Changjak Gugak Music in the Twenty First Century: an Overview with Focus on Three Western Trained Korean Composers: Unsuk Chin, Il Ryun Chung, and June Hee Lim
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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. -
1. Introduction 2. Studies on Jeju and Efforts to Preserve It
An Endangered Language: Jeju Language Yeong-bong Kang Jeju National University 1. Introduction It has been a well-known fact that language is closely connected with both speaker's mind and its local culture. Cultural trait, one of the core properties of language, means that language reflects culture of the society at large. Even though Jeju language samchun 'uncle' is a variation of its standard Korean samchon, it is hard to say that samchun has the same dictionary definition of samchon, the brother of father, especially unmarried. In Jeju, if he/she is older than the speaker, everyone, regardless of his/her sex, can be samchun whether or not he/she is the speaker's relative. It means that Jeju language well reflects local culture and social aspects of Jeju. In other words, Jeju language reflects Jeju culture and society, and it reveals Jeju people's soul. This paper aims to investigate efforts to preserve Jeju language which reflect Jeju people's soul and cultures, processes which Jeju was included in the Atlas of languages in danger by UNESCO, and substantive approaches for preserving Jeju. 2. Studies on Jeju and efforts to preserve it There have been lots of studies on Jeju and efforts to preserve it by individuals, institutions, media, and etc. 2.1 Individual studies on Jeju language and efforts to preserve it Individual studies on Jeju language started with Japanese linguist Ogura Shinpei's Jeju Dialect in 1913. He also presented The Value of Jeju Dialect and Jeju Dialect: Cheong-gu Journal in 1924 and 1931 each. -
BAKS Papers Index: Art, Music, Literature and Language
Papers of the British Association for Korean Studies Art, Music, Literature and Language Indexes Art Keikuchi, Yuko – ‘Yanagi Sōsetsu and Korean Crafts within the Mingei Movement’, v. 5 (1994), pp. 23-38. Kim, Youngna - ‘The Impact of the Korean War on the Arts’, v. 13 (2011), pp. 105-121. Lee, Jiyoon - ‘In the Eye of the Hurricane of Change: Korean Contemporary Art of the New Millennium’, v. 10 (2005), pp. 95-105. Pratt, Keith - ‘The Evolution of Museums in the ROK’, v. 11 (2007), pp. 19-31. Robertson, James C. - ‘North Korean Cinema, 1947-1987’, v. 7 (2000), pp. 253-265. Wood, Nigel – ‘Technological Parallels between Chinese Yue Wares and Korean Celadons’, v. 5 (1994), pp. 39-63. Literature and Language Chung, Hilary – ‘Nationalism and Internationalism in 20th Century Chinese Literature’, v. 6 (1996), pp. 56-70. Daruvala, Susan – ‘Nation and Locality in the Writing of Zhou Zuoren’, v. 6 (1996), pp. 71-88. Drabble, Margaret - ‘The Writing of The Red Queen’, v. 11 (2007), pp. 1-6. Elfving-Hwang, Joanna - ‘The Improper Desire for Knowledge: De-gendering Curiosity in Contemporary Korean Women’s Literature’, v. 10 (2005), pp. 107-118. Finch, Michael - ‘Fire and Ice: The Search for Values in Yi Munyŏl’s Novella Kŭ hae kyŏul? [The winter of that year]’ v. 8 (2003), pp. 57-65. Li, Ruru – ‘Shakespeare Adaptation in China’, v. 6 (1996), pp. 89-100. Logie, Andrew - ‘Ch’oe Inhun’s ‘A Grey Man’: The Struggle for Identity as a Young, Intellectual Male in the Postwar Era’, v. 12 (2008), pp. 1-7. O’Rourke, Kevin – ‘The Traditions of Korean Poetry’, v. -
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
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. -
World Bank Document
Public Disclosure Authorized Public Disclosure Authorized Public Disclosure Authorized Public Disclosure Authorized 1 Standard Disclaimer: This report is a joint product between the International Bank for Reconstruction and Development/The World Bank and Seoul Metropolitan Government. It is written by a team from University of Seoul with technical advice from the World Bank team. The findings, interpretations, and conclusions expressed in this paper do not necessarily reflect the views of the Executive Directors of The World Bank or the governments they represent. The World Bank does not guarantee the accuracy of the data included in this work. The boundaries, colors, denominations, and other information shown on any map in this work do not imply any judgment on the part of The World Bank concerning the legal status of any territory or the endorsement or acceptance of such boundaries. Copyright Statement: The material in this publication is copyrighted. Copying and/or transmitting portions or all of this work without permis- sion may be a violation of applicable law. The International Bank for Reconstruction and Development/The World Bank encourages dissemination of its work and will normally grant permission to reproduce portions of the work promptly. For permission to photocopy or reprint any part of this work, please send a request with complete information to the Copyright Clearance Center, Inc., 222 Rosewood Drive, Danvers, MA 01923, USA, telephone 978-750-8400, fax 978- 750-4470, http://www.copyright.com/. All other queries on rights and licenses, including subsidiary rights, should be addressed to the Office of the Publisher, The World Bank, 1818 H Street NW, Washington, DC 20433, USA, fax 202-522-2422, e-mail [email protected]. -
