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{{Short description|Korean and German composer (1917–1995)}}
{{Use dmy dates|date=October 2020}}
{{Infobox musical artist
| honorific_prefix  = 
| name              = Isang Yun
| honorific_suffix  = 
| image             = Yun Isang.jpg
| image_upright     = 
| image_size        = 
| landscape         = yes
| alt               = 
| caption           = 
| background        = non_vocal_instrumentalist
| native_name       = 윤이상
| native_name_lang  = kor
| birth_name        = 
| alias             = 
| birth_date        = {{Birth date|df=y|1917|09|17}}
| birth_place       = [[Sancheong|Sansei]], [[Korea under Japanese rule|Korea, Empire of Japan]]
| origin            = 
| death_date        = {{Death date and age|df=y|1995|11|03|1917|09|17}}
| death_place       = [[Berlin]], [[Germany]]
| genre             = [[Korean music|Traditional korean music]], [[Avant-garde music]]
| occupation        = Composer
| instrument        = Cello
| years_active      = 1935–1995
| label             = 
| website           = 
| module            = 
| module2           = 
| module3           = 
}}
{{Infobox Korean name/auto
|hangul=%윤이상
|hanja=尹伊桑
}}

'''Isang Yun''', or '''Yun I-sang''' ({{Korean|hangul=윤이상}}; 17 September 1917 – 3 November 1995),<ref>{{Cite Grove |author=H. Kunz|title=Yun, Isang|doi=10.1093/gmo/9781561592630.article.30747|year=2001}}</ref><ref name="Boosey & Hawkes 2021_3">{{cite web | title=Isang Yun: Biography | website=Boosey & Hawkes | date=23 September 2021 | url=https://boosey.com/pages/cr/composer/composer_main?composerid=2698&ttype=BIOGRAPHY | access-date=12 December 2021}}</ref> was a Korean-born [[composer]] who made his later career in West Germany.

== Early life and education ==
Yun was born in [[Sancheong]] (Sansei), [[Korea under Japanese rule|Korea]] in 1917, the son of poet [[Yun Ki-hyon]]. His family moved to [[Tongyeong]] (Tōei) when he was three years old.<ref>{{cite web |last=Im |first=Hyoungjin |date=December 2017 |title=Ein grenzüberschreitender Nomade |url=https://www.goethe.de/ins/kr/de/kul/mag/21119065.html |work=Goethe-Institut Korea |location=München |language=de |access-date=16 February 2018}}</ref> He began to study violin at the age of 13 whereupon he composed his first melody. Despite his father's opposition to pursuing a career in music, Yun began formal music training two years later with a violinist in a military band in [[Keijō]] (present day [[Seoul]]). Eventually his father relented once Yun agreed to enroll in a business school while continuing his musical studies. In 1935 Yun moved to Osaka where he studied cello, music theory, and composition briefly at the [[Osaka College of Music]]. He soon returned to Tongyeong where he composed a "Shepherd's Song" for voice and piano. In 1939 Yun traveled again to Japan, this time to [[Tokyo]] in order to study under [[Tomojiro Ikenouchi]]. When the [[Pacific War]] began in December 1941, he moved back to Korea where he participated in the [[Korean independence movement]]. He was arrested for these activities in 1943 and was imprisoned for two months. Yun was interned at [[Keijō Imperial University]] Hospital for complications resulting from tuberculosis when Korea was liberated from Japanese rule in August 1945.

After the war he did welfare work, establishing an [[orphanage]] for war orphans, and teaching music in Tongyeong and [[Busan]]. After the armistice ceasing hostilities in the [[Korean War]] in 1953, he began teaching at the [[Seoul National University]]. He received the Seoul City Culture Award in 1955, and traveled to Europe the following year to finish his musical studies.

