2008, Vol., No.15

Study on the Forms of Gregorian Chant According to the Principles of Composition

Chun, Chung-im | 2008, (15) | pp.9~39 | number of Cited : 0

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The concept of ‘form’: in the disciplines of musical aesthetics and music-theories

Mikyung Lee | 2008, (15) | pp.41~66 | number of Cited : 1

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This article is an overview of the concept of ‘form’. In many musicological treatises, the concept ‘form’ has revealed with different meanings in different stages and fields. As a philosophical-aesthetic term, ‘form’, above all, indicates perceptible configurations of art work, while it is considered as the constructive or organizing element (NEW, 2001) in the texts on music-theories. The points of the discussions about the concept ‘form’ in both researching areas are slightly different. In music aesthetics, form is a configuration or shape which is always perceptible. In this meaning, form is an important subject in musical aesthetic as a opposite concept of musical ‘content’. What is musical configuration or shape? Music has no shape in fact. It flows just in time. So form of music doesn’t exist in real. We should imagine the form while listening music. The forms of music are made from our imaginations. Then, how can we discuss about the objective ‘form’ of musical work? Is it in your mind, or in composers’ mind, players’ or listeners’? They all have different images of a musical work because of diversity of their own experiences and backgrounds. Form exist no means as objective and decidable in musical aesthetics of 20th century. Form in the field of music theory is defined as the organization of musical elements and their relationship. This definition is related with the conception that a musical work is a self-sufficient whole which has a character of organic unity. It reflects the organicism which is formulated in 18th century. But a composition is not merely a whole composed of structures. Rather, the work is also constituted by the procedures of composition, interpretation and perception. New musicological strategies in 20th-century is to challenge the stability and singularity of formal categorization as a means of defining and determining the essence of the musical work.

Different Ways to Communicate with Tradition in Korean Contemporary Music, as a Case of Four Composers Born in the 1940s

이희경 | 2008, (15) | pp.67~104 | number of Cited : 6

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Jin Kyu Young’s Myung-Sang for Soprano or Tenor with three Percussionists

변지연 | 2008, (15) | pp.105~130 | number of Cited : 1

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Jin, Kyu Young(b.1948) spent his adolescent period in Tong Yeong where is his birth place. In 1967 he started his campus life at Seoul National University, and made a wide activities as composer during the late of 1970s and early of 1980s when Korean society was the dark period politically under the military regime. Especially from the year of 1981, as a member of the Third Generation Group he was against the cultural phenomenon towards contemporary European music and made activities for the future of Korean music. At that time the Third Generation Group announced a strong tie with third world, an emphasis of self-respect of Korean culture, and a free from the bondage of European culture. Jin wrote his works in various musical genre such as orchestral pieces, ensembles, solos, lieder, choral pieces, dance music, electronic music, film music etc. Through all his works he concerned communication with our society and made his musical language within the expression and elements of Korean music. “Myung-Sang” is Jin’s representative early work, which he composed in 1984 and 1985. And with it he was awarded the Korean National Composition Prize in 1990, and performed many places around world including Poland and Germany(ISCM World Music Days 1995). For this piece Jin used the melodic materials of Korean Buddhist chant, Beompae. So the voice part is most important in that piece and also reveals the nature of Korean traditional voice techniques. Although it is based on the melodic line of Beompae, its musical description is about a meditative world as the title “Myung-Sang” says, which is the act of remaining in a silent and calm state for a period of time, or so that we are more able to deal with the problems of everyday life. “Myung-Sang” consists of four part: preparation for meditation, induction of it, the internal sound of severe introspection, and retracing to sense of the real.

