸½º ¹ÂÁöÄÉ À½¾ÇÁ¦ |
º£¸®Å¸½º ¹ÂÁöÄÉ ÃÊû°¿¬È¸ : ¹Ú»çÇÐÀ§ ³í¹®¹ßÇ¥ ½Ã¸®Áî XX (Á¦49ȸ) |
¹ÙÈåÀÇ Á¾±³¼º¾ÇÀÛÇ°¿¡ ±¸ÇöµÈ 12/8¿Í ±×°ÍÀÇ ¿ªÇÒ |
ÀÌ °¡ ¿µ |
2016. 4. 30
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ÀÌÈ¿©ÀÚ´ëÇб³ SK°ü ÄÁº¥¼ÇȦ |
º£¸®Å¸½º ¹ÂÁöÄÉ À½¾ÇÁ¦ |
º£¸®Å¸½º ¹ÂÁöÄÉ ÃÊû°¿¬È¸ : ¹Ú»çÇÐÀ§ ³í¹®¹ßÇ¥ ½Ã¸®Áî XXI (Á¦51ȸ) |
1870³â´ë ÀÌÈÄÀÇ ¡®Ç¥Á¦Àû ¿¬ÁÖȸ¿ë ¼°î¡¯ ¿¬±¸: À帣ÀÇ Á¤Ã¼¼º ¹®Á¦¸¦ Áß½ÉÀ¸·Î |
ÀÌ Çý Áø |
2017. 4. 29
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ÀÌÈ¿©ÀÚ´ëÇб³ SK°ü ÄÁº¥¼ÇȦ |
º£¸®Å¸½º ¹ÂÁöÄÉ À½¾ÇÁ¦ |
º£¸®Å¸½º ¹ÂÁöÄÉ ÃÊû°¿¬È¸ : ¹Ú»çÇÐÀ§ ³í¹®¹ßÇ¥ ½Ã¸®Áî XXII (Á¦53ȸ) |
¿Ï°á¼º ´ë½Å ¸ð¼øµé°ú Â÷À̵éÀÇ ´Ù¾çÇÑ ¡®½ÇÇè°ø°£(Experimentierraum)¡¯
- Çѽº þ´õÀÇ ¼¼ À½¾Ç±Ø¿¡ ³ªÅ¸³ º¹ÇÕÀû ´Ù¿øÁÖÀÇ(der komplexe Pluralismus) ¿¬±¸
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° Áö ¿µ |
2018. 4. 14
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ÀÌÈ¿©ÀÚ´ëÇб³ SK°ü ÄÁº¥¼ÇȦ |
º£¸®Å¸½º ¹ÂÁöÄÉ À½¾ÇÁ¦ |
º£¸®Å¸½º ¹ÂÁöÄÉ ÃÊû°¿¬È¸ : ¹Ú»çÇÐÀ§ ³í¹®¹ßÇ¥ ½Ã¸®Áî XXIII (Á¦55ȸ) |
"ÂüÀ» ¼ö ¾ø´Â Á¸ÀçÀÇ ¹«°Å¿ò" (Unbearable Heaviness of Being)
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³² »ó ºÀ |
2019. 4. 13
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¼¿ï´ëÇб³ 220µ¿ 202È£ |
º£¸®Å¸½º ¹ÂÁöÄÉ À½¾ÇÁ¦ |
º£¸®Å¸½º ¹ÂÁöÄÉ ÃÊû°¿¬È¸ : ¹Ú»çÇÐÀ§ ³í¹®¹ßÇ¥ ½Ã¸®Áî XXIV (Á¦60ȸ) |
¿¬±¸¹ßÇ¥ I [ÀÛ°î ºÐ¾ß] : ·ù°æ¼±ÀÇ ±³Çâ½Ã ¡°´Þ¡± ºÐ¼® ¿¬±¸ (An Analytic Study of Kyoung Sun Ryoo¡¯s Symphonic Poem, ¡°The Moon¡±),
¿¬±¸¹ßÇ¥ II [À½¾ÇÇÐ ºÐ¾ß] : µðÁöÅÐ ÄÁ¹öÀü½º À½¾Ç ¿¬±¸ (A Study on Digital Convergence Music)
- 21¼¼±â µðÁöÅÐ Å×Å©³î·ÎÁö¿¡ µû¸¥ À½¾ÇÀÇ Å»°æ°èÀû ¾ç»ó°ú ¹ÌÇÐÀ» Áß½ÉÀ¸·Î -
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¿¬±¸¹ßÇ¥ I : ·ù °æ ¼±,
¿¬±¸¹ßÇ¥ II : ¿ø À¯ ¼± |
2023. 4. 8
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¼¿ï´ëÇб³ 220µ¿ 202È£ |
º£¸®Å¸½º ¹ÂÁöÄÉ À½¾ÇÁ¦ |
º£¸®Å¸½º ¹ÂÁöÄÉ ÃÊû°¿¬È¸ : ¹Ú»çÇÐÀ§ ³í¹®¹ßÇ¥ ½Ã¸®Áî XXV (Á¦62ȸ) |
¿¬±¸¹ßÇ¥ I [ÀÛ°î ºÐ¾ß] : ÇǾƳë¿Í ÀüÀÚÀ½ÇâÀ» À§ÇÑ ¡°ÇüÅ¡± (Figuration for Piano and Electronic Sounds),
¿¬±¸¹ßÇ¥ II [À½¾ÇÇÐ ºÐ¾ß] : µðÁöÅÐ ¹Ì´Ï¸Ö À½¾ÇÀÇ ¾ç»ó°ú ¹ÌÇÐ ¿¬±¸ : ¼¼°èÀÇ ³¡, ±×¸®°í »õ·Î¿î ¼¼°èÀÇ ½ÃÀÛÁ¡¿¡ ¼± À½¾Ç
(A Study on the Aspects and Aesthetics of Digital Minimal Music - The Music at the End of the World and the Beginning of the New World)
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¿¬±¸¹ßÇ¥ I : ¿À ¼¼ ¸°,
¿¬±¸¹ßÇ¥ II : ÀÌ ¹Î Èñ |
2024. 4. 6
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µðÁöÅÐ ¹Ì´Ï¸Ö À½¾ÇÀÇ ¾ç»ó°ú ¹ÌÇÐ ¿¬±¸ : ¼¼°èÀÇ ³¡, ±×¸®°í »õ·Î¿î ¼¼°èÀÇ ½ÃÀÛÁ¡¿¡ ¼± À½¾Ç