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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. -
Number 3 2011 Korean Buddhist Art
NUMBER 3 2011 KOREAN BUDDHIST ART KOREAN ART SOCIETY JOURNAL NUMBER 3 2011 Korean Buddhist Art Publisher and Editor: Robert Turley, President of the Korean Art Society and Korean Art and Antiques CONTENTS About the Authors…………………………………………..………………...…..……...3-6 Publisher’s Greeting…...…………………………….…….………………..……....….....7 The Museum of Korean Buddhist Art by Robert Turley…………………..…..…..8-10 Twenty Selections from the Museum of Korean Buddhist Art by Dae Sung Kwon, Do Kyun Kwon, and Hyung Don Kwon………………….….11-37 Korean Buddhism in the Far East by Henrik Sorensen……………………..…….38-53 Korean Buddhism in East Asian Context by Robert Buswell……………………54-61 Buddhist Art in Korea by Youngsook Pak…………………………………..……...62-66 Image, Iconography and Belief in Early Korean Buddhism by Jonathan Best.67-87 Early Korean Buddhist Sculpture by Lena Kim…………………………………....88-94 The Taenghwa Tradition in Korean Buddhism by Henrik Sorensen…………..95-115 The Sound of Ecstasy and Nectar of Enlightenment by Lauren Deutsch…..116-122 The Korean Buddhist Rite of the Dead: Yeongsan-jae by Theresa Ki-ja Kim123-143 Dado: The Korean Way of Tea by Lauren Deutsch……………………………...144-149 Korean Art Society Events…………………………………………………………..150-154 Korean Art Society Press……………………………………………………………155-162 Bibliography of Korean Buddhism by Kenneth R. Robinson…...…………….163-199 Join the Korean Art Society……………...………….…….……………………...……...200 About the Authors 1 About the Authors All text and photographs contained herein are the property of the individual authors and any duplication without permission of the authors is a violation of applicable laws. ALL RIGHTS RESERVED BY THE INDIVIDUAL AUTHORS. Please click on the links in the bios below to order each author’s publications or to learn more about their activities. -
Download Program Notes
Shin Arirang Traditional (arr. D. Kim) rirang is a Korean folk song — and as is the Exposition in Chicago — and were simply A case with many folk songs, its origins are passed on to her. In any case, these record- obscure and its history is meandering. One ings stand as monuments of sonic history. theory traces it to the 19th century, when Whatever its beginnings, the song’s Heungseon Daewongun served as regent to popularity grew organically and it was em- the monarch Gojong (his son), a period that braced and adapted throughout the Korean ran from 1863 to 1873. During that regency, peninsula. The lyrics, tune, and rhythms a large number of Chinese workers were were modified depending on the region and brought to Seoul to construct the Gyeongbok the performer; yet, even when altered, the Palace. They brought with them the ancestor piece is recognized as part of the Arirang of this piece, a Chinese song titled Airang, family. Musicologists and folklorists have which expressed the workers’ sorrow at be- catalogued and classified the variations of ing separated from their wives or lovers. Arirang — about 60 different varieties of the Or perhaps it is much older than that, song, comprising at least 3,600 variants. The with at least its text reaching to the time principal varieties are typically identified of Park Hyeokgeose (69 BCE–4 CE; reigned with a descriptor that connects the version 57 BCE–4 CE), the founding monarch of with a region of the Korean peninsula. The ver- Silla, one of the Three Kingdoms of Ko- sion called Jeongseon Arirang is widely viewed rea. -
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. -
![Footnotes Issue 68 [Excerpt] Bereishit Dance](https://docslib.b-cdn.net/cover/9404/footnotes-issue-68-excerpt-bereishit-dance-799404.webp)
Footnotes Issue 68 [Excerpt] Bereishit Dance
4 Footnotes • Issue 68 • Spring 2021 A Taste of Seoul Concludes Our Virtual Home Season tool, creating a dance that pulls from the old traditions of South Korea to Bereishit Dance Company make something new. BOW_Control and Balance and Imbalance Park is also interested in how sounds affect movement and how we April 8–11, 2021 communicate with others. You’ll notice that Balance and Imbalance includes Pansori (Korean: ), a Korean genre of musical storytelling performed by a singer and a drummer. Park uses pansori Genesis comes from the Hebrew word to meld forms of past and present. He isn’t concerned if you / תישארב>’The word ‘Bereishit ‘Bereishit’, the first word in the Torah meaning ‘in the beginning’. It is understand the story and can understand the language. Instead, he pronounced “BRESH-IT”, if you are curious…you can only imagine the focuses on the sounds of the pansori and how it affects the pronunciations going around our office since last fall! The company’s movement. work focuses on the dynamic relationship related to humanity and Five dancers, one vocalist, and two janggu (traditional Korean drum) sociality. In that sense, the word Bereishit is a symbolic word for performers interact with the sounds and gestures of the piece to humans and the beginning of human civilization. For our final maximize the emotion in Balance and Imbalance. To make Balance presentation, the program explores the boundaries of sport and dance. and Imbalance, the choreographer combined Korean percussion Choreographer and Artistic Director Soon-ho Park has created two (Samulnori), Korean singing (Pansori), Korean folk music, dance and intensely physical works: BOW_Control and Balance and Imbalance. -