At the [[Conservatoire de Paris|Paris Conservatory]] (1956–57) he studied composition under [[Tony Aubin]] and [[Pierre Revel]], and [[West Berlin]] (1957–59), and at the Musikhochschule Berlin (today the [[Berlin University of the Arts]]) under [[Boris Blacher]], [[Josef Rufer]], and [[Reinhard Schwarz-Schilling]]. In 1958 he attended the [[Darmstädter Ferienkurse|International Summer Courses of Contemporary Music]] in [[Darmstadt]] and began his career in Europe with premieres of his ''Music for Seven Instruments'' in Darmstadt and ''Five Pieces for Piano'' in Bilthoven. The premiere of his [[oratorio]] ''Om mani padme hum'' in Hanover 1965 and ''Réak'' in Donaueschingen (1966) gave him international renown. With "Réak" he introduced the sound idea of Korean ceremonial music ({{korean|례악|禮樂|ryeak}}) as well as imitations of the East Asian mouth organ [[saenghwang]] (Korean), [[Sheng (instrument)|sheng]] (Chinese) or [[Shō (instrument)|shō]] (Japanese) into Western avant-garde music.

==Kidnapping==
From October 1959, Yun had been living in [[Krefeld]], [[Freiburg]] im Breisgau and [[Cologne]]. With a grant from the [[Ford Foundation]], he and his family settled in [[West Berlin]] in 1964. However, due to alleged acts of espionage, he was kidnapped by the South Korean secret service from West Berlin on 17 June 1967. Via [[Bonn]] he was taken to Seoul. In prison he was tortured, attempted suicide, forced to confess to espionage, threatened with the death sentence&nbsp;– and in the first instance sentenced to life imprisonment.<ref>{{cite book|last1=Fraker|first1=Sara E.|title=The Oboe Works of Isang Yun|date=2009|isbn=978-1-109-21780-3|page=27|url=https://books.google.com/books?id=uusG2TxhLYIC&pg=PA7}}</ref> A worldwide petition led by Guenter Freudenberg and Francis Travis was presented to the South Korean government, signed by approximately 200 artists, including [[Luigi Dallapiccola]], [[Hans Werner Henze]], [[Heinz Holliger]], [[Mauricio Kagel]], [[Herbert von Karajan]], [[Joseph Keilberth]], [[Otto Klemperer]], [[György Ligeti]], [[Arne Mellnäs]], [[Per Nørgård]], [[Karlheinz Stockhausen]], [[Igor Stravinsky]], and [[Bernd Alois Zimmermann]]. Yun was released on 23 February 1969, returning to West Berlin at the end of March. In 1971, he obtained German citizenship. He never returned to South Korea. From 1973 he began participating in the call for the [[Sixth Republic of South Korea|democratization of South Korea]] and the [[Korean reunification|reunification]] of the divided country.

==Teaching==
Yun taught composition at the [[Hochschule für Musik, Theater und Medien Hannover]] (1969–71) and at the [[Berlin University of the Arts|Hochschule der Künste]] in West Berlin (1977–85).

Among his students are Kazuhisa Akita, [[Jolyon Brettingham Smith]], In-Chan Choe, Conrado del Rosario, [[Raymond Deane]], Francisco F. Feliciano, Masanori Fujita, Keith Gifford, Holger Groschopp, [[Toshio Hosokawa]], Sukhi Kang, Chung-Gil Kim, Wolfgang Klingt, Erwin Koch-Raphael, [[Isao Matsushita]], Masahiro Miwa, [[Hwang-Long Pan]], [[Martin Christoph Redel]], Byong-Dong Paik, Bernfried Pröve, Takehito Shimazu, Minako Tanahashi, Masaru Tanaka, [[Michail Travlos]], Jürgen Voigt, and Michael Whticker.

After 1979 Yun returned several times to [[North Korea]] to introduce new Western composition techniques as well as his own music. In 1982, the first Isang Yun Festival took place in Pyongyang. In 1984, the Isang Yun Music Institute opened in [[Pyongyang]], [[North Korea]]. An ensemble had been founded there under his name. Yun promoted the idea of a joint concert featuring musicians from both Koreas in [[Panmunjom]], which failed in 1988, but South Korean artists could be invited to Pyongyang in 1990.

