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UCLA Electronic Theses and Dissertations UCLA UCLA Electronic Theses and Dissertations Title Musical Encounters in Korean Christianity: A Trans-Pacific Narrative Permalink https://escholarship.org/uc/item/62c747f6 Author Chang, Hyun Kyong Publication Date 2014 Peer reviewed|Thesis/dissertation eScholarship.org Powered by the California Digital Library University of California UNIVERSITY OF CALIFORNIA Los Angeles Musical Encounters in Korean Christianity: A Trans-Pacific Narrative A dissertation submitted in partial satisfaction of the requirements for the degree Doctor of Philosophy in Musicology by Hyun Kyong Chang 2014 ! ! ABSTRACT OF THE DISSERTATION Musical Encounters in Korean Christianity: A Trans-Pacific Narrative by Hyun Kyong Chang Doctor of Philosophy in Musicology University of California, Los Angeles, 2014 Professor Olivia Bloechl, Chair My dissertation examines Protestant choral music in Korea from its introduction by American missionaries in the early 20th century through its transnational diffusion and development during the Cold War and after. Drawing on recent bodies of scholarship in postcolonial studies, Asian American Studies, and East Asian Studies, as well as a mixed approach involving ethnographic, critical, and historical methods, I argue that Korean Protestant choral music played an important role in mediating the experience of modernity in modern Korea and the Korean diaspora in the U.S. I explore the development of this music practice as a hegemonic cultural formation and contextualize its privileged position in the entanglement of secular and Christian musical conceptions of modernity and nationhood—an entanglement facilitated by Korean Protestantism’s close association with trans-Pacific modernity, with the U.S. at the center of this imagination. In addition to exploring the formation of normative choral and vocal music styles in historical context, I analyze the resistance of many practitioners to the demands and ii ! claims of cross-cultural musical syncretism and consider the controversial composition of neotraditional styles, which encode embodied, contested conceptions of Korean identity within a Western-style choral musical framework. This dissertation is a dynamic study of the ways in which colonial discourse concerning voice, nation, class, and gender shapes the affective and stylistic conditions of colonial and postcolonial music practices. iii ! The dissertation of Hyun Kyung Chang is approved. Namhee Lee Helen Rees Nina Eidsheim Timothy Taylor Olivia Bloechl, Committee Chair University of California, Los Angeles 2014 iv ! This dissertation is dedicated to my family, Sung Kyun Chang, Sook Hee Kwon, and En Kyong Chang. v ! Table of Contents Figures vii Acknowledgements viii Vita xii Introduction 1 Negotiating Modernity in a Century of Suffering Chapter I 13 Confessions, Conversions: The Ideology of Protestant Hymn Singing in Korea on the Threshold of Japanese Occupation Chapter II 64 Exilic Suffering: Music, Nation, and Protestantism in Cold War South Korea Chapter III 102 Sounds of Suffering: Korean Christian Syncretism in an Age of Progress Chapter IV 170 The Impossibility of Suffering: The Ideology of Singing in the Christian Korean Diaspora Conclusion 219 Trans-Pacific Memories Appendices 228 Bibliography 231 vi ! List of Figures Figure 1.1: Alexander Harkness conducting a women’s choir in P‘yŏngyang, 1909 Figure 1.2: Hymns No. 38 and No. 93, Horace Underwood’s Ch‘anyangga, 1894 Figure 1.3: Hymn No. 10, “Korean Music or Old Hundred,” Ch‘ansongga, 1909 Figure 1.4: “Hwangje t‘ansin kyŏngch‘ukka” (Celebrating the Birthday of the Korean Emperor), 1896 Figure 1.5: “Patriotic Hymn,” Yun Ch’i-Ho’s Ch‘anmiga, 1908 Figure 1.6: Hymn No. 21, “Jesus Loves Me,” Horace Underwood’s Ch‘anyangga, 1894 Figure 2.1: Sun-nam Kim, “Haebang ŭi norae” (Liberation Song) Figure 2.2: Yŏng-sŏp Choe, “Kŭriun kŭmgangsan” (Longing for Mount Kŭmgang) Figure 2.3: Tu-wan Kim, “Sullyeja ŭi norae” (A Pilgrim’s Song), mm. 7-14 Figure 2.4: Tu-wan Kim, “Sullyeja ŭi norae” (A Pilgrim’s Song), mm. 19-27 Figure 2.5: Tu-wan Kim, “Sullyeja ŭi norae” (A Pilgrim’s Song), mm. 36-43 Fig. 3.1: Kyemyŏnjo, from Hwang, “Melodic Patterns in Korea” Fig. 3.2: P’yŏngjo, from Hwang, “Melodic Patterns in Korea” Figure 3.3: Will Thompson, “The Lord’s Garden” / “Chu ŭi tongsan ŭro,” mm. 1-8, 55-62 Figure 3.4: “Yŏnghwa ropdo da” (The Glorious), mm. 1-16 Figure 3.5: Sŭng-nam Paek, “Sŏrosarang halsu innŭn kŏn” (Why We Love One Another), mm. 22- 29 Figure 3.6: Chajinmori pattern, two typical versions, adapted from Um, “Professional Music” Figure 3.7: Chungmori pattern, one of many possible versions, adapted from Um, “Professional Music” Figure 3.8: Ŭi-jak Kim, “Yŏhowakke Kamsahara” (Give Thanks to the Lord), mm. 21-28 Figure 3.9: Ŭi-jak Kim, “Yŏhowakke Kamsahara” (Give Thanks to the Lord), mm. 9-18 Figure 3.10: Nak-p‘yo Chŏn, “Pŏpkwe rŭl megoganŭn norae” (Singing, Carrying the Covenant), mm. 1-14 Figure 3. 