Playing on Gender in Korea's 21St Century Traditional Performing Arts
ISSN: 2635-6619 (Online) Journal homepage: https://culturenempathy.org/ SsingSsing DanceDance: Playing on Gender in Korea’s 21st Century Traditional Performing Arts Jocelyn Clark, Pai Chai University To cite this article: Jocelyn Clark. 2019. “SsingSsing DanceDance: Playing on Gender in Korea’s 21st Century Traditional Performing Arts.” Culture and Empathy 2(2): 116-130. DOI: 10.32860/26356619/2019/2.2.0005 To link to this article: https://doi.org/10.32860/26356619/2019/2.2.0005. Published online: 30 Jun 2019. Submit your article to this journal Full Terms & Conditions of access and use can be found at https://culturenempathy.org/terms-and-conditions CULTURE AND EMPATHY Vol. 2, No. 2, pp. 116-130 https://doi.org/10.32860/26356619/2019/2.2.0005 SsingSsing DanceDance: Playing on Gender in Korea’s 21st Century Traditional Performing Arts Jocelyn Clark, Pai Chai University Abstract Gender identity would seem to be more settled in the world of traditional Korean music and dance than in any other corner of the world of performing arts. Classical gagok songs are divided into ARTICLE HISTORY female and male repertoires, and women and men both dress in the Received March 23, 2019 gendered costumes of the Joseon Dynasty (hanbok) as they perform Revised May 18, 2019 Accepted May 25, 2019 ultimate expressions of Korean moral rectitude—the story of the faithful wife, the filial daughter, the benevolent brother, the loyal minister. But a closer look reveals that gender roles in the old forms are not quite so fixed. This is particularly true, and increasingly so, KEYWORDS in Korea’s traditional folk genres. -
The Korea Foundation
The Korea Foundation The Korea Foundation was established on December 30, 1991, pursuant to the Korea Foundation Law, to promote awareness and understanding of Korea throughout the international community, and to enhance goodwill and friendship worldwide through the implementation of various international exchange programs. 03_ Overview of Programs 04_ Message from the President 06_ Support for Korean Studies Overseas 13_ Support for Korean Language Education Overseas 16_ Fellowships Grants 25_ Forums Personnel Exchanges 33_ Cultural Exchanges 40_ Media Publications 47_ Korea Foundation Cultural Center 54_ Organization Overview of Programs Support for Korean Studies Overseas The Korea Foundation extends support to leading universities abroad for the establishment of Korean Studies professorships and offering of Korea-related courses, together with related activities such as research, conferences, and publications. Financial assistance is also provided to policy-research institutes and international exchange organizations for their Korea-related programs. Support for Korean Language Education Overseas To facilitate the teaching of Korean as a foreign language at overseas universities, the Foundation undertakes various support programs for the establishment of Korean language lectureships, maintenance of Korean language courses, and dispatch of visiting Korean language professors. Assistance is also offered for workshops and academic conferences that seek to upgrade the professional expertise of Korean language educators and facilitate the development of personal networks. Fellowships Grants To encourage Korea-related research and scholarship, the Korea Foundation offers a variety of support programs to overseas Korean Studies professors, graduate students, and researchers. These programs include Fellowship for Korean Language Training, Fellowship for Field Research, Fellowship for Graduate Studies, Advanced Research Grants, Fellowship for Postdoctoral Research, Publication Subsidy, and Support for Instructional Materials Development. -
Lunar New Year Macarthur, General Douglas
894 Lunar New Year The lunar New Year, known as 561, W6ndan, W6ni! or Cbongch '0, is one of the most important holidays in Korea. During this holiday, there are traffic jams throughout the country as people rush to see their family and relatives. On the morning of Lunar New Year, people don traditional dress (hanbok). Various foods and wine are prepared, and then set in front of an ancestral tablet. The table is meticulously arranged according to Confucian tradition; however, many families also have their own traditions governing details of the arrangement. In general, fish is put on the east, meat on the west, fruit in front, rice and soup behind and liquor on the front table. A ceremony is then held during which the male family members pay respect to their deceased ancestors up to the fourth generation by making three full bows. Family members also visit the graves of their deceased ancestors. On this holiday, after cutting the grass from around the grave, they make a simple offering and then bow three times. In addition to paying respect to the deceased, each family member is expected to make two formal bows to his or her elders. According to custom, the elders then give the person a gift of money, particularly if the person is a child. Special foods are prepared for this holiday. In particular, rice-cake soup is typically served instead ofrice. For this reason, the question 'How many bowls of rice-cake soup have you eaten?' is sometimes used to ask one's age. In North Korea and China, mandu (dumpling) soup is often eaten instead. -