==Later life and death==
Two concerts with works of Isang Yun had been performed in Seoul (1982) by [[Heinz Holliger]], [[Ursula Holliger]], and [[Francis Travis]], later by [[Roswitha Staege]] and [[Hans Zender]]. Yun was invited to attend a festival of his music in South Korea in 1994, but the trip was broken off after internal and external conflicts. 
Yun was told by South Korean officials that to return, he would have to submit a written confession of “repentance,” which he refused.{{citation needed|date=January 2022}} On 3 November 1995, Yun died of [[pneumonia]] in [[Berlin]]. The International Isang Yun Society was founded in Berlin in February 1996.

Yun has often been criticized for his "pro-North Korean activities", i.e. musical activities in North Korea, and his close ties with the [[Kim Il Sung]] regime. [[Oh Kil-nam]] has said that Yun persuaded him to relocate to North Korea with his family.<ref>{{cite web | title= Tongyeong split over composer Yun| work=[[The Korea Times]] |date=31 October 2011| url= https://www.koreatimes.co.kr/www/news/nation/2011/11/117_97708.html| access-date=2 November 2011}}</ref> When Oh's wife [[Shin Suk-ja]] and her little daughters were imprisoned in [[Yodok concentration camp|Yodok camp]], Yun helped them and took photos and a tape from North Korea to Berlin.

==Music==
Yun's primary musical concern was the fusion of traditional [[Korean music]] through Western avant garde musical techniques. After experimenting with [[Twelve-tone technique|12-tone techniques]] Yun developed his own musical personality beginning in his post-serialistic "sound compositions" of the early 1960s. Yun's music employed techniques associated with traditional Korean music, such as glissandi, pizzicati, portamenti, vibrati, and above all a very rich vocabulary of ornaments. Essential is the presence of multiple-melodic lines, which Yun called "Haupttöne" ("central" or "main tones").

Yun's composition for symphonic forces started with "sound compositions", i.e. of works in which homogeneous sound planes are articulated and elaborated: ''Bara'' (1960) until ''Overture'' (1973; rev. 1974). A period of discursively structured instrumental concertos followed, beginning with the Concerto for Violoncello and Orchestra (1975–76) and climaxing with the Violin Concerto No. 1 (1981). From 1982 until 1987 he wrote a cycle of five [[symphony|symphonies]], which are interrelated, yet varied structurally. Striving for freedom and peace is above all Symphony V for high baritone and large orchestra (1987) with texts by [[Nelly Sachs]]. In 1984, he developed also a new, intimate "tone" in his chamber music.{{Explain|date=December 2020}}

At that time peace and reconciliation on the Korean Peninsula was his political goal. His lifelong concern with his native country and culture was expressed in several of his compositions, including the orchestral piece ''Exemplum in Memoriam Kwangju'' (1981) which he composed in memory of the [[Gwangju massacre]], ''Naui Dang, Naui Minjokiyo!'' (My Land, My People) for soli, chorus and orchestra (South Korean poets, 1987), and ''Angel in Flames'' (Engel in Flammen) for orchestra, with ''Epilogue'' for soprano, women's choir and five instruments (1994). Otherwise Yun himself stated often that he was not a political composer but only following the voice of his conscience.

In both Europe and the United States, Yun developed a strong reputation as a composer of avant-garde music, assigned those signature elements of traditional Korean musical technique. The technical as well a stylistic difficulties of performing his very elaborate and ornamental music are considered formidable.{{Citation needed|date=December 2020}}

