DMA Paper EunSeok Park (Edited)

THE STUDY OF ‘ALICE IN WONDERLAND’ OF UNSUK CHIN
D.M.A. DOCUMENT
Presented in Partial Fulfillment of the Requirements for the Degree Doctor of
Musical Arts in the Graduate School of The Ohio State University
By
Eun Seok Park, B.M., M.M., A.D.
Graduate Program in Music
The Ohio State University
2014
D.M.A. Document Committee:
Dr. Jan Radzynski, Advisor
Dr. David Clampitt
Dr. Thomas Wells

Copyright by
Eun Seok Park
2014
ABSTRACT
Composer Unsuk Chin (b. 1961) is the best-known South Korean, female
composer of the twenty-first century. Previously, Korean-German composer Isang
Yun (1917-1995) attempted to combine Korean sound and Western sound, and
many Korean composers followed the same way at that time. Unlike the previous
generation, Chin excluded Korean elements from her music. She refused to belong to
any specific Asian culture. Her teacher Ligeti emphasized the importance of
originality to Chin; thus, Chin remained a proponent of Individualism.
Chin’s first opera, Alice in Wonderland (2004–2007), blends her unique
musical language, use of musical quotations, effective vocal writing, and brilliant
orchestral writing.
This document briefly addresses the history of Western music in Korea, and
introduces important Korean composers through different generations. This
document also introduces Alice in Wonderland, and includes an analytical summary
of each scene.
ii
Dedication
This document is dedicated to my family.
iii
ACKNOWLEDGMENTS
I would like to express my sincere gratitude to my advisor, Dr. Jan Radzynski,
who gave me insightful guidance, advice, musical inspiration, and encouragement
consistently. Without his tremendous support, completing this would not have been
possible.
I also would like to express my appreciation to the member of my committee:
Dr. David Clampitt and Dr. Thomas Wells for their time, and for their thoughtful
comments and encouragement.
I acknowledge my parent, Sungwoo Park and Jinhee Moon, and my sister,
Eungyeong Park for their encouragement and unconditional love. In addition, great
thanks go to my parent-in-law, Yungsik Kang and Guemsun Yoo.
EunHye Kang, my wife has supported me every day since we formed this
wonderful relationship.
Finally, I am heartily thankful for the love and guidance from God that has
given me great strength and blessing allowing me to complete this study.
iv
VITA
August 1, 1978………………………………….…….………….Born Daegu, South Korea
2004…………………………………………….……………………B.M. Music Composition,
Keimyung University, South Korea
2007………………………………………….………………………M.M. Music Composition,
University of Hartford, CT
2009………………………………………………………………….A.D. Music Composition
University of Hartford, CT
Fields of Study
Major Field: Music
Studies in Music Composition Dr. Jan Radzynski
Studies in Piano Performance Dr. Caroline Hong
v
TABLE OF CONTENTS
Abstract……………………………………………………………………………………………………ii
Dedication………………………………………………………………………………………………..iii
Acknowledgments…………………………………………………………………………………….iv
Vita…………………………………………………………………………………………………………..v
Table of Contents………………………………………………………………………………….…..vi
List of Figures………………………………………………………………………………………...viii
Chapters
1. Introduction………………………………………………………………………………………….1
1.1 Western Music in Korea…………………………………………………………….1
1.1.1 First generation…………………………………………………………...2
1.1.2 Second generation……………………………………………………….3
1.1.3 Third generation………………………………………………………….4
1.2 Unsuk Chin...............................................................................................................5
2. Alice in Wonderland……………………………………………………………………………….7
2.1 Overview...................................................................................................................7
