DOCSLIB.ORG

Celebrations in Korean Art During the Joseon Dynasty Pdf, Epub, Ebook

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text

Load more

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. So important are these rituals and celebrations that they have been recorded throughout centuries in comprehensive detail in writings and paintings that form multi-volume books known as royal protocols uigwe. Photo: Courtesy of National Museum of Korea. In Grand Style : Celebrations in Korean Art During the Joseon Dynasty Writer Mythology folklore. A notable aspect of Goguryeo art are tomb murals that vividly depict everyday aspects of life in the ancient kingdom as well as its culture. This specific ISBN edition is currently not available. North Korean painters who escaped to the United States in the late s include the Fwhang sisters. Dong-A University Museum. Publisher: Asian Art Museum , Beginning in the s, abstraction was of particular interest. Two pagodas on the ground, the Seokgatap and Dabotap are also unique examples of Silla masonry and artistry. 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. Museum visitors may notice in the paintings that queens were adorned with numerous hairpins and accessories, as women took great care to prepare for official ceremonies and other formal occasions. Ceremonial hairpin with character of longevity, Japanese Colonial Period — While the Joseon Dynasty began under military auspices, Goreyo styles were let to evolve, and Buddhist iconography bamboo, orchid, plum and chrysanthemum; and the familiar knotted goodluck symbols were still a part of genre paintings. Company registration; Tansaekhwa grew to be the international face of contemporary Korean art and a cornerstone of contemporary Asian art. See also: Korean architecture , Korean gardens , and Korean flower arrangement. Wherever the king went, a screen of this type followed and was set behind a royal throne like the one on view in Lee Gallery. The most famous art produced by Goryeo artisans was Korean celadon pottery which was produced from circa CE to CE. Some variation of the traditional hanbok is typically worn, or a special costume specific to that dance. AbeBooks Bookseller Since: July 12, Harvard University Press. Includes bibliographical references pages There is as yet virtually no stand-up comedy in Korea because of cultural restrictions on insult-humour, personal comments, and respect for seniors, despite globally successful Korean comic films which depend on comedy of error, and situations with no apparent easy resolution under tight social restraints. Welcoming ceremonies for the governor of Pyeong-an detail , by attrib. Thousands of people participated in the festive events depicted in Welcoming Ceremonies for the Governor of Pyeong-an , involving night boating on Daedong River and celebrations at Yeon-gwang and Bubyeok pavilions. From the mids, artists like Kwon Young-woo began to push paint, soak canvas, drag pencils, rip paper, and otherwise manipulate the materials of painting in ways that challenged preconceived notions of what it meant to be an ink painter Asian painter or oil painter soyanghwaga , the two categories within which most artists were categorized. In the s and 80, these challenges eventually became the foundation of Dansaekhwa , or Korean monochrome painting, one of the most successful and controversial artistic movements in twentieth-century Korea. Related products Asian Art Museum Store This gallery showcases objects used in royal processions, which were grand events involving the participation of many people from all levels of the royal court. States with limited recognition. The performing arts have always been linked to the fabric arts: not just in costumery but in woven screens behind the plays, ornaments woven or embroidered or knotted to indicate rank, position, or as shamanistic charms; and in other forms to be indicated. Where: St. When: Friday, June 7th Where: St. Art galleries usually have a mix of media. Gangjin was one of the main producers of ancient Korean pottery, therefore, many of the remains of ancient kilns can be found in that area. San Francisco, CA Louis and Midwestern communities. Korean poetry began to flourish in the Three Kingdoms period. The Silla Kingdom was the most isolated kingdom from the Korean peninsula because it was situated in the southeastern part of the peninsula. Admission on Thursdays after 5 p. US Returns to; Degraw St. In Grand Style : Celebrations in Korean Art During the Joseon Dynasty Reviews Buy with confidence through ABAA. Gilded silver, jade, pearls, blue and red stones. Enter your discount code here. Mid-dynasty painting styles moved towards increased realism. Literally as new, still in the publisher's original shrink wrap. Close Panel Museum Hours. In the Library Request this item to view in the Library's reading rooms using your library card. At this time China ceased to have pre-eminent influence, Korean art took its own course, and became increasingly distinctive. Princeton: Fine Arts Museum. Download as PDF Printable version. If a book is heavy, over- weight, or requires a supplement to the ABE standard default shippin This artwork is one of the earliest examples of the 20 existing screens of this kind. Contributor biographical information Broken link? Related products Asian Art Museum Store Quaternary International. We will also discuss the influence and dispersion of Korean art and Kpop throughout the world known as the Hallyu wave. 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. Saturday Festival June 8, New History of Korea. Court musicians appear in traditional costume, maintain a rigid proper formal posture, and play stringed five-stringed instruments. Courtesy of Korean Treasure no. Originally worn by princesses, the robe was allowed to be worn by women of the elite class on the special occasion of their marriage. A common symbol of royal authority was the combination of a sun, moon and five peaks in paintings, as seen in the screen on view in Lee Gallery. Lee Gallery: From Birth to the Throne The selection of artworks in Lee Gallery illustrates the lifestyles and rituals of kings during the Joseon dynasty, from birth to the throne. Korean court music has a history going back to the Silla where Tang court music was played; later Song dynasty inspired "A-ak" a Korean version played on Chinese instruments within the Joseon era. Email Address. Contemporary paper artists are very active. Co-organized by the Asian and the NMK, the show--which opens in San Francisco in October presents rare and exquisite objects drawn from some ten museums in Korea. It is one of the largest museums in the Western world devoted exclusively to Asian art. From the mids, artists like Kwon Young-woo began to push paint, soak canvas, drag pencils, rip paper, and otherwise manipulate the materials of painting in ways that challenged preconceived notions of what it meant to be an ink painter Asian painter or oil painter soyanghwaga , the two categories within which most artists were categorized. Eight- panel folding screen; ink and colors on silk. Palanquin of a king, — Close Menu. The remains of early Korean pottery can be found predominantly in Gangjin. Metropolitan Museum of Art. Village rug weavers do not exist. The earliest pottery style, dated to circa 7, BC, were flat-bottomed wares yunggi-mun were decorated with relief designs, raised horizontal lines and other impressions. Please help to improve this article by introducing more precise citations. Korea -- Antiquities -- Exhibitions. Ten years later, we celebrate the marvelous arts of Korea, and ultimately the art of celebration itself, through this exhibition focusing on the succeeding Joseon dynasty. Among the items were flame-like gold pins, gilt- bronze shoes, gold girdles a symbol of royalty , and swords with gold hilts with dragons and phoenixes. Views Read Edit View history. However, after repeated invasions, very little early Korean paper art exists. In Grand Style : Celebrations in Korean Art During the Joseon Dynasty Read Online This year's lecture by Hyonjeong Kim Han, will focus on the many transformations in Korea's modern history from politics, technology and globalization that have influenced Korea's contemporary art scene.
Recommended publications
  • Vol.9 No.4 WINTER 2016 겨울

