DOCSLIB.ORG

University of Cincinnati

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
University of Cincinnati UNIVERSITY OF CINCINNATI Date:___________________ I, _________________________________________________________, hereby submit this work as part of the requirements for the degree of: in: It is entitled: This work and its defense approved by: Chair: _______________________________ _______________________________ _______________________________ _______________________________ _______________________________ A Study of a Modern Clarinet Work, Song in the Dusk I for Solo Clarinet by Geonyoung Lee: Focused on the Comparison with Sangryungsan (Korean Traditional Solo Piri Piece) through Musical Style and Performance Practice A Document Submitted to the Division of Graduate Studies and Research University of Cincinnati In partial fulfillment of the Requirements for the degree of DOCTOR OF MUSICAL ARTS In the Performance Studies Division of the College-Conservatory of Music 2006 by Haisun Lee B.A., Korea University, 1994 B.M., Korean National University of Arts, 1998 M.M., Korean National University of Arts, 2000 A.D., University of Cincinnati, 2004 Committee Chair: Prof. Richie Hawley ABSTRACT We are entering an age of globalization. All elements of the world are coming closer together, and this is no exception to the world of music. Traditional Eastern and Western music are distinctive and different in characteristic and style. However, composers have started to crossover these differences by exploring Eastern and Western musical aspects in their compositions. This crossover is observed in Korea today. Many Korean composers have incorporated the elements of Korean and Western tradition in their compositions through various methods. Today, this style of music is no longer perceived as a new musical trend. It is rather situating itself as a new genre of the twenty- first century in the history of Western music. The purpose of this document is to introduce a new clarinet work, Song in the Dusk I for solo clarinet, which incorporates the elements of Korean traditional music and Western music, and to demonstrate how the composer, Geonyoung Lee, have absorbed the musical elements of Sangryungsan (Korean traditional woodwind instrumental solo piece) in his composition, Song in the Dusk I, using his unique musical language. This document is organized into three parts. The first part provides a biography of Geonyoung Lee, brief background of the creation Song in the Dusk I, and influence of the Korean traditional music. The second part analyzes Song in the Dusk I, focusing on the comparative study with Sangryungsan through the musical style, such as melody, rhythm, form, mode, in order to demonstrate the evidence that Song in the Dusk I is based on Sangryungsan, and understand how Lee has attempted to make a his unique musical language in Song in the Dusk I from Sangryungsan. The third part compares with the piri 1 in Sangryungsan and the clarinet in Song in the Dusk I through performance practice via vibrato, registers ornamentation, tempi, and dynamics. The conclusion provides summarizing observation of this study and reviews how Geonyoung Lee approaches the fusion style of music of Korean and Western in Song in the Dusk I from Sangryungsan. 2 3 ACKNOWLEDGEMENTS I wish to express my appreciation to University of Cincinnati professors, Richie Hawley, Wonbin Yim, and Sandra Rivers for their assistance, and to Geonyoung Lee for allowing his Song in the Dusk I to be used in this study. Special thanks go to my teachers Ronald de Kant and Kwangho Oh, who respectively reside in the United States and Korea, for without their encouragement and support; I would never have been able to pursue my dream to study music. I would like to show my appreciation to my friend at the University of Cincinnati, Dale Kim, who most importantly pointed out numerous errors in my writing. I would also like to thank the help of my best friend, Soonbok Kee, who has supported me while studying at the University of Cincinnati. Lastly, I deeply appreciate and thank my family for their constant love and support throughout my graduate studies. Special thanks to my parents, Dr. Youngrok Lee and Myungsuk Jo, and my oldest brother, Dr. Sanghyun Lee, for their endless support and encouragement in my life. 4 TABLE OF CONTENTS 1. INTRODUCTION ……………………………………………………………….7 2. SONG IN THE DUSK I …………………………………………………………10 Geonyoung Lee (b.1947) and his music …………………………………………12 Kwangho Oh (b.1947) ……………………………………………………….......13 Sangryungsan ……………………………………………………………………15 Influence of Korean traditional music……………………………..…………….16 3. COMPARATIVE STUDY OF SANGRYUNGSAN AND SONG IN THE DUSK I THROUGH MUSICAL STYLE Melody …………………………………………………………………………..19 Rhythm………………………………………………………………………….. 25 Form ……………………………………………………………………………. 