2.2 The Framework of Scenes.................................................................................8
3. An Analysis of Alice in Wonderland…………………………………………………..……11
vi
3.1 Scene I......................................................................................................................11
3.2 Scene II…………………………………………………………………………………...16
3.3 Scene III………………………………………………………………………………….23
3.4 Interlude I……………………………………………………………………………….25
3.5 Scene IV…………………………………………………………………………….…….26
3.6 Scene V…………………………………………………………………………………...29
3.7 Scene VI………………………………………………………………………………….33
3.8 Interlude II……………………………………………………………………………...36
3.9 Scene VII…………………………………………………………………………………39
3.10 Scene VIII…………………………………………………………………………...…42
4. Conclusion…………………………………………………………………………………………...45
Bibliography……………………………………………………………………………………………47
Appendix A: Consent Letter from Boosey & Hawkes, Inc…………………………...49
vii
LIST OF FIGURES
Figure 2.1 Synopsis of Alice in Wonderland…………………….…………………………...9
Figure 3.1 Scene I, mm. 17-19………………………………………...……………...…………12
Figure 3.2 Scene I, m. 59………………………………...…………………………………….…..12
Figure 3.3 Scene I, mm. 34-35…………………………...…………………………………...…13
Figure 3.4 Scene I, mm. 36-39………………………...…………………………………...……14
Figure 3.5 Scene I, mm. 49-52……………………………...……………………………...……14
Figure 3.6 Scene I, mm. 76-79……………………………...…………………………….……..15
Figure 3.7 Scene I, mm. 67-69………………………………...………………………...………16
Figure 3.8 Scene II, mm. 130-133…………………………...………………………….……..17
Figure 3.9 Scene II, mm. 167-169………………...……………………………………..…….18
Figure 3.10 Scene II, mm. 143-154………………...……………………….…………..…….19
Figure 3.11 Scene II, mm. 138-149……………………………………………………………20
Figure 3.12 Scene II, mm.256-261………………………………………………….…………21
Figure 3.13 Scene II, mm. 892-894……………………………………….…………………..22
Figure 3.14 Scene III, mm. 977-982………………………………………….………..……..24
Figure 3.15 Interlude I, mm. 1-5………………………………………….…………..……….25
Figure 3.16 Interlude I, mm. 13-18……….……………………………….………..…..……26
viii
Figure 3.17 Scene IV, mm. 126-130…………………..………………….………...………...27
Figure 3.18 Scene IV, mm. 175-177……………………..………………….………..………28
Figure 3.19 Scene IV, mm. 252-255……………………..…………….………………..……29
Figure 3.20 Five Sections of Scene V……………………………………….….……….…….30
Figure 3.21 Scene V, mm. 509-510………………………………...…...….…………………30
Figure 3.22 Scene V, mm. 571-572…………………………………..…….…………………31
Figure 3.23 Scene V, mm. 575-576…………………………………...…….……….………..32
Figure 3.24 Scene V, mm. 720-721……………………………………..….…………………33
Figure 3.25 Scene VI, mm. 872-891……………………………………..….…………..……34
Figure 3.26 Scene VI, mm. 955-959…………………………………..…….………………..35
Figure 3.27 Scene VI, mm. 1261-1262………………………………………………………36
Figure 3.28 Interlude II, m. 108…………………………………...………….………..………37
Figure 3.29 Interlude II, mm. 19-21………………………………...……….……….………38
Figure 3.30 Interlude II, mm. 113-119………………………………………………………39
Figure 3.31 Scene VII, mm. 177-180………………………………...….……...…………….40
Figure 3.32 Scene VII, mm. 538-540……………………………….…...……………………41
Figure 3.33 Scene VII, mm. 406-409……………………………….……...…………………42
Figure 3.34 Scene VIII, mm. 615-619………………………………………....……………..44
ix
CHAPTER 1
INTRODUCTION
1.1 Western Music in Korea
Missionaries from the United States introduced Western tonal music and its
harmony to Chosun (A.D. 1392 – A.D. 1910),1 the last dynasty in the history of Korea,
at the end of the nineteenth. At that time, Koreans could learn Christian hymns,
military band music and children’s songs.2 Western music in Korea began
developing at a considerable pace.
When Western music was introduced to the Korean public, they compared it
to their traditional music. Donna Lee Kwon (2012) stated, “some Koreans viewed
traditional music as a nostalgic marker of Korean identity; others simply saw it as
1Date from http://sillok.history.go.kr/main/main.jsp

