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for two Percussionists (1991)

for the Musikprotokoll 1991 in Graz

In TSI-SHIN /TA-RYONG III, I forge a link to the traditional Korean peasant's music (Nong-Ak) that has accompanied me since my childhood. More specifically, there is a still widespread ancient shamanistic ritual: Every year in January, small groups of four or five musicians travel from village to village and house to house. TSI-SHIN-PAL-GGI; they pray blessings on homes and families. They beseech the Earth Spirit (TSI-SHIN) with a stamping of feet (PAL-GGI) on the ground. This ritual music is to abate and placate the spirit so that life may thrive in house and home.

TA-RYONG is one of the most widespread concepts of Korean music. We use it to describe the repetition of a basic rhythm in a continual four or six beat measure. The fascinating aspect of TA-RYONG is the nearly infinite number of variations possible using this pattern, especially as found in the typical peasant music.

My music is based on Korean musical perception, but at the same time, I attempt to give an alert reflection of modern European contemporary music development. I strive to penetrate the problem of repetition in its relationship to the constant search for and finding of ever new and hopefully fresh change.

Younghi Pagh-Paan (1991)

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