==Memberships and awards==
* Culture Prize of the City of [[Seoul]] (1956)<ref name="Akademie der Künste, Berlin" />
* Member (1968) and Honorary Member (1992) of the [[Freie Akademie der Künste Hamburg]]<ref name="Boosey & Hawkes 2021" />
* Member (1973) of the [[Academy of Arts, Berlin]]<ref name="Akademie der Künste, Berlin">{{cite web | title=Yun | website=Akademie der Künste, Berlin | url=https://www.adk.de/de/akademie/mitglieder/index.htm?we_objectID=52563 | language=de | access-date=12 December 2021}}</ref>
* {{ill|Kultur- und Wissenschaftspreis der Stadt Kiel|de}} (1969)<ref>{{Cite web|url=https://www.kiel.de/de/kultur_freizeit/preise/kultur_und_wissenschaftspreis.php|title=Träger*innen des Kieler Kultur- und Wissenschaftspreises|website=www.kiel.de|accessdate=12 December 2021}}</ref>
* Commander's Cross of the [[Order of Merit of the Federal Republic of Germany]] (1988)<ref name="Boosey & Hawkes 2021" />
* [[Goethe Medal]] (1995)<ref name="Boosey & Hawkes 2021">{{cite web | title=Isang Yun Timeline | website=Boosey & Hawkes | date=23 September 2021 | url=https://boosey.com/pages/cr/composer/timeline?site-lang=de&composerid=2698 | language=de | access-date=12 December 2021}}</ref>

==Works==
All compositions are published by Bote & Bock / Boosey & Hawkes, Berlin.<ref name="Boosey & Hawkes 2021_2">{{cite web | title=Boosey & Hawkes Composers, Classical Music and Jazz Repertoire | website=Boosey & Hawkes | date=23 September 2021 | url=https://boosey.com/cr/catalogue/ps/powersearch_results?composerid=2698 | access-date=12 December 2021}}</ref>

Source:<ref name="Akademie der Künste, Berlin" />

;Operas
* ''Der Traum des Liu-Tung'' (1965)
* ''Die Witwe des Schmetterlings'' (''Butterfly Widow'') (1967/68)
* ''Geisterliebe'' (1971)
* ''Sim Tjong'' (1971/72), written for the Olympics in Munich, with [[William B. Murray]]

;Vocal / Choral
* ''Om mani padme hum'' for soli, choir and orchestra (1964)
* ''Ein Schmetterlingstraum'' for choir and percussion (1968)
* ''Vom Tao'' for choir, organ and percussion (1972/88)
* ''Memory'' for three voices and percussion (Du Mu, 1974)
* ''An der Schwelle'' for barione, women choir, organ and ensemble (Albrecht Haushofer, 1975)
* ''Der weise Mann'' for baritone, choir and small orchestra (1977)
* ''Der Herr ist mein Hirte'' for trombone and choir (Psalm 23 / Nelly Sachs, 1981)
* ''O Licht...'' for violin and choir (Buddhism / Nelly Sachs, 1981)
* ''Naui Dang, Naui Minjokiyo!'' (My Land, My People) for soli, orchestra and choir (South Korean poets, 1987)
* ''Engel in Flammen. Memento and Epilogue'' for orchestra, soprano, and women choir (1994)
* ''Epilogue'' for soprano, women choir, and five instruments (1994)

;Orchestral
* Symphonies
** Symphony No. 1 in four movements (1982/83)
** Symphony No. 2 in three movements (1984)
** Symphony No. 3 in one movement (1985)
** Symphony No. 4 ''Im Dunkeln singen'' in two movements (1986)
** Symphony No. 5 for high baritone and orchestra in five movements (Nelly Sachs, 1987)
** Chamber Symphony No. 1, for 2 oboes, 2 horns, and strings (1987)
** Chamber Symphony No. 2 ''Den Opfern der Freiheit'' (1989)
* ''Bara'' for orchestra (1960)
* ''Symphonic Scene'' for large orchestra (1960)
* ''Colloïdes sonores'' for strings (1961)
* ''Fluktuationen'' for large orchestra (1964)
* ''Réak'' for large orchestra (1966)
* ''Dimensionen'' for orchestra and organ (1971)
* ''Konzertante Figuren'' for small orchestra (1972)
* ''Harmonia'' for 16 winds, harp & percussion (1974)
* ''Muak'' for large orchestra (1978)
* ''Exemplum in memoriam Kwangju'' for large orchestra (1981)
* ''Impression'' for small orchestra (1986)
* ''Mugung-Dong (Invocation)'' for winds, percussion and double bass (1986)
* ''Tapis'' for string orchestra (1987)
* ''Konturen'' for large orchestra (1989)
* ''Silla'' for orchestra (1992)