2Kwon D. L. 2012. “Music in Korea,” chapt. In Colonial Legacies in Korea. Oxford
University Press, p. 129
1
backward.”3 Thus, in time, two remarkable movements emerged, based on two
reactions.
1.1.1 First generation
The first movement supported writing art song with Korean lyric in the
Western format. Kwon (2012) explains that Korean composers can be organized
into three generations.4 Composers in the first movement are classified as the first-
generation composers. In the late nineteenth century, Western instruments were
rare in Korea; most Koreans were not familiar with Western notation. Thus, Korean
composers attempted to notate a melodic line for only voices; then pieces could be
carried through aural practice to audiences. Most pieces did not include
accompanied instrument, and performers could improvise and make small
changes;5 therefore, each performance could vary. This kind of art song became the
most popular musical form throughout Korea. Nanpa Hong (1898–1941), Jaemyung
Hyun (1902–1960), and Heungyeol Lee (1909–1980) represented the first-
generation composers.
3 Kwon D. L. 2012. “Music in Korea,” chapt. In Colonial Legacies in Korea. Oxford

4 Ibid., p. 130
5 Ibid., p. 130
2
1.1.2 Second generation
The second movement attempted to include Korean elements or express
Korean traditional music in Western music. Composers who followed this manner
are considered second-generation composers. Isang Yun (1917–1995) started the
second generation and, was the first Korean composer introduced to European
audiences. He showed an interest in post-Romantic compositional techniques early
in life. After spending much time in Germany, he turned his interest to Korean
music.
Yun’s music presented traditional Korean court music with avant-garde
techniques.6 Robert Morgan (1991) stated, “the Korean Isang Yun (b. 1917) and the
Japanese Toshiro Mayuzumi (b. 1929) and Toru Takemitsu (b. 1930) have joined
musical elements of their native musical cultures with those of Western music.”7
This fusion of East and West music is the main feature of second-generation
composers; however, they also turned their attention to larger forms of chamber
and orchestral music.
6 Born, Georgina and Hesmondhalgh, David. Western Music and Its Others. Corbett,
John. Chap. In Experimental Oriental: New music and Other Others. California:
University of California press, 2000, p.179
7 Morgan, Robert P. Twentieth-Century Music. New York: W. W. Norton & Company,
1991, p.422
3
1.1.3 Third generation
In 1967, the South Korean government kidnapped Isang Yun under suspicion
of him being a North Korean spy. In 1969, he was released and returned to
Germany. After studying with Yun in jail, Sukhi Kang (b. 1934) moved to Germany to
continue studying with Isang Yun. Kang not only continued Yun’s track and, but also
attempted to expand their musical language through experimental and electronic
music. Kang wanted to make his own musical language, however, free from Korean
elements. Sukhi Kang returned to South Korea to teach music composition at Seoul
National University. Emphasizing individualism, Kang also introduced European
experimental and electronic music to Korean students and audiences. In 1969, Kang
established the Pan Music Festival, the first Korean new music festival ever.
Through the festival, many Western composers, such as Iannis Xenakis (1922–
2001) and Luigi Nono (1924–1990), were introduced to Koreans.8
Individualism and experimentalism took firm root in many young Korean
composers, which may be the starting point for the third generation of composers.
Unsuk Chin (b. 1961) was a Sukhi Kang’s first pupil at Seoul National University.
Kwon (2012) states, “Chin has chosen not to distinguish herself by integrating
Korean concepts, but instead defines her compositional identity by working
8interview with Sukhi Kang from

http://navercast.naver.com/contents.nhn?rid=83&contents_id=19370
4
primarily within a contemporary Western musical language.”9 This statement
clearly reflects the aesthetic beliefs of the third generation of composers.
1.2 UnSuk Chin
Composer Unsuk Chin (b. 1961) is the best-known South Korean, female
composer of the twenty-first century. Her musical influences came from Béla Bartók,
Igor Stravinsky, Sukhi Kang and György Ligeti. Chin did not take formal musical
training before entering the university. Her farther, a pastor, had taught Chin to read
music. Chin studied herself from borrowing scores by such composers as Pyotr L.
Tchaikovsky (1877–1893) and Igor Stravinsky (1882–1971) and transcribing them
in longhand.10
When Chin began studying music composition with Kang, she learned about
the avant-garde techniques and post-war music trends in Europe. She then moved
to Europe in 1985 to study with György Ligeti (1923 – 2006), who introduced her to
the aesthetics of the post-war avant-garde techniques11 and emphasized the
9 Kwon D. L. 2012. “Music in Korea,” chapt. In Colonial Legacies in Korea. Oxford

University Press, p. 135-136
10 interview with Unsuk Chin from
http://www.sac.or.kr/magazine/s_m_view_a.jsp?mag_id=3635
11 Na, Yoo Sun. “The role of Alice in Unsuk Chin’s Alice in Wonderland: An
exploration of performance requirements” D.M.A. diss., University of Illinois at

Urbana-Champaign, 2012
5
originality. While her musical style is modern, and has traditional European sources,
it does not belong to any specific compositional style.
Chin has won several international competitions including the Grawemeyer
Award for her Violin Concerto in 2004, the Arnold Schoenberg Prize in 2005, and
the Music Composition Prize of the Prince Pierre Foundation for Gougalōn. Chin
serves as resident composer at the Deutsches Symphonie-Orchester Berlin and the
Seoul Philharmonic, receives commissions around the world and has been invited to
festivals in Manchester, Turin, Milan, and Strasbourg.12
12Kwon D. L. 2012. “Music in Korea,” chapt. In Colonial Legacies in Korea. Oxford

6
CHAPTER 2
Alice in Wonderland
2.1 Overview
Unsuk Chin composed her first opera, Alice in Wonderland from 2004 to
2007. Ligeti, her teacher, was preoccupied with Lewis Carroll’s (1832 – 1898)
“Alice’s Adventures in Wonderland” in his later years. Chin was strongly influenced
by her teacher in writing her opera, Alice in Wonderland,13 which was commissioned
by the Los Angeles Opera. Alice in Wonderland was premiered at the Bayerische
Staatsoper in Munich on June 30, 2007. It was the opening performance of the
Munich Opera Festival.14 where two operas composed by Koreans were introduced.
The first opera, composed by Isang Yun, was Sim Tjong (1971-72), which premiered
on August 1, 1972. The second opera at the festival was Chin’s Alice in Wonderland.
The Japanese-American conductor Kent Nagano conducted the opera, which was
13 Kim, Soo Kyung. “A study of Unsuk Chin’s piano etudes” D.M.A. diss., University of
Georgia, 2012.
14 Ibid.
7
about two hours in duration. Chin collaborated on the libretto with the Los Angeles-
based screenwriter, songwriter, and librettist David Henry Hwang (b. 1957), who
has also collaborated with Phillip Glass, Bright Sheng and others.15
2.2 The Framework of Scenes
Alice of Wonderland contains eight scenes; the structure of each scene is
episodic.16 (see Figure 2.1 for the synopsis.17) Additionally, this opera has no
opening overture; rather, the opera begins without instrumental sound. Audiences
can hear only noises resulting from the actors’ movements. The silence and noises
make audience focus on the opera.
I will briefly describe each scene chronologically, and I will focus my
inquiry on the form, and on the harmonic and melodic structure.
15 Program note from dvd booklet of Alice in Wonderland, EuroArts Music

