Paik’s affection toward songs seems to be very exceptional. He always avoids machine-generated sound such as electronic music as being the timbre not created by a human body. The voice, of which instrument is our body. has been one of his favorite medium to carry out his long-searched humanization of contemporary life. Thirty one songs written by him have shown stylistic changes over the years and affected the history of Korean songs greatly. His songs can be divided into three categories-lyric.
folklike, and modern and include several unique ones that can not be classified. Among lyric songs, Deep red Pomegranate written for his friend’s wedding Cradle Song and Sam-Mae based on texts by his student when he taught at Kyung-Dong high School are good examples. In these songs. the composer depicts homey and lyrical atmosphere using modal scales and chords constructed with the 4ths and 5ths.
I will prepare window to south and Gang gang sulae are his folklike songs with a scale which reminds of the folksongs of the Korean southern provinces. A meter mixed with the duple and triple beat and a harmonic system based on the 4ths and 5ths. The modern style songs are his most characteristic pieces which comprise 24 songs including Death of a Girl in Budapest, Reminiscence of Poor Orphee. In Crematorium, Ah! Shin dong Tub. etc.
Recreating images of poetry with the composer’s musical languages and various contemporary vocal techniques, these songs produce expressionistic and dramatic effects by way of his personal lyricism. As song of unique style. Morning accompanied instead of piano by three flutes, Turn to Heaven by four percussion, and Muljebi by orchestra can be mentioned.
(The works of BYUNG-DONG PAIK(CD))