;Concertos
* Violin Concerto No. 1 (1981)
* Violin Concerto No. 2 (1983–1986)
* Violin Concerto No. 3 (1992)
* Cello Concerto (1975/76)
* Flute Concerto (1977)
* Clarinet Concerto (1981)
* Double Concerto for Oboe, Harp, and Chamber Orchestra (1977)
* ''Fanfare and Memorial'' for orchestra with harp and flute (1979)
* ''Gong-Hu'' for harp and strings (1984)
* ''Duetto concertante'' for oboe, English horn, and strings (1987)
* Concerto for Oboe (Oboe d'amore) and Orchestra (1990)

;Chamber (seven and more players) / Ensemble
* ''Music for Seven Instruments'' (1959)
* ''Loyang'' for ensemble (1962)
* ''Pièce concertante'' for ensemble (1976)
* ''Oktett'' for clarinet (bass clarinet), bassoon, horn & string quintet (1978)
* ''Distanzen'' for ten players (woodwind & string quintets) (1988)
* ''Kammerkonzert No. 1'' (1990)
* ''Kammerkonzert No. 2'' (1990)
* ''Wind Octet with double bass'' (1991)

;For one instrument
* ''Five Pieces for Piano'' (1958)
* ''Shao Yang Yin'' for cembalo or piano (1966)
* ''Tuyaux sonores'' for organ solo (1967)
* ''Glissées'' für violoncello solo (1970)
* ''Piri'' for oboe solo (1971)
* ''Etudes I-V'' for flute(s) solo (1974)
* ''Fragment'' for organ (1975)
* ''Koenigliches Thema'' for violin solo (1976)
* ''Salomo'' for alto flute solo (1977/78)
* ''Interludium A'' for piano (1982)
* ''Monolog'' for bass clarinet (1983)
* ''Monolog'' for bassoon solo (1983/84)
* ''Li-Na im Garten''. Five Pieces for Violin solo (1984/85)
* ''In Balance'' for harp solo (1987)
* ''Kontraste''. Two Pieces for Violin solo (1987)
* ''Sori'' for flute solo (1988)
* ''Chinesische Bilder''. Four Pieces for Flute or Recorder solo (1993)
* ''Seven Etudes'' for Violoncello solo (1993)

;For two instruments
* ''Garak'' for flute and piano (1963)
* ''Gasa'' for violin and piano (1963)
* ''Nore'' for violoncello and piano (1964)
* ''Riul'' for clarinet and piano (1968)
* ''Duo'' for viola & piano (1976)
* ''Espace I'' for violoncello & piano (1992)
* ''Inventionen'' for 2 oboes (1983)
* ''Inventionen'' for 2 flutes (1983; arr. 1984)
* ''Sonatina'' for 2 violins (1983)
* ''Duo'' for cello & harp (1984)
* ''Intermezzo'' for cello & accordion (1988)
* ''Contemplation'' for 2 violas (1988)
* ''Rufe'' for oboe & harp (1989)
* ''Together'' for violin & double bass (1989)
* ''Sonata for violin & piano'' (1991)
* ''Ost-West-Miniaturen I-II'' for oboe & violoncello (1994)

;For three instruments
* ''Gagok'' for voice, guitar & percussion (1972)
* ''Trio'' for flute, oboe & violin (1972/73)
* ''Piano trio'' (1972/75)
* ''Rondell'' for oboe, clarinet and fagott (1975)
* ''Sonata'' for oboe (oboe d'amore), harp, and  violoncello (or viola) (1979)
* ''Rencontre'' for clarinet, cello & piano (or harp) (1986)
* ''Pezzo fantasioso'' for two (melody) instruments and bass instrument ad libitum (1988)
* ''Trio'' for clarinet, bassoon & horn (1992)
* ''Espace II'' for oboe, cello & harp (1993)

