Hwang Byungki

HWANG BYUNGKI TRADITIONAL MUSIC AND THE CONTEMPORARY COMPOSER IN THE REPUBLIC OF KOREA To the memory of David Kosofsky (1953–2011) Seoulmate and music-lover extraordinaire Hwang Byungki Traditional Music and the Contemporary Composer in the Republic of Korea ANDREW KILLICK University of Sheffield, UK First published 2013 by Ashgate Publishing Published 2016 by Taylor & Francis 2 Park Square, Milton Park, Abingdon, Oxon OX14 4RN 52 Vanderbilt Avenue, New York, NY 10017 Routledge is an imprint of the Taylor & Francis Group, an informa business Copyright © Andrew Killick 2013 Andrew Killick has asserted his right under the Copyright, Designs and Patents Act, 1988, to be identified as the author of this work. All rights reserved. No part of this book may be reprinted or reproduced or utilised in any form or by any electronic, mechanical, or other means, now known or hereafter invented, including photocopying and recording, or in any information storage or retrieval system, without permission in writing from the publishers. Notice: Product or corporate names may be trademarks or registered trademarks, and are used only for identification and explanation without intent to infringe. British Library Cataloguing in Publication Data Killick, Andrew P. (Andrew Peter) Hwang Byungki : traditional music and the contemporary composer in the Republic of korea. – (soas musicology series) 1. Hwang, pyong-gi, 1936– – criticism and interpretation. 2. Music – korea (south) – 20th century – History and criticism. 3. Music – Korea (South) – Western influences. I. Title II. Series III. University of London. School of Oriental and African Studies. 780.9’2–dc23 The Library of Congress has cataloged the printed edition as follows: Killick, Andrew P. (Andrew Peter) Hwang Byungki : traditional music and the contemporary composer in the Republic of Korea / By Andrew Killick. p. cm.—(soas musicology series) Includes bibliographical references and index. ISBN 978-1-4094-2030-9 (hardcover) 1. Hwang, Pyong-gi, 1936- —criticism and interpretation. 2. kayagum music—korea—History and criticism. i. Title. ML419.H88K55 2013 781.62’9510092—dc23 2012048381 ISBN-13: 978-1-4094-2030-9 (hbk) Contents List of Figures vii List of Music Examples ix CD Contents xiii Preface xv Acknowledgments xvii Introduction 1 1 Hwang Byungki as Traditional Musician: Kayagŭm Sanjo 13 Hwang’s Instrument, the Kayagŭm 14 Kayagŭm Sanjo 19 Hwang Byungki as a Sanjo Musician 30 Hwang Byungki’s Kayagŭm Sanjo 35 Conclusion 48 2 Finding a Voice: Hwang Byungki’s Compositions of the 1960s 51 Becoming a Composer 52 Hwang’s First Composition: Kukhwa-yŏp’esŏ 57 The First Contemporary Kayagŭm Piece: Sup (The Forest, 1962) 68 After Sup: Hwang’s Unaccompanied Kayagŭm Music of the 1960s 90 Conclusion 97 3 Buddhism, Taoism, and the Meditative Aesthetic 101 Looking Further Back: Karado 102 Professor and Professional 108 Buddhist Culture Portrayed: Ch’imhyangmu 111 The Meditative Aesthetic and Taoist Themes 123 Conclusion 127 4 Broadening Horizons: Diversity of Sound and Unity of Approach in Hwang Byungki’s Compositions 131 West Asian Inspiration: Pidan’gil and Hamadan 132 Avant-garde Excursions: Migung and Chasi 144 The Exotic West: Yŏngmok and Sigyet’ap 152 Conclusion 162 vi Hwang Byungki 5 North Korea, Before and After: New Developments in Hwang Byungki’s Music Since the 1980s 165 Success and Stability: Hwang’s Career in the 1980s and 1990s 166 Hwang’s Music of the 1980s 168 The 1990 Musical Exchange 178 Modified Instruments and the 17-StringKayagŭm 186 Conclusion 193 Conclusion: Hwang Byungki in the Twenty-First Century 195 Appendices 201 Appendix A: List of Works by Hwang Byungki 201 Appendix B: Key to Notational Symbols 204 Glossary 209 Bibliography 215 Discography 227 Index 229 List of Figures 1.1 Hwang Byungki playing the kayagŭm at his home in Seoul, 2008. 15 1.2 The changgu. 21 4.1 The clock tower at Seoul National University Hospital, with the modern hospital building behind. 157 5.1 Sŏngjaesugando (A Sound in the Woods) by An Chungsik. 170 5.2 Logo of the Pŏmminjok t’ongil ŭmakhoe (Pan-Korean Unification Concerts) held in Pyongyang, 1990. 179 Supplementary Resources Disclaimer Additional resources were previously made available for this title on CD. However, as CD has become a less accessible format, all resources have been moved to a more convenient online download option. You can find these resources available here: https:// www.routledge.com/9781409420309 Please note: Where this title mentions the associated disc, please use the downloadable resources instead. List of Music Examples Unless otherwise noted in the captions, the Examples are from Hwang Byungki’s published scores, and are used by permission of Hwang and his publisher Ewha Womans University Press. For a list of Hwang’s works and the publications in which they appear, see Appendix A. 1.1 Changdan rhythmic cycles used in kayagŭm sanjo. 