Music of Korea
Namdo Japga medley Namdo is a province in the southwest part of Korea, and Japga refers to the folk songs performed by trained professional singers. This musical style is influenced by other folk music genres in Ko- rea such as pansori and gasa. Namdo Japga is based on the Sinawi mode (also known as Yujkabegi mode). The Sinawi mode empha- sizes three main pitches. These songs generally have call and re- SCHOOL OF MUSIC AND DANCE sponse patterns. ABOUT THE ARTISTS Beall Concert Hall Sunday afternoon 3:00 p.m. May 2, 2010 Yusun Kim is a leading gayageum (plucked zither) performer in Korea. She was born in Seoul, South Korea, in 1980. She began her formal education at Gaywon High School of the Arts and con- tinued studying at Ewha Woman’s University where she received BA and MA degrees in gayageum performance, and is currently WORLD MUSIC SERIES pursuing her doctorate there. She has performed at many music presents venues and festivals in Korea, including the Korean Composers’ Association’s Seoul Composition Festival and the Korean Compos- ers’ Union’s National New Music Exposition, among many others. MUSIC OF KOREA She has also appeared at international concert venues in the U.S., Poland, France, China, Hong Kong, and Japan as a gayageum and a featuring guest artists janggu (drum) artist. She won the Grand Prize in the 2002 Korean Young Performance Arts Competition and the 2004 National Tradi- Yusun Kim, gayageum tional Competition. Currently, she is the principal gayageum player Hyerim Choi, ajaeng in the Gayageum Ensemble Chocolate, and teaches gayageum at Ewha Woman’s University, Gyeongin University of Education, and Dondeok Woman’s University. -
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. -
3. Concept , Practice and Repertoires of Traditional Improvisatory Music Of
- 21- Concept, Practice and Repertoires of Traditional Improvisatory Music of Korea co Byong Won Lee* The concept of improvisation, opposed to composition, has largely been developed in the Western art music tradition. Developed from a small fraction of materials of the world's music, it could hardly be universally applicable. The Harvard Dictionary of Music, for example, defines improvisation as "the art of performing music spontaneously, wilhout the manuscript, sketches, or memory ... the art of introducing improvised details into written compositions ... (1969:404),» and it goes on to state that "the great art of improvisation has been lost, since it is no longer practiced by composers and survives chiefly among organ viJtuosos (Ibid.).» What the dictionary's definition concerns is doubtlessly the Western art tradition up to the late 19th century, and the definition is inoperative in other culture's improvisatory music, such as Indian raga, Korean sinawi and American jazz. While recognizing different degrees of performer's creativity in composition and improvisation, Nett! asserts that juxtaposing them "as fundamentally different process is false, and that the two are instead part of the same idea (1974: 6). » Following a comparative study on the nature of improvisation of American Indian, Arabic, Iranian and, Indian musics, he arrives at a conclusion which rejects the dichotomy of composition-improvisation by saying that "we must abandon the idea of improvisation as a process separate from composition and adopt the view that all performers improvise to some extent (Ibid.: 1~).» The objective of this paper is neither to rebut Nettl's denial of dichotomy of composition- (1) This is a modified and enlarged version of "Improvisation in Korean Musics," Music Educators Journal 66(5): 137-45, January, 1980. -
Playing Janggu (Korean Drum)
2011 EPIK Episode 1 Playing Janggu (Korean drum) Written by: Jennifer Arzadon Cheongju Technical High School The most impressive moment that has happened to me at my school would have to be when I accidentally joined the samul nori teacher’s group. I was invited to be a spectator at a samul nori practice session during lunchtime. The moment I entered their practice room, a janggu was placed in front of me and I was shown how to beat the drum-like instrument. Samul nori is the Korean traditional percussion music. The word samul means "four objects" and nori means "play" which is performed with four traditional Korean musical instruments: kkwaenggwari (a small gong), jing (a larger gong), janggu (an hourglass-shaped drum), and buk (a barrel drum similar to the bass drum). The traditional Korean instruments are called pungmul. Every Monday during lunchtime is our regular practices. Our leader kindly gave me my own gungchae and yeolchae so I can practice playing janggu on my own. One month later, we were told that the samul nori team was to perform for the official opening of the school’s new building. The week before the performance, we met and practiced every day during lunch along with the students who were going to perform with us. The day finally came for our first performance and I was pretty nervous. We got dressed in the traditional samul nori outfits and practiced one last time before heading out. The performance went great. We performed in front and all around the building to bless, to ensure good fortune and of course to celebrate. -
UC Riverside UC Riverside Electronic Theses and Dissertations