27 Mode …………………………………………………………………………….29 4. COMPARATIVE STUDY OF THE PIRI IN SANGRYUNGSAN AND THE CLARINET IN SONG IN THE DUSK I THROUGH PERFORMANCE PRACTICE Vibrato ………………………………………………………………………....32 Register ………………………………………………………………………...34 Ornamentation …………………………………………………………………35 Tempo ………………………………………………………………………….37 Dynamics ………………………………………………………………………39 5 5. CONCLUSION……………………………………………………………….41 6. BIBLIOGRAPHY …………………………………………………………….44 APPENDIX A SCORE OF SONG IN THE DUSK I………………………….…...49 APPENDIX B SCORE OF SANGRYUNGSAN …………………………………..55 6 INTRODUCTION Ever since several Western composers were inspired by Eastern traditional cultures in the 1960s, many Korean composers began to write music in a new style which combined the elements of Korean traditional music and Western music. This new style of music has become the mainstream in the age of globalization. Today, this style of composition is no longer perceived as a new musical trend. It is rather situating itself as one of the significant musical genres of the twenty-first century in the history of Western music. When this new composition started to surface in Korea, it was mainly incorporated and explored exclusively by composers while performers were more concerned with imitating and modeling only Western music. However, the death of Isang Yun (1917–95) in the mid 1990s, the first internationally renowned modern Korean composer to express East-Asian philosophy and music through a Western musical idiom, brought about interests of this genre to new composers and performers. As a direct result of this interest, the Contemporary Musical Ensemble, Sori (sound), was founded in 2001. In addition, the inclusion of a contemporary work by a modern Korean composer in performers’ solo recitals became a major trend in Korean musical society. This shift of interest towards the genre has provided me with intellectual inspiration. Exploring the subject further, I have come across several intriguing modern clarinet works that merges traditional Korean and Western music. Among which, I am particularly interested in studying, Song in the Dusk I (1997) by Geonyoung Lee (b. 1947). 7 Numerous articles and publications regarding these types of compositions are easily accessible today. Most of these findings examine violin, flute, and piano pieces, focusing on the influence of Korean traditional music. Thus far however, there has been no comparative study between Korean traditional music and a contemporary clarinet work by a Korean composer. Also no approaches have been made to address the performance practice issues of piri, and clarinet. Such comparison study is what I aim to accomplish with Geonyoung Lee’s Song in the Dusk I and Sangryungsan (Korean traditional solo piri piece) The purpose of this study is to introduce the new clarinet work, which combines the elements of Korean traditional music and Western music. I will examine how the composer, Geonyoung Lee, incorporated the materials of Korean and Western tradition and, attempted to make new Korean musical language, through the comparative study of Song in the Dusk I and Sangryungsan. This document will be organized into three parts. The brief background of the creation of Song in the Dusk I will be discussed in the first part. I’ll provide the brief biographies of Geonyoung Lee and his colleague, Kwangho Oh, and shortly mention about Sangryungsan. Also, I’ll consider the general influence of Korean traditional music into Song in the Dusk I. The second part will compare each piece’s musical style, such as melody, rhythm, form, rhythm. The focus of the second part is to explore how Geonyoung Lee recreated his unique style in Song the Dusk I, using traditional musical elements of Sangryungsan. I’ll consider the aspect of philosophy and aesthetic of Korean traditional Music. The third part will compare the piri in Sanryungsan and the clarinet in 8 Song in the Dusk I through the performance practices via vibrato, registers, ornamentation, tempi, and dynamics. 9 2. SONG IN THE DUSK I Today, Western-trained Korean composers have written a number of the clarinet works which combine the elements of Korean traditional and Western music. As the clarinet is one of the most popular western woodwind instruments, its wide compass and rich timbre provide broad expression to absorb Korean elements in the Western manner. The tone quality in the clarinet’s low and high registers is a great way to fuse Korean and Western music. Some composers concern themselves with the sound of Korean music, thereby borrowing its characteristic features in their compositions. Some of them make such new sounds that they contain timbres of Korean traditional music in the clarinet through the application of some techniques like the glissando, flutter, wide vibrato, and multi-tones. As a result, such creative
Load more

Recommended publications
  • Vol.9 No.4 WINTER 2016 겨울