    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.
  • Exploring Aspects of Korean Traditional Music in Young Jo Lee's

    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.
  • Korean Dance and Pansori in D.C.: Interactions with Others, the Body, and Collective Memory at a Korean Performing Arts Studio

    Korean Dance and Pansori in D.C.: Interactions with Others, the Body, and Collective Memory at a Korean Performing Arts Studio

    ABSTRACT Title of Document: KOREAN DANCE AND PANSORI IN D.C.: INTERACTIONS WITH OTHERS, THE BODY, AND COLLECTIVE MEMORY AT A KOREAN PERFORMING ARTS STUDIO Lauren Rebecca Ash-Morgan, M.A., 2009 Directed By: Professor Robert C. Provine School of Music This thesis is the result of seventeen months’ field work as a dance and pansori student at the Washington Korean Dance Company studio. It examines the studio experience, focusing on three levels of interaction. First, I describe participants’ interactions with each other, which create a strong studio community and a women’s “Korean space” at the intersection of culturally hybrid lives. Second, I examine interactions with the physical challenges presented by these arts and explain the satisfaction that these challenges can generate using Csikszentmihalyi’s theory of “optimal experience” or “flow.” Third, I examine interactions with discourse on the meanings and histories of these arts. I suggest that participants can find deeper significance in performing these arts as a result of this discourse, forming intellectual and emotional bonds to imagined people of the past and present. Finally, I explain how all these levels of interaction can foster in the participant an increasingly rich and complex identity. KOREAN DANCE AND PANSORI IN D.C.: INTERACTIONS WITH OTHERS, THE BODY, AND COLLECTIVE MEMORY AT A KOREAN PERFORMING ARTS STUDIO By Lauren Rebecca Ash-Morgan Thesis submitted to the Faculty of the Graduate School of the University of Maryland, College Park, in partial fulfillment of the requirements for the degree of Master of Arts 2009 Advisory Committee: Dr. Robert C. Provine, Chair Dr.
  • In Tune with the Ear of the Public Kayagŭm and the Status of Traditional Korean Music in the Twenty-First Century in Korea

    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.
  • No. 22 How Did North Korean Dance Notation Make Its Way to South