Korean National Gugak Center Creative Traditional Orchestra in Two Concerts on Saturday, October 28
CONTACT: Louisa Spier Jeanette Peach Cal Performances Cal Performances (510) 643-6714 (510) 642-9121 [email protected] [email protected] FOR IMMEDIATE RELEASE: October 10, 2017 Press Room Images of the Korean National Gugak Center Creative Traditional Orchestra are available for download from the Cal Performances press room. CAL PERFORMANCES AT UC BERKELEY PRESENTS THE KOREAN NATIONAL GUGAK CENTER CREATIVE TRADITIONAL ORCHESTRA IN TWO CONCERTS ON SATURDAY, OCTOBER 28 AFTERNOON CONCERT OF CONTEMPORARY MUSIC FEATURES SIX WORLD PREMIERES, THREE BY UNIVERSITY OF CALIFORNIA FACULTY EVENING CONCERT OF TRADITIONAL KOREAN COURT AND FOLK MUSIC Day-long residency includes a public forum and a traditional Korean Gilnori parade featuring colorful costumes and an array of diverse percussion instruments Korean food available for purchase between the concerts from 5–8pm Cal Performances/Korean National Gugak Center Creative Traditional Orchestra, page 2 Berkeley, October 10, 2017—Cal Performances at UC Berkeley celebrates the wide range of traditional and contemporary Korean music with an expansive day-long residency featuring two concerts by the Korean National Gugak Center Creative Traditional Orchestra on Saturday, October 28 at 3pm and 8pm in Zellerbach Hall. The flagship ensemble of Korea’s respected National Gugak Center, the 55-member orchestra is responsible for both preserving ancient musical traditions and developing contemporary works for performance. The afternoon concert features six world premieres composed specifically for the orchestra by three University of California faculty including one by Chair of UC Berkeley’s Department of Music and Director at the Center for New Music and Audio Technologies at UC Berkeley (CNMAT) Edmund Campion. -
Yun Isang, Media, and the State : Forgetting and Remembering a Dissident Composer in Cold-War South Korea
This is a repository copy of Yun Isang, media, and the state : forgetting and remembering a dissident composer in Cold-War South Korea. White Rose Research Online URL for this paper: http://eprints.whiterose.ac.uk/168294/ Version: Published Version Article: Chang, H.K.H. (2020) Yun Isang, media, and the state : forgetting and remembering a dissident composer in Cold-War South Korea. Asia-Pacific Journal : Japan Focus, 18 (19). 3. ISSN 1557-4660 © 2020 The Author. Reproduced in accordance with the publisher's self-archiving policy. Reuse Items deposited in White Rose Research Online are protected by copyright, with all rights reserved unless indicated otherwise. They may be downloaded and/or printed for private study, or other acts as permitted by national copyright laws. The publisher or other rights holders may allow further reproduction and re-use of the full text version. This is indicated by the licence information on the White Rose Research Online record for the item. Takedown If you consider content in White Rose Research Online to be in breach of UK law, please notify us by emailing [email protected] including the URL of the record and the reason for the withdrawal request. [email protected] https://eprints.whiterose.ac.uk/ Volume 18 | Issue 19 | Number 3 | Article ID 5492 | Oct 01, 2020 The Asia-Pacific Journal | Japan Focus Yun Isang, Media, and the State: Forgetting and Remembering a Dissident Composer in Cold-War South Korea Hyun Kyong Hannah Chang European avant-garde Abstract: Yun Isang (1917-95) was one of Korea’s most prominent composers in the twentieth century. -
Traditional Music and the Work Concept: the Kayagŭm Sanjo of Hwang Byungki
This is a repository copy of Traditional Music and the Work Concept: The Kayagŭm Sanjo of Hwang Byungki. White Rose Research Online URL for this paper: http://eprints.whiterose.ac.uk/115955/ Version: Accepted Version Article: Killick, A.P. (2017) Traditional Music and the Work Concept: The Kayagŭm Sanjo of Hwang Byungki. Yearbook for Traditional Music, 49. ISSN 0740-1558 Reuse Items deposited in White Rose Research Online are protected by copyright, with all rights reserved unless indicated otherwise. They may be downloaded and/or printed for private study, or other acts as permitted by national copyright laws. The publisher or other rights holders may allow further reproduction and re-use of the full text version. This is indicated by the licence information on the White Rose Research Online record for the item. Takedown If you consider content in White Rose Research Online to be in breach of UK law, please notify us by emailing [email protected] including the URL of the record and the reason for the withdrawal request. [email protected] https://eprints.whiterose.ac.uk/ Traditional Music and the Work-Concept: The Kayagm Sanjo of Hwang Byungki by Andrew Killick In most of the world, through most of history, music has been conceived as a set of practices and techniques, expressive or religious behaviours, and adaptable repertoire resources, or as an integral part of some larger phenomenon such as theatre or healing. Over the last two hundred years, however, music has increasingly been reconceived as consisting of autonomous musical works. This has surely been one of the most important developments in musical history worldwide; yet it has been relatively little studied.