    겨울 Vol.9 No.4 WINTER 2016 겨울 WINTER 2016 Vol.9 No.4 겨울 WINTER 2016 Vol.9 ISSN 2005-0151 OnOn the the Cover Cover Lovers under the Moon is one of the 30 works found in Hyewon jeonsincheop, an album of paintings by the masterful Sin Yun-bok. It uses delicate brushwork and beautiful colors to portray a romantic mo- ment shared between a man and a wom- an. The poetic line in the center reads, “At the samgyeong hour when the light of the moon grows dim, they only know how they feel,” aptly conveying the heart-felt emo- tions of the lovers. winter Contents 03 04 04 Korean Heritage in Focus Exploration of Korean Heritage 30 Evening Heritage Promenade A Night at a Buddhist Mountain Temple Choi Sunu, Pioneer in Korean Aesthetics Jeongwol Daeboreum, the First Full Moon of the Year Tteok, a Defining Food for Seasonal Festivals 04 10 14 20 24 30 36 42 14 Korean Heritage for the World Cultural Heritage Administration Headlines 48 Sin Yun-bok and His Genre Paintings CHA News Soulful Painting on Ox Horn CHA Events Special Exhibition on the Women Divers of Jeju Korean Heritage in Focus 05 06 Cultural Heritage in the Evening Evening Heritage Promenade The 2016 Evening Heritage Promenade program opened local heritage sites to the public in the evening under seven selected themes: Nighttime Text & Photos by the Promotion Policy Division, Cultural Heritage Administration Views of Cultural Heritage, Night Stroll, History at Night, Paintings at Night, Performance at Night, Evening Snacks, and One Night at a Heritage Site.
    [Show full text]
  • Exploring Aspects of Korean Traditional Music in Young Jo Lee's
    EXPLORING ASPECTS OF KOREAN TRADITIONAL MUSIC IN YOUNG JO LEE’S PIANO HONZA NORI Jin Kim, B.M., M.M. Dissertation Prepared for the Degree of DOCTOR OF MUSICAL ARTS UNIVERSITY OF NORTH TEXAS August 2013 APPROVED: Adam Wodnicki, Major Professor Elvia Puccinelli, Committee Member Joseph Banowetz, Committee Member Steven Harlos, Chair of the Division of Keyboard Studies John Murphy, Interim Director of Graduate Studies in the College of Music James C. Scott, Dean of the College of Music Mark Wardell, Dean of the Toulouse Graduate School Kim, Jin. Exploring Aspects of Korean Traditional Music in Young Jo Lee’s Piano Honza Nori. Doctor of Musical Arts (Performance), August 2013, 29 pp., 4 tables, 9 figures, 13 musical examples, bibliography, 32 titles. Since the 1960s, several gifted Korean composers, including perhaps most notably Young Jo Lee (b. 1943), have been internationally acclaimed for their work. In Western countries, however, there has been a scarcity of academic studies examining the artistry of the music of these Korean composers. Nonetheless, as one of today’s most recognized composers in Korea, Young Jo Lee has been invited to numerous international concerts, conferences, and festivals where his works have been played and discussed. A salient feature of his compositions is the fusion of Korean traditional music and the elements of Western compositions, such as in, for one distinctive example, his piano composition, Piano Honza Nori. This musical study describes and analyzes how Lee integrates Korean traditional elements with Western musical ideas in Piano Honza Nori. Results of this study will contribute to the limited literature on the analysis of contemporary piano composition that integrates Korean traditional elements.
    [Show full text]
  • Celebrations in Korean Art During the Joseon Dynasty Pdf, Epub, Ebook
    IN GRAND STYLE : CELEBRATIONS IN KOREAN ART DURING THE JOSEON DYNASTY PDF, EPUB, EBOOK Hyonjeong Kim Han | 266 pages | 07 Jan 2014 | Asian Art Museum of San Francisco | 9780939117673 | English | San Francisco, United States In Grand Style : Celebrations in Korean Art During the Joseon Dynasty PDF Book See also: Music of Korea and Korean theatre. Collections were repeatedly printed. This Korean art book is an exploration of the Joseon Dynasty. More Information. Seller Rating:. Photo Gallery. These murals were also the very beginnings of Korean landscape paintings and portraiture. This period began circa 57 BC to AD. Neither colours nor forms had any real change, and rulers stood aside from edicts on art. Korean arts include traditions in calligraphy, music, painting and pottery, often marked by the use of natural forms, surface decoration and bold colors or sounds. If a book is heavy, over-weight, or requires a supplement to the ABE standard default shippin Asian Art Museum Store. Handscroll; ink, colors and gold on paper. Eight-panel folding screen; ink and colors on silk. The most famous art produced by Goryeo artisans was Korean celadon pottery which was produced from circa CE to CE. Under the rules of King Yeongjo reigned — and his grandson, King Jeongjo reigned — , 18th-century Korea saw political stability, active international relations, economic prosperity and cultural innovation. New Hardcover Quantity available: 2. Topics in Linguistics. It explores the meaning and obligations of kingship, the elite culture of the court and the upper class during the Joseon dynasty , and the complex roles of women in organizing and presenting elaborate celebrations, in the grandest of styles.