    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.
  • A Study and Performance Analysis of Selected Art Songs by Un-Yeong Na" (2010)

    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.
  • 'Chaekgeori: the Power and Pleasure of Possessions in Korean Painted

    'Chaekgeori: the Power and Pleasure of Possessions in Korean Painted

    ‘Chaekgeori: The Power and Pleasure of Possessions in Korean Painted Screens’ Katherine Anne Paul he unfolding of a Korean screen invites viewers The exhibition was conceived by the famed folk Tinto a distinct world. More than room dividers painting specialist Byungmo Chung of Gyeongju or baffles against drafts, Korean folding screens University together with Sunglim Kim of Dartmouth create—and are an integral component of— College. The majority of screens displayed in the ceremonial settings for significant events intended exhibition are loans from both private and public to encourage transcendent experiences. Folding collections in Korea and were brought to the US with screens may be displayed both outside and indoors, the support of Korea Foundation and Gallery Hyundai at weddings, important birthdays, scholarly by Jinyoung Jin, director of cultural programmes at examinations and business meetings, as well as the Charles B. Wang Center, Stony Brook University, spiritual and seasonal celebrations like the full moon New York, where the exhibition was on view from 29 festival (K. daeboreum). September to 23 December 2016. It then travelled A particular genre of Korean folding screen is to the Spencer Museum of Art at the University of known as chaekgeori, a term that, loosely translated, Kansas (15 April–11 June 2017) and The Cleveland means ‘books and things’. It is these books and Museum of Art (5 August–5 November 2017). certain other items discussed below that form the A number of distinctions set Korean screens subject-matter displayed in chaekgeori screens. apart from their neighbours. Unlike paired Japanese First appearing in around 1783, chaekgeori screens screens, Korean screens are created as individual blossomed in popularity during the later periods of works intended to stand alone.
  • UC Santa Cruz UC Santa Cruz Electronic Theses and Dissertations

    UC Santa Cruz UC Santa Cruz Electronic Theses and Dissertations

    UC Santa Cruz UC Santa Cruz Electronic Theses and Dissertations Title Refraction Frequency, for Orchestra: A Discussion of Related Elements Permalink https://escholarship.org/uc/item/8n61r2sd Author Mehinovic, Vedran / Publication Date 2012 Supplemental Material https://escholarship.org/uc/item/8n61r2sd#supplemental Peer reviewed|Thesis/dissertation eScholarship.org Powered by the California Digital Library University of California UNIVERSITY OF CALIFORNIA – SANTA CRUZ Refraction Frequency , for Orchestra A Discussion of Related Elements Submitted in partial satisfaction of the requirements for the degree of Doctor of Musical Arts in Composition by Vedran Mehinovic March 2012 Dissertation Committee: _________________________ Professor Hi Kyung Kim, Chair _________________________ Professor Paul Nauert _________________________ Professor Karlton Hester ________________________ Tyrus Miller Vice Provost and Dean of Graduate Studies Copyright © Vedran Mehinovic, 2012 Table of Contents List of Figures iv Abstract v Orthography vi Acknowledgements viii Part One: Structural Characteristics 1 Initial Pitch Arrangement 1 Formation of Groups 6 String Accumulation 10 Percussion 13 Low Range Expansion 16 Melodic Patterns 19 Final Developments 27 Summary 27 Part Two: Korean Influence 29 Vibrato 31 Timbre 38 Part Three: Balkan Background 40 Gocino kolo 41 Pjesma u kolu 46 Higher Frequencies: String Vibration 50 Appendix 54 Hyang piri 54 Daegeum 57 Glossary 62 Bibliography 63 iii List of Figures Fig. 1. Refraction Frequency : Initial pitch arrangement. 4 Fig. 2. Measure 51 pitch distribution. 6 Fig. 3. Dynamic group pitch distribution. 9 Fig. 4. String accumulation, mm. 69-126. 12 Fig. 5. Unpitched percussion patterns. 15 Fig. 6. Low range expansion, mm. 106-140. 18 Fig. 7.1. Melodic Patterns 1-3. 22 Fig.
  • What Is the K in K-Pop? South Korean Popular Music, the Culture Industry, and National Identity

    What Is the K in K-Pop? South Korean Popular Music, the Culture Industry, and National Identity

