UCLA

The term ‘Extended Vocal Technique’ (EVT) has evolved significantly since the late 20th century, shaped by musicians and scholars. This concept challenges traditional vocal boundaries and fosters innovative performance practices. This dissertation explores EVT’s development and integration into choral compositions through experimental notation, analyzing seminal works to highlight its transformative impact. Additionally, the research focuses on recontextualizing traditional Korean singing, particularly Pansori, within the EVT framework, demonstrating its unique contributions to multicultural choral compositions.Accessing non-Western traditional singing techniques solely via sheet music without additional performance practice descriptions is challenging. Choir directors often hesitate to embrace these compositions due to difficulties in preserving traditional techniques. This underscores the

intricate relationship between musical notation and the nuanced execution of singing techniques. Considering this point, this dissertation positions Korean singing techniques within the EVT framework, demonstrating their effective integration into multicultural compositions. It proposes a method for notating Korean traditional singing techniques using innovative practices from Western contemporary composers. This approach captures the unique vocal nuances of Korean traditional music, facilitating their preservation and interpretation in a multicultural context. While the International Phonetic Alphabet (IPA) offers a standardized system for representing the sounds of spoken language, it has limitations in capturing the subtle nuances, cultural inflections, and unique vocal qualities of languages. Nevertheless, it is used as a tool to approximate the pronunciation of each language as closely as possible and serves as the most widely accepted method for facilitating the pronunciation of foreign languages. Similarly, EVT may not perfectly replicate traditional singing sounds authentically, but by recontextualizing traditional singing techniques within EVT, it serves as a vehicle to make these techniques more accessible to Western musicians. The system and connections established in this study do not constitute the sole method for performing Korean traditional music. Instead, they function as a template for integrating non-traditional sounds into multicultural compositions. By providing a structured yet adaptable framework and bridging Eastern and Western musical systems, this approach allows performers to interpret Korean traditional music in a format familiar to Western-trained musicians. It empowers performers to explore and interpret diverse vocal traditions, fostering a more inclusive and innovative musical environment.