Music and Political Identity: Examining Isang Yun’s Interludium A (1982)
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In this research, I address music and its political relations in order to argue that music embodies political identity in various ways. Politics is an expression of power in social activities in every corner of our lives and is ubiquitous at any level of social interaction. Composers create musical pieces to express what matters to them in societies by using their artistic voices. Thus, music has political overtones overtly or covertly to varying degrees in a given place and time. Even if a composer has no aspiration of making a piece political, the conditions surrounding a work’s creation find their way into the music. I scrutinize Korean-German composer Isang Yun’s Interludium A (1982), addressing his political identity and discuss the implicit and explicit ways in which music conveys political identity, including its reception and dissemination. I begin with Andrew Heywood’s study of politics to provide a clear framework for this research.
Abstract
In this research, I address music and its political relations in order to argue that music embodies political identity in various ways. Politics is an expression of power in social activities in every corner of our lives and is ubiquitous at any level of social interaction. Composers create musical pieces to express what matters to them in societies by using their artistic voices. Thus, music has political overtones overtly or covertly to varying degrees in a given place and time. Even if a composer has no aspiration of making a piece political, the conditions surrounding a work’s creation find their way into the music. I scrutinize Korean-German composer Isang Yun’s Interludium A (1982), addressing his political identity and discuss the implicit and explicit ways in which music conveys political identity, including its reception and dissemination. I begin with Andrew Heywood’s study of politics to provide a clear framework for this research.
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