    본문(43-3_2012) 2012.9.28 3:3 PM 페이지339 339 What Is the K in K-pop? South Korean Popular Music, the Culture Industry, and National Identity John Lie* In the early 2010’s, the expansion of South Korean popular culture around the world is led by popular music, usually known as K- pop. In this paper I seek to answer two questions. First, what are the sources of its success beyond the South Korean national border? Secondly, what does it say about contemporary South Korean society and culture? Key Words: K-pop, Korean Wave, Hallyu, South Korean Popular Culture, Popular Music I. Introduction The phenomenal success of the Korean Wave has generated collec- tive celebration in South Korea.1 In the early 2010s, the national self- * John Lie is C.K. Cho Professor of Sociology at the University of California, Berkeley, U.S.A. He received his Ph.D. in Sociology from Harvard University. His forthcoming books include The Global University and The Consolation of Social Theory. E-mail: [email protected]. 1. The Korean Wave is the literal translation of the term which originated in China ( ; Hánliú). The first character refers to “Korea” and the second usually evokes “flow” or “current,” signifying “style.” The same Chinese characters KOREA OBSERVER, Vol. 43, No. 3, Autumn 2012, pp. 339-363. © 2012 by THE INSTITUTE OF KOREAN STUDIES. 본문(43-3_2012) 2012.9.28 3:3 PM 페이지340 340 John Lie congratulation is especially manifest for the popularity of South Korean popular music (K-pop), which has spread from neighboring Asian countries, such as Japan and Taiwan, to farther ashore in Europe, the Americas, and the Middle East.2 The K-pop World Festival in Decem- ber 2011 attracted wannabe K-pop singers from sixteen different countries and confirmed its global appeal to South Koreans (Choe and Russell, 2012).
  • Music and the Future of Pyongyang

    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.
  • From World War to Cold War: Music in US-Korea Relations, 1941-1960

    From World War to Cold War: Music in US-Korea Relations, 1941-1960

    From World War to Cold War: Music in US-Korea Relations, 1941-1960 Dissertation Presented in partial fulfillment of the requirements for the degree of Doctor of Philosophy in the Graduate School of The Ohio State University By Hye-jung Park Graduate Program in Music The Ohio State University 2019 Committee: Danielle Fosler-Lussier, Ph.D., Advisor Ryan T. Skinner, Ph.D. Mitchell B. Lerner, Ph.D. Copyright by Hye-jung Park 2019 Abstract This dissertation examines music in US-Korea relations from 1941 to 1960. Beginning during World War II, the US government disseminated Western classical and American music in Korea. After the war, the United States also gained the confidence of Koreans by supporting Korean traditional music that had been suppressed under Japanese colonial rule. Yet South Koreans were not merely passive recipients of US propaganda. As the Korean War divided Korea into North and South, South Korean officials used music to affirm the anti-Communist alliance between South Korea and the United States. American music spread rapidly in South Korea, contributing to the formation of South Korean identities different from those of the Communist North. By tracing a history of musical relations in the transitional period from the colonial era to the early Cold War, this project emphasizes that US Cold War music propaganda programs were not an entirely new initiative but built on the foundations laid in the 1940s. By demonstrating that a peripheral country used music as a tool for political negotiations with a superpower, this project also expands the horizons of scholarship on music propaganda, which has focused overwhelmingly on US and Soviet interventions in Europe.
  • Copyright © and Moral Rights for This Phd Thesis Are Retained by the Author And/Or Other Copyright Owners

    Copyright © and Moral Rights for This Phd Thesis Are Retained by the Author And/Or Other Copyright Owners

    Kwon, Hyun Seok (2014) Cultural globalization and the Korean promotion policy for music based on tradition : a study of the activation plan and its background. PhD Thesis. SOAS, University of London. http://eprints.soas.ac.uk/id/eprint/20296 Copyright © and Moral Rights for this PhD Thesis are retained by the author and/or other copyright owners. A copy can be downloaded for personal non‐commercial research or study, without prior permission or charge. This PhD Thesis cannot be reproduced or quoted extensively from without first obtaining permission in writing from the copyright holder/s. The content must not be changed in any way or sold commercially in any format or medium without the formal permission of the copyright holders. When referring to this PhD Thesis, full bibliographic details including the author, title, awarding institution and date of the PhD Thesis must be given e.g. AUTHOR (year of submission) "Full PhD Thesis title", name of the School or Department, PhD PhD Thesis, pagination. Cultural Globalization and the Korean Promotion Policy for Music Based on Tradition: A Study of the Activation Plan and Its Background Hyun Seok Kwon Thesis submitted for the degree of PhD 2014 Department of Music SOAS, University of London Declaration for SOAS PhD thesis I have read and understood regulation 17.9 of the Regulations for students of the SOAS, University of London concerning plagiarism. I undertake that all the material presented for examination is my own work and has not been written for me, in whole or in part, by any other person. I also undertake that any quotation or paraphrase from the published or unpublished work of another person has been duly acknowledged in the work which I present for examination.