    [Show full text]
  • In Tune with the Ear of the Public Kayagŭm and the Status of Traditional Korean Music in the Twenty-First Century in Korea
    Situations Vol. 5 (Winter 2011) © 2011 by Yonsei University Sunghee Pak (Yonsei University) In Tune with the Ear of the Public Kayagŭm and the Status of Traditional Korean Music in the Twenty-First Century in Korea Every Thursday, I visit Gahwae-dong (Kahoe-dong) in central Seoul, a locale with many traditional Korean houses, to take my weekly kayagŭm lesson. Kayagŭm is a traditional Korean musical instrument with twelve silk strings, which dates back to A.D. 551 (Hwang, Chimhyang-moo 9). It has been several years since I first started learning it, but before I took my first lesson, I had never seen a kayaŭm, apart from a few pictures in the music text book in middle school. Many people in Korea nowadays are not familiar with their traditional musical instruments. Though kayagŭm and kŏmun’go play the most important role in any Korean ensemble, as equivalents of the violin in Western classical orchestra, not many people have seen them up close. During the 1980s and 1990s, Korean classical music experienced a revival, and there have been several attempts to inform the public about this. These attempts achieved some fruit but there are still more to be done in promoting the essence of traditional Korean music. Until the 1990s, traditional Korean music—kugak, in Korean—conveyed an image of something old, decayed, and outdated. People vaguely knew that the tradition was worth keeping, but whereas Western piano or violin were thought to be elegant, and Western pop music such as the Beatles was treated as a symbol of youth and freedom, kugak, was very far from being considered chic.
    [Show full text]
  • No. 22 How Did North Korean Dance Notation Make Its Way to South
    School of Oriental and African Studies University of London SOAS-AKS Working Papers in Korean Studies No. 22 How did North Korean dance notation make its way to South Korea’s bastion of traditional arts, the National Gugak Center? Keith Howard http://www.soas.ac.uk/japankorea/research/soas-aks-papers/ How did North Korean dance notation make its way to South Korea’s bastion of traditional arts, the National Gugak Center? Keith Howard (SOAS, University of London) © 2012 In December 2009, the National Gugak Center published a notation for the dance for court sacrificial rites (aak ilmu). As the thirteenth volume in a series of dance notations begun back in 1988 this seems, at first glance, innocuous. The dance had been discussed in relation to the music and dance at the Rite to Confucius (Munmyo cheryeak) in the 1493 treatise, Akhak kwebŏm (Guide to the Study of Music), and had also, as part of Chongmyo cheryeak, been used in the Rite to Royal Ancestors. Revived in 1923 during the Japanese colonial period by members of the court music institute, then known as the Yiwangjik Aakpu (Yi Kings’ Court Music Institute), the memories and practice of former members of that institute ensured that the music and dance to both rites would be recognised as intangible cultural heritage within the post-liberation Republic of Korea (South Korea), with Chongymo cheryeak appointed Important Intangible Cultural Property (Chungyo muhyŏng munhwajae)1 1 in December 1964 and a UNESCO Masterpiece of the Oral and Intangible Heritage in 2001, and the entire Confucian rite (Sŏkchŏn taeje) as Intangible Cultural Property 85 in November 1986.2 In fact, the director general of the National Gugak Center, Pak Ilhun, in a preface to volume thirteen, notes how Sŏng Kyŏngnin (1911–2008), Kim Kisu (1917–1986) and others who had been members of the former institute, and who in the 1960s were appointed ‘holders’ (poyuja) for Intangible Cultural Property 1, taught the dance for sacrificial rites to students at the National Traditional Music High School in 1980.