International GmbH, 2008.
16 Ibid.
17 Synopsis from
http://www.boosey.com/pages/opera/moredetails.asp?musicid=30989
8
Alice opens a book in the library, which thereupon turns into a
treasure chamber. She meets a boy who’s fate is to carry a
Scene I Dream I
mummified cat, and two old men whom she asks in vain to flee
before the door to the treasure chamber closes.
Alice flows the White Rabbit down a hole in the ground, falls into the
depths and finds herself in front of several locked doors.
Alice opens one door with a key and sees a garden full of bright
flowers, but the door is too small for her to get through into the
garden.
Alice drinks from a little bottle with a label on it, on which the words,
‘Drink Me’ are printed, shrinks and is now too small to open the door
with the big key.
The Pool of Alice eats a cake from a little box which has a label with ‘Eat Me’
Scene II
Tears printed on it, grows again and is now too big to get through the
doors.
Alice startles the White Rabbit with her size, and he drops the kid
gloves and the fan.
Alice cries, and falls into a pool of her own tears and offends a mouse
swimming in the pool by talking enthusiastically about her cat.
Alice and other wet creatures dry off as they listen to the mouse
telling them the driest story he knows.
Alice again mentions her cat and all the animals flee.
In the
Alice has to look for the gloves and the fan and enters the house. Her
House of
Scene III body grows again while the White Rabbit sings a love song at the
the White
windows and the door.
Rabbit
Advice
Alice hears words of wisdom from the caterpillar about the
Interlude I from a
advantages of change.
Caterpillar
Alice meets the Fish and the Frog, footmen in livery, as well as the
Duchess with the Baby, the Cook and the Cheshire Cat.
Alice is shocked by the ill-treatment of the Baby at the hands of the
Pig and
Scene IV Duchess and the Cook and sings a lullaby for the baby, which turns
Pepper
into a pig.
Alice asks the Cheshire Cat, whose body is disappearing all the time,
about the way to somewhere and is sent to see the March Hare.
Alice meets the March Hare, the Dormouse and the Mad Hatter, for
A Mad Tea
Scene V whom time has stood still and whom nobody has been able to help.
Party
Alice is excluded from the tea party.
Continued
Figure 2.1 Synopsis of Alice in Wonderland
9
Figure 2.1 continued
Alice comes across three gardeners who are trying to turn white
roses into red ones for the Queen of Hearts.
The
Alice is invited by the Queen of Hearts to a game of croquet with no
Scene VI Croquet
rules, which ends in chaos, and the Queen orders the bodyless cat to
Ground
be beheaded. The executioner fails to do this, as one cannot cut the
head off a cat with no body.
Alice is rescued from the philosophizing Duchess by the Queen and

Interlude II taken to eat Mock Turtle soup until soldiers call people to come to
court for a trial.
Alice is called upon as the third witness, after the Mad Hatter and the
The Trial or
Cook, to testify about what happened to the tarts.
Scene VII Who Stole
Alice is not afraid as she realizes that the Court and the Queen of
the Tarts?
Hearts are ridiculous, nothing but a pack of playing cards.
At the request of an invisible man, Alice searches in vain for seeds in

the infertile black soil of the garden, whereupon the invisible man
Finale Dream II
puts seeds in her hand.
Alice saws flowers, which turn into shining light.
10
CHAPTER 3
An Analysis of Alice in Wonderland
3.1 Scene I
As previously stated, Alice in Wonderland does not include an opening
overture like traditional operas. Chin introduces Bb as a tonal center through the
first scene. She uses two whole-tone scales as the main pitch materials: B flat and B
natural. When she brings in the Bb whole-tone scale for the first time in m. 17, she
omits D, F# and G#. (see Figure 3.1, mm.17-19)
11
Alice in Wonderland by Chin Unsuk and David Henry Hwang
© Copyright 2007 by Boosey & Hawkes Music Publishers Ltd.
Reprinted by Permission
Figure 3.1 Scene I, mm. 17-19 piano reduction
She also introduces the B-natural whole-tone scale (see Figure 3.2, m. 59).
Note that Chin stresses the note B-flat against the note on B-natural whole-tone
scale.

Figure 3.2 Scene I, m. 59 piano reduction
12
Chin mixes two whole-tone scales frequently. When she uses the B-natural
whole-tone scale, she adds Bb, which is the tonal center. The descending half-step
chromatic movement is called a sigh motive. The Bb acts as a pivot note between the
two scales; thus, she can easily bring in different whole-tone scales. Additionally,
two combined whole-tone scales make the chromatic twelve-tone scale. (see Figure
3.3, mm. 34-35).

Note that both the B-natural and B-flat comes from the sigh motive. Alice then
appears first time in m. 36 (see Figure 3.4, mm. 36-39).
13
The boy answers with the same sigh motive (see Figure 3.5, mm. 49-52).
These two notes can be heard throughout Scene I. Scene I ends with a low C note in
Contrabass, which continues into Scene II.