;Four instruments
* ''String Quartet No. 3'' in three movements (1959)
* ''Images'' for flute, oboe, violin, and violoncello (1968)
* ''Novellette'' for flute and harp with violin and violoncello (1980)
* ''Quartet'' for flutes (1986)
* ''Quartet'' for flute, violin, violoncello & piano (1988)
* ''String Quartet No. 4'' in two movements (1988)
* ''Quartet'' for horn, trumpet, trombone & piano (1992)
* ''String Quartet No. 5'' in one movement (1990)
* ''String Quartet No. 6'' in four movements (1992)
* ''Quartet for oboe and string trio'' (1994)

;Five instruments
* ''Concertino'' for accordion & string quartet (1983)
* ''Clarinet Quintet No. 1'' for clarinet and string quartet (1984)
* ''Flute Quintet'' for flute and string quartet (1986)
* ''Tapis'' for string quintet (1987)
* ''Festlicher Tanz'' for wind quintet (1988)
* ''Woodwind Quintet I and II'' (1991)
* ''Clarinet Quintet No. 2'' (1994)

== See also ==
* [[Koreans in Germany]]
* [[List of 20th century classical composers]]
* [[Tongyeong International Music Festival]]
* [[Isang Yun Competition]]

==Notes==
{{Reflist}}

== Essential Bibliography ==
* Hinrich Bergmeier (ed.): ''Isang Yun. Festschrift zum 75. Geburtstag 1992.'' Bote & Bock, Berlin 1992. contains: Walter-Wolfgang Sparrer: ''Identität und Wandel. Zu den Streichquartetten III-VI.'' {{pp.|28|57}}.
* Ae-Kyung Choi: ''Einheit und Mannigfaltigkeit. Eine Studie zu den fünf Symphonien von Isang Yun.'' (= ''Berliner Musik Studien.'' Volume 25). Studio Verlag, Sinzig 2002.
* Insook Han: ''Interkulturalität in der neuen Musik Koreas. Integration und Hybridität in der Musik von Isang Yun und Byungki Hwang.'' (''Studien zur Musikwissenschaft.'' Volume 23). Dissertation, Universität Graz 2009, Verlag Dr. Kovac, Hamburg 2011.
* [[Hanns-Werner Heister]], Walter-Wolfgang Sparrer (eds.): ''Der Komponist Isang Yun.'' edition text + kritik, München 1987. (contains more than 30 articles on Isang Yun, Isang Yun's Salzburg conference „Über meine Musik“, a chronology of Yun's works, bibliography, discography). – Korean Edition: Hang’il, Seoul 1991. – Italian edition: ''Isang Yun. Musica nello spirito del Tao.'' Ricordi, Milan 2007.
* Keith Howard: ''Music across the DMZ'', in John Morgan O’Connell, Salwa El-Shawan Castelo-Branco (eds.): ''Music in Conflict.'' University of Illinois Press, Indiana 2010, S. 67–88.
* Kunz, H.: "Yun, Isang" at [http://www.grovemusic.com/ Grove Music Online] {{Webarchive|url=https://web.archive.org/web/20080516041031/http://www.grovemusic.com/ |date=16 May 2008 }}
* [[Jürgen Maehder]], ''Konvergenzen des musikalischen Strukturdenkens. Zur Geschichte und Klassifizierung der Klangfelder in den Partituren Isang Yuns'', in: ''Musiktheorie'', 7/1992, pp.&nbsp;151–166.
* ''MusikTexte.'' Nr. 62/63. Köln, Januar 1996 (contains 17 articles on Yun).
* Luise Rinser, Isang Yun: ''Der verwundete Drache. Dialog über Leben und Werk des Komponisten Isang Yun.'' S. Fischer, Frankfurt 1977.