    [Show full text]
  • A Study and Performance Analysis of Selected Art Songs by Un-Yeong Na" (2010)
    Graduate Theses, Dissertations, and Problem Reports 2010 A Study and Performance Analysis of Selected Art Songs by Un- Yeong Na Min Sue Kim West Virginia University Follow this and additional works at: https://researchrepository.wvu.edu/etd Recommended Citation Kim, Min Sue, "A Study and Performance Analysis of Selected Art Songs by Un-Yeong Na" (2010). Graduate Theses, Dissertations, and Problem Reports. 2991. https://researchrepository.wvu.edu/etd/2991 This Dissertation is protected by copyright and/or related rights. It has been brought to you by the The Research Repository @ WVU with permission from the rights-holder(s). You are free to use this Dissertation in any way that is permitted by the copyright and related rights legislation that applies to your use. For other uses you must obtain permission from the rights-holder(s) directly, unless additional rights are indicated by a Creative Commons license in the record and/ or on the work itself. This Dissertation has been accepted for inclusion in WVU Graduate Theses, Dissertations, and Problem Reports collection by an authorized administrator of The Research Repository @ WVU. For more information, please contact [email protected]. A Study and Performance Analysis of Selected Art Songs by Un-Yeong Na Min Sue Kim Research Project submitted to the College of Creative Arts at West Virginia University in partial fulfillment of the requirements for the degree of Doctor of Musical Arts in Performance: Voice Dr. Kathleen Shannon, Chair and Research Advisor Professor Robert Thieme Dr. Chris Wilkinson Dr. Peter Amstutz Dr. Georgia Narsavage Division of Music Morgantown, West Virginia 2010 Keywords: Un-Yeong Na, Korean Art Song, Korean Traditional Music Copyright 2010 Min Sue Kim ABSTRACT A Study and Performance Analysis of Selected Art Songs of Un-Yeong Na Min Sue Kim Korea‘s history spans over 5,000 years.
    [Show full text]
  • Music and the Future of Pyongyang
    MUSIC AND THE FUTURE OF PYONGYANG Manju Ratna Shakya President, Nepal Journalist Association Hon. Chairman, Nepal Economic & Commerce Research Center Kathmandu, Nepal 2009 Music and the Future of Pyongyang © & Published by: Author July 2009 500 copies Printed in Nepal at: Sahayogi Press (P) Ltd. Tripureshwar, Kathmandu Tel: +97714260503 email: sahayogi @hotorchid.wlink.com.np. 1 Contents Preface........................................................................... 3 1. Philosophy on music................................................ 6 (a) A song titled "Green Pine on Nam Hill".......................9 (b) A miracle of crossing the death line with a song.......15 2. A country with many pieces of music................... 26 (a) An unusual impression .............................................27 (b) The specific aspect of Korean music ........................32 (c) Everybody can play a musical instrument.................41 3. Music-based politics............................................... 49 (a) A great man's world of music....................................50 (b) Songun music...........................................................65 (c) Korean music as seen by the world ..........................76 Conclusion .................................................................. 82 2 Preface I have already heard reports of western media on the DPRK scores of times. They released false reports that the Koreans have not emotion, but only sigh with worries about food. I want to ask the subsidized trumpeters: Have you ever been to Korea? Do you know what Koreans think of and what makes them laugh and advance? And do you know how high their cultural as well as ideological level is? You would not know, but pretend to know with an aim to set afloat false rumors. Distortion, however, can not cover truth. I have visited Korea many times. So, I believe that I know the noble traits of Koreans better than anybody else.