UC Riverside UC Riverside Electronic Theses and Dissertations Title Embodiments of Korean Mask Dance (T'alch'um) from the 1960s to the 1980s: Traversing National Identity, Subjectivity, Gender Binary Permalink https://escholarship.org/uc/item/9vj4q8r2 Author Ha, Sangwoo Publication Date 2015 Peer reviewed|Thesis/dissertation eScholarship.org Powered by the California Digital Library University of California UNIVERSITY OF CALIFORNIA RIVERSIDE Embodiments of Korean Mask Dance (T’alch’um) from the 1960s to the 1980s: Traversing National Identity, Subjectivity, Gender Binary A Dissertation submitted in partial satisfaction of the requirements for the degree of Doctor of Philosophy in Critical Dance Studies by Sangwoo Ha June 2015 Dissertation Committee: Dr. Linda J. Tomko, Chairperson Dr. Anthea Kraut Dr. Jennifer Doyle Copyright by Sangwoo Ha 2015 The Dissertation of Sangwoo Ha is approved: Committee Chairperson University of California, Riverside Acknowledgments I would like to take this opportunity to thank several people who shared their wisdom and kindness with me during my journey. First, Dr. Linda J. Tomko, who offered to be my advisor, introduced me to notions about embodying dances past, critical thinking, and historical research approaches. Not only did she help guide me through this rigorous process, she also supported me emotionally when I felt overwhelmed and insecure about my abilities as a scholar. Her edits and comments were invaluable, and her enthusiasm for learning will continue to influence my future endeavors. I offer my sincere gratitude to my committee members, Dr. Anthea Kraut, Dr. Priya Srinivasan, and Dr. Jennifer Doyle. They all supported me academically throughout my career at the University of California, Riverside. -
Modernismus Im Tanz Und Die Entwicklung Des Koreanischen Sinmuyong –
Zwischen Vertrautheit und Fremdheit – Modernismus im Tanz und die Entwicklung des koreanischen Sinmuyong – zur Erlangung des Grades eines Doktors der Philosophie am Fachbereich Philosophie und Geisteswissenschaften der Freien Universität Berlin vorgelegt von Okju Son Berlin 2013 Erstgutachterin: Prof. Dr. Gabriele Brandstetter Zweitgutachterin: Prof. Dr. Eun-jeung Lee Tag der Disputation: 15. Januar 2014 Inhalt 1. Einleitung ----------------------------------------------------------------------------------------------1 2. Tanzmoderne im Westen 2.1. Tanz und Wissen: Geistige Wahrnehmung von Tanz im modernen Zeitalter ------------- 11 2.1.1. Einfluss der natur- und geisteswissenschaftlichen Diskurse ------------------------------ 13 2.1.2. Die technische Entwicklung und ihr Effekt auf den Tanz --------------------------------- 20 2.1.3. Kulturkonsum ----------------------------------------------------------------------------------- 26 2.2. Zwei Physiognomien der modernen westlichen performativen Künste: Der Einfluss des Anderen und die Interpretation des Anderen ------------------------------------------------------- 34 2.2.1. Der Kontakt der Theateravantgarde mit der ostasiatischen Bühnenkunst -------------- 36 2.2.2. Die Interpretation des Anderen im modernen westlichen Tanz -------------------------- 43 3. Die Begegnung der japanischen Tänzer mit der westlichen Tanzmoderne 3.1. Multiple Modernities: Modernität und Performative Künste in der Meiji-Zeit ---------- 51 3.1.1. Reformierung der traditionellen japanischen Bühnenkunst ------------------------------- -
Mindfulness Meditation (MM) and Relaxation Music (RM) in the UK and South Korea: a Qualitative Case Study Approach
Health Practitioners’ Understanding and Use of Relaxation Techniques (RTs), Mindfulness Meditation (MM) and Relaxation Music (RM) in the UK and South Korea: a Qualitative Case Study Approach Mi hyang Hwang A thesis submitted in partial fulfilment of the requirements of the University of the West of England, Bristol for the degree of Doctor of Philosophy Faculty of Health and Social Sciences University of the West of England, Bristol November 2017 Abstract Background: The information exchange between healthcare practitioners in South Korea and the UK has so far been limited and cross-cultural comparisons of Relaxation techniques (RTs) and Mindfulness meditation (MM) and Relaxation music (RM) within the healthcare context of Korea and the UK have previously been unexplored. This has been the inspiration for this qualitative case study focussing on understanding and use of RTs, MM and RM within the respective healthcare contexts. Methods: Data were collected through qualitative semi-structured interviews with six Korean and six UK healthcare practitioners in three professional areas: medical practice, meditation, and music therapy. Approval from the Ethics Committee was granted (Application number: HLS/13/05/68). The interviews were transcribed and a thematic analysis was undertaken. The topics explored include: a) the value and use of RTs, MM and RM; b) approaches and methods; c) practitioners’ concerns; d) responses of interventions; e) cultural similarities and differences; and f) the integration of RTs, MM and RM within healthcare. Underlying cultural factors have been considered, including education systems and approaches, practitioner-client relationships and religious influences alongside the background of cultural change and changing perspectives within healthcare in the UK and Korea.