* [[Gesine Schröder]]: ''… fremden Raum betreten. Zum Europäischen in Yuns Musik.'' Hochschule für Musik und Theater „Felix Mendelssohn Bartholdy“, Leipzig 2001/2011. [http://nbn-resolving.de/urn:nbn:de:bsz:14-qucosa-77518 (online)]
* Walter-Wolfgang Sparrer: ''Isang Yun.'' In: Hanns-Werner Heister, Walter-Wolfgang Sparrer (eds.): ''[[Komponisten der Gegenwart]].'' edition text + kritik, München 1992ff.
* Walter-Wolfgang Sparrer/Hanns-Werner Heister(eds.): ''Der Komponist Isang Yun'', Edition text + kritik, 2. edition Munich 1992.
* Walter-Wolfgang Sparrer (eds.): ''Ssi-ol. Almanach 1997 der Internationalen Isang Yun Gesellschaft e. V.'' Berlin 1997.
* Walter-Wolfgang Sparrer (eds.): ''Ssi-ol. Almanach 1998/99 der Internationalen Isang Yun Gesellschaft e. V.'' edition text + kritik, München 1999.
* Walter-Wolfgang Sparrer (eds.): ''Ssi-ol. Almanach 2000/01 der Internationalen Isang Yun Gesellschaft e. V.'' edition text + kritik, München 2002.
* Walter-Wolfgang Sparrer (eds.): ''Ssi-ol. Almanach 2002/03 der Internationalen Isang Yun Gesellschaft e. V.'' edition text + kritik, München 2004.
* Walter-Wolfgang Sparrer (eds.): ''Ssi-ol. Almanach 2004/09 der Internationalen Isang Yun Gesellschaft e. V.'' edition text + kritik, München 2009.
* Walter-Wolfgang Sparrer: ''„Im Dunkeln singen …“ Luise Rinser und Isang Yun'', in: José Sánchez de Murillo/Martin Thurner (eds.): ''Aufgang. Jahrbuch für Denken – Dichten – Musik'', vol 9, Kohlhammer, Stuttgart 2012, pp.&nbsp;104–121.
* Ilja Stephan: ''Isang Yun. Die fünf Symphonien'', edd. Heinz-Klaus Metzger/Rainer Riehn, Edition text + kritik, München  2000 (= ''Musik-Konzepte'', vol. 109/110).
* Shin-Hyang Yun: ''Zwischen zwei Musikwelten. Studien zum musikalischen Denken Isang Yuns.'' Königshausen & Neumann, Würzburg 2002.

== External links ==
* [http://www.yun-gesellschaft.de Internationale Isang Yun Gesellschaft e. V., Berlin]
* [http://www.bruceduffie.com/yun.html Isang Yun interview], July 1987
* [https://web.archive.org/web/20120311045119/http://www1.korea-np.co.jp/pk/222th_issue/2005102908.htm The People's Korea "Isang Yun − His Music and Methods of Expression"]

{{Portal bar|Classical music|Opera|South Korea|Biography|Music}}
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{{DEFAULTSORT:Yun, Isang}}
[[Category:1917 births]]
[[Category:1995 deaths]]
[[Category:People from South Gyeongsang Province]]
[[Category:20th-century classical composers]]
[[Category:Korean composers]]
[[Category:South Korean opera composers]]
[[Category:German people of Korean descent]]
[[Category:Kidnapped South Korean people]]
[[Category:South Korean emigrants to Germany]]
[[Category:German male classical composers]]
[[Category:String quartet composers]]
[[Category:20th-century male composers]]
[[Category:Berlin University of the Arts alumni]]
[[Category:Members of the Academy of Arts, Berlin]]
[[Category:Commanders Crosses of the Order of Merit of the Federal Republic of Germany]]
[[Category:Recipients of the National Reunification Prize]]
[[Category:Osaka College of Music alumni]]