14
Rhythmically, Alice in Wonderland begins in 4/4 meter played by non-pitch
percussions, such as gran cassa and large tam-tam. When the whole-tone scale is
introduced at m. 17, Chin continues to use 3/4+2/4 compound meter until the end
of Scene I (see Figure 3.6, mm. 76-79).
Alice in Wonderland by Chin Unsuk, words by David Hwang

© Copyright 2007 by Boosey & Hawkes Music Publishers, Ltd.
However, the orchestra part has two equal beats in a measure beginning in
m. 17. 3+2/4 meter has five quarter-notes, which are equal to ten eighth-notes. Chin
divides the ten eighth-notes into two groups (see Figure 3.7, mm. 67-69). Thus Chin
has 3+2/4 meter for the singers and 5+5/8 meter for the orchestra at the same time.
15
3.2 Scene II
The Scene II consists of two parts: “Pool of Tears, A Caucus-Race and a Long
Tale” and “The Tale-Tail of the Mouse.” The first part of Scene II resembles the
cluster-like accompaniment in Stravinsky’s Rite of Spring, the step-wise pitch
intervals in Ligeti’s Etude 4: Fanfares, and the ostinato in Bartók’s Six Dances in
Bulgarian Rhythm from Mikrokosmos Book 6.18
18Na, Yoo Sun. “The role of Alice in Unsuk Chin’s Alice in Wonderland: An
exploration of performance requirements” D.M.A. diss., University of Illinois at
Urbana-Champaign, 2012, p. 8.
16
Chin uses the tritone as both a main pitch interval for the singers and for the
orchestra in Scene II (see Figure 3.8, mm. 130-133). In every six-note whole-tone
scale three tritones are present: for example, Bb and E, C and F#, and D and G#. Chin
uses these three tritone intervals exclusively until m. 18.

Figure 3.8 Scene II, mm. 130-133 piano reduction
Another use of the tritone can be found in m. 167 (see Figure 3.9, mm. 167-
169). Note the left-hand part (a bassoon in orchestra): C and F-sharp, and G-sharp
and D.
17
In Figure 3.8, note that Chin indicates ‘x’ on note heads. This symbol means
Sprechgesang (spoken-singing), which is a vocal technique that was introduced by
Arnold Schoenberg (1874-1951) in his pieces, including Gurrelieder (1900-1911),
Die glückliche Hand (1910-1913), and Pierrot Lunaire (1912).19 Sprechgesang
indicates approximate pitches; thus, the singers carry a speaking manner while
singing.
Similarly, Chin uses Sprechstimme (spoken voice) technique, which is close to
speaking itself. She indicates Sprechstimme without note heads. (see Figure 3.9, mm.
167-169).
Chin freely brings in modes such as Ionian, Locrian, and Aeolian, without
gradual preparation or transition. (see Figure 3.10, mm. 143-154). For example, she
19 Oxford reference from

http://www.oxfordreference.com/view/10.1093/oi/authority.2011080310052533
5.
18
brings in Ionian mode in m. 143; then, she adds B-flat in m. 150. This shows the
smooth change from Ionian on C to Locrian on E.

Chin changes musical atmospheres suddenly through exchanging the cluster-
like accompaniment in tritone-based sonorities with the step-wise pitch intervals in
modal scales (see Figure 3.11, mm. 138-149). She continues to use these two
contrasting ideas throughout the opera.
19
Chin uses an octatonic scale in Alice’s part, from mm. 257 to 273. She brings
in the first triad-like sonority, F# minor, in m. 256. (see Figure 3.12, mm. 256-261).
Additionally, D-Major 7th chord can be found in m. 260.
20
Chin employs the sigh motive (B-flat to B-natural) with the singers in the
orchestral part at the end of Scene II. The English horn and B-flat clarinet hold B-
natural and B-flat from m. 891 to m. 893 (see Figure 3.13, mm. 892-894).
21
Scene II ends with the low C, like Scene I. This low C becomes a pedal tone
until the beginning of Scene III.
22
3.3 Scene III
Scene III contains the episode, “The Rabbit Sends in Little Bill”, which starts
with the lowest C in double bass, contra bassoon and timpani, with additional non-
pitch percussion such as tam-tam and wind machine.
In this scene, Chin uses two whole-tone scales alternatively (see Figure 3.14,
mm. 977-982). There is a C whole-tone scale (except A-sharp) in m. 978, and C-
sharp whole-tone scale in the next measure, m. 979. Chin also brings in two whole-
tone scales sequentially in the same measure, m 981. The first beat consists of C-
sharp whole-tone scale, and the third beat consists of C whole-tone scale.
23
Figure 3.14 Scene III, mm. 977-982
24
3.4 Interlude I
Interlude I, “Advice from a Caterpillar”, is mainly a solo bass clarinet piece. A
bass clarinet player sits on stage impersonating the Caterpillar. In the beginning of
the interlude, the portamento of the bass clarinet is reminiscent of the beginning of
George Gershwin’s (1898 – 1937) Rhapsody in Blue (1924) (see Figure 3.15, mm. 1-
5). Chin elsewhere uses musical quotations from others, which will be addressed
later in the document.

Figure 3.15 Interlude I, mm. 1-5 piano reduction
The interlude is a dialogue between Alice and the Caterpillar. However, only
the bass clarinet produces sound. Chin includes a note in the interlude, that “By
playing his Bass Clarinet, the Caterpillar will ‘speak’ his lines, which are projected as
25
text.”20 Thus, the pitches and rhythm in the bass clarinet imitate speaking (see
Figure 3.16, mm. 13-18).