22 1.2 Tuning of the kayagŭm strings for sanjo. 26 1.3 Cho melodic modes used in kayagŭm sanjo. 27 1.4a Kayagŭm sanjo of Chŏng Namhŭi, chinyangjo, section 1 cycles 1–3. 37 1.4b Kayagŭm sanjo of Kim Pyŏngho, chinyangjo, section 1 cycles 1–4. 37 1.5 Kayagŭm sanjo of Hwang Byungki, chinyangjo, section 5 and section 6 cycles 1–2. 38 1.6 Kayagŭm sanjo of Hwang Byungki, tanmori, section 8. 42 1.7 Kayagŭm sanjo of Hwang Byungki, chinyangjo, section 9 cycles 4–6 and section 10 cycles 1–4. 44 1.8 Kayagŭm sanjo of Hwang Byungki, chinyangjo, section 14 cycles 4–5. 45 1.9 Kayagŭm sanjo of Hwang Byungki, chajinmori, section 12 cycles 1–4. 46 2.1 Kukhwa-yŏp’esŏ, first verse. 61 2.2 Hwang Byungki’s interpretation of the tonal supply and characteristic intervals of ujo and kyemyŏnjo modes in kagok song. 65 2.3 Song Ch’ŏngsando and first movement ofSup , vertically aligned for comparison. 70 2.4 Isudaeyŏp (kagok song), measures 1–3, vocal and kayagŭm parts only. 71 2.5 Sup, second movement, introduction and measures 1–13. 76 2.6a Changgu patterns used in second movement of Sup. 79 2.6b Schematic diagram of chungjungmori and kutkŏri changdan. 79 2.7a Kayagŭm sanjo of Hwang Byungki, chungjungmori, section 4 cycles 1–2. 79 2.7b Kayagŭm sanjo of Hwang Byungki, chajinmori, section 1 cycles 1–4. 80 x Hwang Byungki 2.8 Sup, third movement, measures 1–20. 82 2.9a Kayagŭm sanjo of Hwang Byungki, tanmori, section 8 cycles 7–8. 83 2.9b Sup, third movement, measures 23–6. 83 2.10 Sup, fourth movement, measures 1–16. 84 2.11a Edward MacDowell, “In Autumn” from Woodland Sketches, measures 21–4. 93 2.11b Kaŭl, third movement, measures 11–14. 93 2.12a Yangch’ŏng todŭri, measures 1–4, kayagŭm and kŏmun’go parts only. 94 2.12b Kaŭl, second movement, measures 6–8. 94 3.1 Tuning for Karado. 104 3.2 Karado, first movement, measures 16–19. 105 3.3 Karado, second movement, measures 67–74. 105 3.4 Karado, first movement, measures 1–2. 106 3.5 Tuning for Ch’imhyangmu. 114 3.6 Part of a pŏmp’ae chant as transcribed by Lee Byong Won. 114 3.7 Ch’imhyangmu, third movement, measures 3–6. 116 3.8 Kayagŭm sanjo of Hwang Byungki, hwimori, section 4 cycles 29–34. 116 3.9a Analysis of melodic cells in pŏmp’ae chant. 117 3.9b Durations of melodic cells in pŏmp’ae chant. 117 3.10 Ch’imhyangmu, second movement, measures 5–15. 118 3.11 Abstracted melody of Example 3.10, with brackets marking progressively contracted melodic cells. 119 3.12 Ch’imhyangmu, second movement, measures 16–23. 119 3.13 Ch’imhyangmu, third movement, measures 29–38. 120 3.14 Ch’imhyangmu, third movement, measures 50–54. 122 4.1 Pidan’gil, first movement, measures 1–18. 134 4.2 Tuning for Pidan’gil. 137 4.3 Pidan’gil, first movement, measures 57–9. 137 4.4 Pidan’gil, third movement, measures 9–12. 138 4.5 Tuning for Hamadan. 141 4.6 Hamadan, third movement, measures 96–105. 142 4.7a Chasi, second section. 150 4.7b Special notational symbols used in Chasi. 150 4.8a Tuning for Yŏngmok. 153 4.8b Natural harmonics of a low D, with the notes of the Stimmung chord shown in black. 153 4.8c Yŏngmok, first movement, measures 1–4. 153 4.9 Yŏngmok, fifth movement, measures 6–14. 154 4.10 Stravinsky, “Sacrificial Dance” fromLe Sacre du Printemps, measures 44–9. 155 List of Music Examples xi 4.11 Yŏngmok, fifth movement, measures 47–52. 156 4.12 Sigyet’ap, first movement, measures 1–4. 158 4.13 Sigyet’ap, second movement, measures 1–13. 159 4.14 Sigyet’ap, fourth movement, measures 1–6. 160 4.15 Beethoven, Piano Sonata in C Minor, Op. 111, second movement, measures 151–2. 161 5.1 Tuning for Chŏnsŏl. 169 5.2 Tuning for Pam-ŭi sori. 171 5.3 Pam-ŭi sori, first movement, measures 5–18. 172 5.4 Stravinsky, “The Augurs of Spring” from Le Sacre du Printemps, measures 1–6. 173 5.5 Namdo hwansanggok, second movement, measures 18–24. 175 5.6 Tuning for Namdo hwansanggok. 176 5.7 Uri-nŭn hana, measures 1–9. 181 5.8 The composers’ manuscript of T’ongil-ŭi kil. 183 5.9a Tuning of the 17-string kayagŭm for Ch’unsŏl and Sigyet’ap. 190 5.9b Tuning of the 17-string kayagŭm for Tarha nop’igom. 190 5.10 Kyemyŏnjo mode as described in Akhak kwebŏm. 190 5.11 Ch’unsŏl, first movement, measures 1–2. 192 5.12 Ch’unsŏl, second movement, measures 1–4. 192 5.13 Ch’unsŏl, fourth movement, measures 1–4.

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