11: Nak-p‘yo Chŏn, “Pŏpkwe rŭl megoganŭn norae” (Singing, Carrying the Covenant), mm. 118-158 Figure 3.12: Han-jun Kim, “Hoegae wa ch‘anyang” (Penitence and Praise), mm. 8-15 Figure 3.13: Kyŏng-hwan Paek, “Yŏhowa nŭn na ŭi mokchasini” (“The Lord is My Shepherd”), mm. 13-28 Figure 3.14: Nak-p‘yo Chŏn, “Pŏpkwe rŭl megoganŭn norae” (Singing, Carrying the Covenant), mm. 148-158 Figure 3.15: Sun-se Kim, “Kŭ kil” (This Path), mm. 20-29 Figure 3.16: Chae-hun Pak, “Yahwae pŏbŭl ttaraganŭn saram dŭl” (Those Who Observe the Lord’s Law), mm. 20-27 Figure 3.17: Po-hun Kim, “Elliya ŭi hananim” (Elijah’s God), arranged by Sŏn-yŏng Paek, mm. 68- 74 Figure 4.1: Han-jun Kim, “Hoegae wa ch‘anyang” (Penitence and Praise), mm. 8-15 Figure 4.2: Jŏng-u Son, “Minjok ŭl wihan kido” (A Prayer for the Korean People), mm.34-41 Figure 4.3: Sŏng-gyun Kim, “Chunim ch‘anyang harira” (I Will Praise the Lord), mm. 26-33 vii ! Acknowledgements I was able to complete this dissertation with the financial support of the American Musicological Society Alvin H. Johnson AMS-50 Fellowship, the UCLA Asia Institute Hiroshi Wagatsuma Fellowship, the UCLA Humanities Division, and the UCLA Graduate Division. I feel lucky to have worked with the members of my dissertation committee; all of them are the kind of scholar and teacher I hope to become. Olivia Bloechl, my dissertation advisor, guided my exciting intellectual journey in graduate school. Her mind-blowing seminars on historiography, postcolonialism, and ethics and her inspiring scholarship enabled me to consider many of the ideas I explored in this dissertation. Olivia gave me crucial advice on how to move forward at all stages of my dissertation project and in so many dimensions and aspects, in addition to supporting me with her unrelenting commitment to my work. I thank her for devoting many hours to reading multiple drafts of each and every chapter and for helping me strengthen my theses with her incisive comments. Olivia also facilitated my writing-intensive phase with her nurturing, sympathetic, and patient mentorship. I feel privileged to have worked with her. Other committee members have also made invaluable contributions to my dissertation. Tim Taylor’s seminars challenged me to open my thought to interdisciplinary directions early on. While I was drafting the dissertation Tim was my ideal reader. I could always count on Tim to read my chapters carefully and with a critical eye towards theory; and his critique always helped me make improvements. I thank him for being a sincere, kind mentor. Nina Eidsheim brought her unique positive energy and her contagious enthusiasm into my dissertation project and scholarly life. Through independent study, meetings, and her scholarship, Nina has inspired me to attempt what she does so well—balancing rigor with creativity. I also thank her for her perceptive comments on my chapter drafts and her dedicated mentorship. I am also grateful to Helen Rees. She offered me the kind of advice that only an experienced ethnomusicologist and East Asianist viii ! can give—and often with her distinctive sense of humor and graciousness. It was through her seminars and her mentorship that I was able to work on certain pragmatic—and crucial—aspects of being a scholar and teacher. Last but not least, I am very happy that I was able to work with Namhee Lee, whose work on modern Korean history I have considered a model for my own. I will never forget the day I went to her undergraduate class as the course’s research assistant, about three months before I finished this dissertation. She “expelled” me from her class, reassuring me that she can take of the class and telling me that I should have more time to write. I also benefitted from her expert knowledge of modern Korean history, especially during the revision stages. I am also grateful to professors in UCLA Musicology. In particular, I thank Bob Fink, Elisabeth Le Guin, Tamara Levitz, and Elizabeth Upton for their guidance and encouragement throughout graduate school years. I thank Ray Knapp for his extraordinary mentorship, which began during my very first year in graduate school. In particular, I will always remember Ray’s selfless assistance with my Zoppo project, which ended up becoming part of this dissertation. I would like to acknowledge a number of scholars elsewhere. Neal Zaslaw, my undergraduate advisor, encouraged me to pursue my senior thesis further through graduate education and followed my post-undergrad scholarly path enthusiastically. My interactions with Neal will always have a special place in my heart. I feel extremely lucky to have met Kyung Chan Min at the Korea National University of Arts during my time in Seoul. My first meeting with him in January 2011 dispelled whatever anxiety I had walking into the office of a renowned Korean musicologist.
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