Figure 3.16 Interlude I, mm. 13-18 piano reduction
3.5 Scene IV
Scene IV consists a one episode, “Pig and Pepper.” This scene presents the
most grotesque story in the opera. The scene starts with non-European traditional
20Chin, Unsuk. Alice in Wonderland (full score): Lodon: Boosey &

Hawkes, 2007, p. 151
26
instruments such as swanee flute, known as a slide whistle, and Jew’s harp, which is
pre-recorded in the sampler.
Duchess appears in this scene, and her grotesque lullaby begins with an
ostinato consisting of a whole-tone scale (see Figure 3.17, mm. 126-130). Chin
continues to use this ostinato texture until the end of the Duchess’s aria.

Figure 3.17 Scene IV, mm. 126-130 piano reduction
The Duchess’s part has E as its central tone. The Cook and Cat characters join
the refrain sections with the lyric “wow” (see Figure 3.18, mm. 175-177). The
refrain is in unison in pitch among the three characters. Sprechgesang and
descending portamento with accents in unison make an interesting vocal effect.
Structurally, the refrain starts with G and ends with B. When recalling the central
27
tone of the Duchess’s part, three tones—E, G, and B—have priorities in the aria. The
aria begins with E, and ends with B, which is reminiscent of the relationship
between tonic and its dominant in tonal music.

After the Duchess’s aria, Alice’s aria begins based on a new texture. The new
texture is organized tonally, around a C-major sonority. Chin brings in tonal
harmonic progressions into play for the first time (see Figure 3.19, mm. 252-255).
28
Chin asks Alice to sing in a child-like voice.21 Ironically, the aria contains a
ridiculous lyric about a grotesque baby pig: “Sleep tight, my beautiful pig, and dream
of mud and play. Too young to become bacon, so breakfast is far, far away.”22
3.6 Scene V
Scene V contains the most varieties of musical styles in the opera. Figure 3.20
illustrates the five sections of this scene.
21 Chin, Unsuk. Alice in Wonderland (full score): Lodon: Boosey & Hawkes, 2007, p.
182
22 Ibid., 182-183
29
Section Measure Instruments or characters
Section 1 mm. 482-562 orchestra
Section 2 mm. 534-700 Alice, March Hare, Dormouse, Mad Hatter
Section 3 mm. 701-776 Alice, March Hare, Dormouse, Mad Hatter
Section 4 mm. 777-828 Mad Hatter

Section 5 mm. 829-871 Dormouse, Choir
Figure 3.20. Five Sections of Scene V
Scene V begins with its own overture-like section by the orchestra. Chin
brings in another quotation, from Ligeti’s Etude 4: Fanfares (see Figure 3.21, mm.
509-510). Ligeti’s Etude 4 begins with the following stepwise pitch intervals: C, D, E,
F, F-sharp, G-sharp, A-sharp and B. Chin then adds two more notes to the scale: C-
sharp and D-sharp. Marimba also imitates the right-hand part of Ligeti’s Etude 4.

Figure 3.21 Scene V, mm. 509-510 piano reduction
After the first orchestral section, Chin presents a dialogue set as recitativo
secco. Although she does not follow late-Baroque harmonic progressions, she
30
attempts to bring out the late-Baroque recitativo style with a harpsichord (see
Figure 3.22, mm. 571-572).

The end of recitativo secco implies a tonal cadence in A minor (see Figure
3.23, mm. 575-576). In m. 575, E dominant seventh chord in the second beat moves
to a German augmented sixth chord. Following A is a strong tonal center.
31
Chin presents another musical quotation from a famous tune, Twinkle,
Twinkle, Little Star, in the third section. The tune is developed in an acrostic-
wordplay manner (see Figure 3.24, mm. 720-721). The flowing section keeps the
acrostic-wordplay manner as well.
32
3.7 Scene VI
Scene VI begins with the highest B-flat of the celesta. That B-flat is the highest
note to appear since the beginning of each scene (see Figure 3.25, mm. 872-891).
33
Figure 3.25 Scene VI, mm. 872-891 piano reduction
In m. 880, the minor second interval is introduced: A#, B. Then the minor
second is inverted into the minor ninth, major fifteenth, or major seventh beginning
in m. 882. Chin uses the second interval throughout this scene (see Figure 3.26, mm.
955-959)
34
Chin uses extreme portamento in the Cheshire Cat’s part. The portamento
begins with G, and moves to C# in m. 1261 (see Figure 3.27, mm. 1261-1262). That
tritone interval makes a siren effect.
35
3.8 Interlude 2
In Interlude 2, a new character, the Mock Turtle, appears with a model
harmonica. The Mock Turtle hesitantly tries to speak, but chooses to play the
36
harmonicas to express its feeling. Harmonicas are played offstage (see Figure 3.28,
m. 108).