    [Show full text]
  • Neuzugänge Monographien
    Buchtitel Autor/Hrsg. Anm./Sig. Jahr Kogûm kagok : 18 segi chung-, huban sagok kajip (Taedong Yun, Tôk-chin [Bearb.] 2007 Munhea Yôn'gu kajip charyo ch'ongsô ; 2) Sông, Mu-gyông [Bearb.] Han'guk haebang 3 nyôn sa : 1945-1948 Yi, Wan-bôm 2007 (Munhwa-ûi ch'ang ; 7) Kkum-gwa panyôk-ûi Sirhakcha Yu Su-wôn Han, Yông-u 2007 (Yôksa sok-ûi in'gan t'amgu ; 30) T'aengniji : tangjaeng-ûi sangch'ô-rûl titko Chosôn p'alto-rûl Yi, Chung-hwan 2007 nubida Hô, Kyông-jin [Übers.] (Orae toen ch'aekpang ; 13) Han'gugô p'yojun parûm parûge ikki : KBS anaunsô-wa KBS Han'gugô Yôn'guhoe 2008 hamkke paeuda Kungmun kûlssûgi-ûi chae-t'ansaeng Kwôn, Yông-min 2006 = Rebirth of the writing in Korean script = Kwon, Young-Min Chosôn sidae ch'osanghwa ch'obon Kungnip Chungang Pangmulgwan 2007 = Portrait sketches of the Joseon period, Chobon The dawn of modern Korea : the transformation in life and Lankov, Andrei 2007 cityscape Some causes of the Korean war of 1950 So, Chin-ch'ôl = Soh, Jinchull 2007 Media, culture and Korea Choi, Jinbong 2007 Korea and Japan : the clash of worldviews, 1868 - 1876 Kim, Yongkoo 2006 The foreign deconstruction of Korean independence Shaw, Carole Cameon 2007 Sitings : critical approach to Korean geography Tangherlini, Timothy [Hrsg.] 2008 (Hawai'i studies on Korea) Yea, Sallie [Hrsg.] T'ansin 100 tol kinyôm Mudol Kim Sôn-gi sônsaeng kûlmoi Kim, Sôn-gi = Gim, Sheon-gi 2007 3 :Phonetics of Korean Marginality and subversion in Korea : the Hong Kyôngnae Kim, Sun Joo 2007 rebellion of 1812 Korean traditional landscape architecture Korean Institute of Traditional 2007 Landscape Architecture Family lineage records as a resource for Korean history : a Kang, Hildi 2007 case study of thirty-nine generations of the Sinch'ôn Kang family (720 A.D.
    [Show full text]
  • A Marginalized Music?
    32\5 "AMARGINALIZED MUSIC?" UNDERGROUND ROCK MUSIC CULTURE IN SEOUL SINCE THE MID-1990S A THESIS SUBMITTED TO THE GRADUATE DIVISION OF THE UNIVERSITY OF HAWAI'I IN PARTIAL FULFILLMENT OF THE REQUIREMENTS FOR THE DEGREE OF MASTER OF ARTS IN MUSIC MAY 2005 By Shinwon Moon Thesis Committee: Byong Won Lee, Chairperson Frederick Lau RuthHsu Abstract This thesis identifies and discusses aspects ofthe underground rock music scene formed after the mid-1990s in the Shinchon and Hongik University area of western Seoul, Korea. Although initially the Korean underground rock music was marginalized outside the mainstream of Korean popular mUSIC, its audience has gradually increased. In the 2000s, the scene is lively, active, and energetic. The study details how this Korean underground rock music culture has developed as a subculture (Hebdige) through the processes of globalization and localization (Appadurai) by examining first how the underground rock music culture has been influenced by the Western countries, including the U.S., and then how this culture creates its own social significances. III TABLE OF CONTENTS Abstract .iii List ofMusic Examples vi List ofTables vi Chapter I. Introduction 1 1. Scope and Goal ofStudy .1 2. Romanization 8 3. Research Methods 9 4. Definitions .11 5. A Short History ofPopular Music and Rock Music in Korea 14 6. The Rock Musicians in the United States and Britain in the 1990s 21 Chapter II. The Rock Music Cultures in China and Japan 29 1. Chinese Rock Music .33 2. Japanese Rock Music '" .36 3. A Comparison ofRock Music in China, Japan, and Korea 39 Chapter III.