Figure 3.28 Interlude 2, m. 108 piano reduction
Chin chooses to employ the whole-tone scale, and uses a tritone as a basic
pitch material for the singers until the children’s choir appears (see Figure 3.29,
mm. 19-21).
37
Figure 3.29 Interlude 2, mm. 19-21 piano reduction
Figure 3.29 shows the use of the following whole-tone scale for the Duchess:
B, C#, D#, F, G, (A). The triton occurs very prominently in Alice’s line: Bb, E.
At the end of Interlude 2, Chin presents a children’s choir with the
harmonicas. The choir sings mostly major and minor triads (see Figure 3.30, mm.
113-119).
38
Figure 3.30 Interlude 2, mm. 113-119 piano reduction
3.9 Scene VII
In Scene VII, Chin mobilizes the greatest number of characters, including
twelve jurors, with SATB choir. The tritone is represented as the most important
39
interval in this scene. The first chord combines two tritones: D, G# and A, Eb (see
Figure 3.31 Scene VII, mm. 177-180).

Figure 3.31 Scene VII, mm. 177-180 piano reduction
Chin notates recitativo without specific note durations and pitches for the
twelve jurors and choir in many places (see Figure 3.32 Scene VII, mm. 538-540).
Figure 3.32 also illustrates the use of tritones by the orchestra and singers.
40

41
Rhythmically, Chin starts to change the meter consistently from m. 407 to m.
475. She uses 3/4 + 3/8 meter in m. 407. The first three quarter-notes in 3/4 meter
become three eighth-notes in 3/8 meter, which is two times faster (see Figure 3.33
Scene VII, mm. 406-409).

3.10 Scene VIII
Scene VIII has a similar beginning to Scene I. Their titles, “Dream I” and
“Dream II,” provide a hint of the connection between the two. However, in Scene
VIII, Chin introduces static, suspended sonorities using mostly strings. Strings have
the longest note duration throughout the opera (see Figure 3.34, mm. 615-619).
42
Chin controls the strings carefully, going back and forth between sul tasto, sul
ponticello and flautando throughout the scene.
In m.611, Chin uses high D-sharp, the highest note in Alice’s part. This D-
sharp is restated as E-flat later in the opera. In this quiet atmosphere, the high note
creates a powerful effect. Chin uses a broad dynamic range of crescendo from ppp to
ffffff to close the opera in the last fourteen measures.
43
Figure 3.34 Scene VIII, mm. 615-619

44
CHAPTER 4
CONCLUSION
This document has examined Unsuk Chin’s opera Alice in Wonderland. The
study focused on the opera’s motivic materials, pitch structure and rhythm
generally.
We have seen that Chin uses whole-tone scales mostly throughout the opera.
She produces various sounds from using whole-tone scales. Whole-tone scales are
used separately, or simultaneously. When two whole-tone scales are combined, the
composer gets a chromatic scale that consists of twelve tones. Each whole-tone scale
includes three tritone intervals; thus, six tritones exist in two whole-tone scales.
Chin uses the tritone as a basic pitch interval and on melodic part horizontally. She
also builds chords by combining tritones vertically. Each pitch material is logically
controlled.
Chin uses, in addition to whole-tone scales, diatonic modes, and she
introduces several quotations from various periods. The stepwise pitch intervals in
Ligeti’s Etude 4: Fanfares is a clear example. Another example is the cluster-like
accompaniment similar to one used in Stravinsky’s Rite of Spring is found in many
45
places in Alice in Wonderland. Elsewhere, Chin employs Baroque-style cadences and
recitativo secco in the opera.
The singer’s parts in the opera are effectually articulated with Sprechgesang,
Sprechstimme, glissando, and portamento. These articulations produce dream-like,
fantastic, and grotesque sounds.
The opera has a broad pitch range from the orchestra. Chin utilizes very low
instruments such as tam-tam, contra bassoon, double bass, and cluster sounds from
the piano. She also employs very high instruments such as the celesta, piccolo, etc.
In conclusion, Chin combined these materials into a unique opera. This
document has briefly explained some of the compositional devices that Chin uses in
each scene chronologically.
46
BIBLIOGRAPHY
Books
Born, Georgina and Hesmondhalgh, David. Western Music and Its Others. California:
University of California press, 2000
Hanning, Barbara R. Concise history of Western music. Second edition. New York:
W. W. Norton & Company, 2002
Kwon, Donna Lee. Music in Korea. New York: Oxford University Press, 2012
Morgan, Robert P. Twentieth-century music. New York: W. W. Norton & Company,
1991
Dissertations
Kim, Soo Kyung. “A study of Unsuk Chin’s piano etudes” D.M.A. diss., University of
Georgia, 2012
Na, Yoo Sun. “The role of Alice in Unsuk Chin’s Alice in Wonderland: An exploration
of performance requirements” D.M.A. diss., University of Illinois at Urbana-
Champaign, 2012
47
Websites
http://sillok.history.go.kr/main/main.jsp
http://navercast.naver.com/contents.nhn?rid=83&contents_id=19370
http://www.sac.or.kr/magazine/s_m_view_a.jsp?mag_id=3635
http://www.boosey.com/pages/opera/moredetails.asp?musicid=30989
http://www.oxfordreference.com/view/10.1093/oi/authority.2011080310052533
5
Scores
Chin, Unsuk. Alice in Wonderland (Vocal score): London: Boosey & Hawkes, 2007.
Chin, Unsuk. Alice in Wonderland (full score): London: Boosey & Hawkes, 2007.
48
APPENDIX A
Consent Letter from Boosey & Hawkes, Inc
49
July 8, 2014
Eun Seok Park

The Ohio State University
4354 Carnegie Hall Blvd.
Dublin, OH 43016
USA
RE: Alice in Wonderland by Unsuk Chin and David Henry Hwang
Dear Mr. Park:
We hereby grant you gratis permission to include excerpts from the above referenced work in your dissertation for the
Ohio State University.
We do require that you include the following copyright notice immediately following the excerpts:
Alice in Wonderland by Unsuk Chin and David Henry Hwang

Reprinted by permission.
Permission is also granted for you to deposit one copy of your paper with ProQuest. Should you wish to place your
paper elsewhere, beyond that which is required for the degree, you will have to contact us in advance as a royalty may
be payable.
With kind regards,
BOOSEY & HAWKES, INC.
Elias Blumm
Assistant, Copyright & Licensing
Boosey & Hawkes, Inc.

229 West 28th Street, 11th Floor, New York, NY 10001
Telephone (212) 358 5300 Fax (212) 489 6637
www.boosey.com
Tax ID: 11-1590300
50

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THE STUDY OF ‘ALICE IN WONDERLAND’ OF UNSUK CHIN

Presented in Partial Fulfillment of the Requirements for the Degree Doctor of

Musical Arts in the Graduate School of The Ohio State University

Eun Seok Park, B.M., M.M., A.D.

Graduate Program in Music

The Ohio State University

D.M.A. Document Committee:

Dr. Jan Radzynski, Advisor

Dr. David Clampitt

Dr. Thomas Wells

Eun Seok Park

composer of the twenty-first century. Previously, Korean-German composer Isang

originality to Chin; thus, Chin remained a proponent of Individualism.

Chin’s first opera, Alice in Wonderland (2004–2007), blends her unique

introduces important Korean composers through different generations. This

document also introduces Alice in Wonderland, and includes an analytical summary

This document is dedicated to my family.

I would like to express my sincere gratitude to my advisor, Dr. Jan Radzynski,

who gave me insightful guidance, advice, musical inspiration, and encouragement

I also would like to express my appreciation to the member of my committee:

comments and encouragement.

I acknowledge my parent, Sungwoo Park and Jinhee Moon, and my sister,

thanks go to my parent-in-law, Yungsik Kang and Guemsun Yoo.

given me great strength and blessing allowing me to complete this study.

August 1, 1978………………………………….…….………….Born Daegu, South Korea

2004…………………………………………….……………………B.M. Music Composition,

Keimyung University, South Korea

2007………………………………………….………………………M.M. Music Composition,

2009………………………………………………………………….A.D. Music Composition

Major Field: Music

Studies in Music Composition Dr. Jan Radzynski

Studies in Piano Performance Dr. Caroline Hong

1.1 Western Music in Korea…………………………………………………………….1

1.1.1 First generation…………………………………………………………...2

1.1.2 Second generation……………………………………………………….3

1.1.3 Third generation………………………………………………………….4

1.2 Unsuk Chin...............................................................................................................5

2.2 The Framework of Scenes.................................................................................8

3. An Analysis of Alice in Wonderland…………………………………………………..……11

3.2 Scene II…………………………………………………………………………………...16

3.3 Scene III………………………………………………………………………………….23

3.4 Interlude I……………………………………………………………………………….25

3.5 Scene IV…………………………………………………………………………….…….26

3.6 Scene V…………………………………………………………………………………...29

3.7 Scene VI………………………………………………………………………………….33

3.8 Interlude II……………………………………………………………………………...36

3.9 Scene VII…………………………………………………………………………………39

3.10 Scene VIII…………………………………………………………………………...…42

Appendix A: Consent Letter from Boosey & Hawkes, Inc…………………………...49

Figure 2.1 Synopsis of Alice in Wonderland…………………….…………………………...9

Figure 3.1 Scene I, mm. 17-19………………………………………...……………...…………12

Figure 3.2 Scene I, m. 59………………………………...…………………………………….…..12

Figure 3.3 Scene I, mm. 34-35…………………………...…………………………………...…13

Figure 3.4 Scene I, mm. 36-39………………………...…………………………………...……14

Figure 3.5 Scene I, mm. 49-52……………………………...……………………………...……14

Figure 3.6 Scene I, mm. 76-79……………………………...…………………………….……..15

Figure 3.7 Scene I, mm. 67-69………………………………...………………………...………16

Figure 3.8 Scene II, mm. 130-133…………………………...………………………….……..17

Figure 3.9 Scene II, mm. 167-169………………...……………………………………..…….18

Figure 3.10 Scene II, mm. 143-154………………...……………………….…………..…….19

Figure 3.11 Scene II, mm. 138-149……………………………………………………………20

Figure 3.12 Scene II, mm.256-261………………………………………………….…………21

Figure 3.13 Scene II, mm. 892-894……………………………………….…………………..22

Figure 3.14 Scene III, mm. 977-982………………………………………….………..……..24