    [Show full text]
  • Sheen Korean Music in the 19Th Century
    School of Oriental and African Studies University of London SOAS-AKS Working Papers in Korean Studies No. 12 KOREAN MUSIC IN THE 19TH CENTURY Sheen Dae-Cheol December 2009 http://www.soas.ac.uk/japankorea/research/soas-aks-papers/ SOAS-AKS Working Papers in Korean Studies, No. 12, October 2009 Korean Music in the 19 th Century Sheen Dae-Cheol The Academy of Korean Studies, Korea © 2009 I. Introduction The main currents of Korean traditional music in the 19th Century were court music, literati music, and folk music. The court music had been performed at court rituals and parties without any discontinuation as usual. The court music faithfully had carried out its duties as functional music at court rituals and parties until the end of 19th Century. The number of court music was being decreased little by little and going to be fixed in the 19th Century. The fixed number of court music in the 19th Century was nearly the same as that of today. It, however, does not mean that the then court music lost its musical meaning and energy as well. Though the number of court music of those days was going to decrease, the then court music was still boasting of its musical meaning and energy. Unlike the court music in the 19th Century, the number of literati and folk music was quite contrary. These two were going to build their new musical worlds and beauties in their unique styles at the same time. It is believed that the present musical style and form of Boheoja (ʍඓࢲ, now called Boheosa , ʍඓ͵, or Hwanghacheon g, ๣മ୿) and its variations, ๬δ), Gagok (歌曲), and Gasa ( 歌͵) of the΄ڠ) ǐ樂), Yeongsan-hoesang؛ ) Yeomilnak literati music ( 선비음악) were framed in this period.
    [Show full text]
  • Media Guide Pyeongchang 2018 Olympic Winter Games Opening Ceremony EMBARGO
    Media Guide PyeongChang 2018 Olympic Winter Games Opening Ceremony EMBARGO The information contained in this media guide is embargoed until 20:00 Seoul/Korea Time (GMT+9) 9 February 2018. Please do not disclose the information contained in the media guide until the time indicated above. About the Media Guide The media guide was compiled in two languages — Korean and English — to assist journalists reporting on the Olympic Winter Games PyeongChang 2018. The guide contains the running order of the Opening Ceremony, and information concerning the programmes in the ceremony, scene-by-scene information, performers and production team. 2 The Olympic Winter Games PyeongChang 2018 Opening Ceremony Media Guide 3 Embargo: 20:00:00 Seoul/Korea Time (GMT+9) 9 February 2018 Olympic History Korean Olympic History The ancient Olympic Games were a mixture of religion, arts, and In 1948 at the 14th Olympic Games held in London, Korea military drills; a ritual held in honour of Zeus; and a culmination participated in the Olympic Games as an independent nation for of Hellenic culture. Once every four years, people from all over the first time. The Korean team was composed of 68 athletes Greece assembled on the plain of Olympia, where the Alfeios River competing in 7 events. HAN Su-an won a bronze medal in boxing meets the Kladeos River, and first observed religious ceremonies and KIM Seong-jib also won a bronze medal in weight lifting, at pantheons during the Olympic Games. placing the country 24th in rank. Since the London 1948 Summer Games, Korea has participated in every Olympic Games except for The revival of the Olympic Games was possible because of the Moscow 1980 Summer Games.
    [Show full text]
  • Sustaining a Korean Traditional Rural Landscape in the Context of Cultural Landscape
    Sustainability 2015, 7, 11213-11239; doi:10.3390/su70811213 OPEN ACCESS sustainability ISSN 2071-1050 www.mdpi.com/journal/sustainability Article Sustaining a Korean Traditional Rural Landscape in the Context of Cultural Landscape Hae-Joon Jung 1 and Je-Hun Ryu 2,* 1 Department of Landscape, University of Sheffield, The Arts Tower, Western Bank, Sheffield, South Yorkshire S10 2TN, UK; E-Mail: [email protected] or [email protected] 2 Department of Geography, Korea National University of Education, Gangnae-myeon, Heungdeok-gu, Cheongju-si, Chungbuk 28173, Korea * Author to whom correspondence should be addressed; E-Mail: [email protected]; Tel.: +82-(0)43-230-3508. Academic Editor: Marc A. Rosen Received: 15 May 2015 / Accepted: 12 August 2015 / Published: 14 August 2015 Abstract: Traditional rural landscapes emerged from the long term interaction of the natural and anthropogenic environment. These landscapes are now threatened by drastic social-ecological changes. Recent international trends on sustaining cultural landscapes place great emphasis on understanding of multiple values, presented in the landscape, by considering various stakeholder perspectives. It is now recognized that strong community engagement with the landscape should be translated into conservation and management practices. This paper aims to examine the recent conservation activities around endangered traditional rural landscapes in Korea through a case study of Gacheon village. In this village, since 2000, a series of central administrative measures have been implemented to revive the local community, and to conserve its distinctive landscape. By analyzing challenges to the site, by discussing conservation experience and lessons, and by recommending future strategies for sustaining its cultural landscapes, this paper is expected to provide a basis for future policy-making for safeguarding traditional rural landscapes.
    [Show full text]