A Symponic Poem of Korean traditional instruments,Haesik Lee’s <Haedongsingok>

Kyoungbun Lee | 2008, (15) | pp.131~158 | number of Cited : 1

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A Study about the Changjak Gukak- An Aspect of Modernization in Korean Traditional Music with the Composer Ki-Su Kim

Shin Hyang Yun | 2008, (15) | pp.159~191 | number of Cited : 8

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This paper is about the aspect of modernization in the Korean traditional music with the composer Kim Ki-Su, who is the first generation of the Changjak Gukak. This study proceeds in two sections; the first two chapters are summarized the musical growth and the important works of Kim Ki-Su. Thereby this study deals with the compositional style <Seuyoung>(1941), which Kim regarded it as his first work. The third chapter describes the relation between the transcription and composition, and under this aspect examines the process of modernization in traditional Korean music. Kim Ki-Su was a performer who transcribed Aak to staff notation in the Lee Wangjik Aakbu under the Japanese colonial government. He was also a composer, and an administrator in education of Korean traditional music. Especially an eye-catching achievement is his staff-note transcription of Aak and folk music. An Performer of Aak, composer, and human cultural assets, Kim Ki-Su is a good example of Korean composer, who reflects the situation of Korean music in the period when the tradition mingled with the modern. According to tempo, <Seuyoung> is divided into three movements. Surely Kim used Western metric unit, but the melodic and rhythmic patterns are based on the constitutive element of the traditional Korean music Chôngak. The melodic structure is generally in C hwangjong pyôngjo, and sometimes it shows Western major scale. The register is from low c up to a2. <Seuyoung> is modified the fundamental Changdan of <Youngssan hoessang>, that is Seryôngssan, Doddri, and Taryông. With this modification of Changdan, the composer used different notations: staff notation for melodic instruments, Jôngganbo for Janggu, and the notation which he created his own style. Marks for expressions have important roles in musical form; they frequently appear a lot in the beginning and ending part of each movements. Using different notations is concomitance with 'translation' of traditional Changdan to Western rhythmic notation, and mingling C hwangjong pyôngjo with F major scale is concomitance with 'translation' Korean traditional scales to Western harmonic notation. These mixture of musical languages and notation types is just superficial phenomenon in the progression of musical 'translation' which expresses the Korean traditional musical elements in the form of Western modernization. Eventually Kim Ki-Su's experience of transcription to staff notation which started under Japanese colonial government, influences to his desire of musical composition, it also contributed to Changjak Gukak which is a newly born tradition in the early of 20th century Korea.

The Words and Rhythms of Hong Nan-Pa’s Song

김창욱 | 2008, (15) | pp.193~229 | number of Cited : 0

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The purpose of this study is to analyze correlations between the words and rhythms of song by Hong Nan-Pa(1898~1941). For the purpose, this researcher investigated the forms of words of the composer’s music, rhythms distributed to those words, and the types and transformations of those rhythms depending on different beats. The reason why the researcher analyzed the composer’s music in terms of words and rhythms is because the researcher thought it would be best to examine Hong, Nan-Pa’s song structurally. Hong Nan-Pa’s song, in most cases, used words from rhymed verses. Then fixed rhythms were distributed to those words. Rhymed words means words whose number of phrases are pre-determined in accordance with fixed forms, for examples, the groups of words, whose progression is consistent, like 3(4) plus 4(3) or 3(4) plus 4(3) plus 5. These forms make easier composing rhymed musical works. In Hong Nan-Pa’s song, distributing rhythms to words was made under the principle of equalizing the number of musical measures with that of rhythms. For example, If 3 musical measures are distributed to triple time and 4 to quadruple time, for example, 3 and 4 notes are used, respectively. But in the composer’s song, lots of cases in which rhythms can’t be equally distributed, for example, distributing 3 musical measures to binary time or 4 to quarduple time. In this case, Hong Nan-Pa allocated rhythms in such way as getting longer notes ahead of shorter ones or vice versa. In his song, Hong Nan-Pa didn’t stick to original rhythms. In other words, he attempted a variety of rhythmical changes by repeating or transforming original rhythms. The rhythmic transformation was often aimed to avoid musical simplicity, stress particular musical measures, decorate with notes divided into shorter ones and coordinate the number of musical measures. Repeating and transforming rhythms were one of the main characteristics of Hong Nan-Pa’s song. He made a melody by using pentatonic or hepatonic scale whose range is one octave or more. To support the melody, then, the composer appropriately used a combination of major and minor keys and harmony based on primary triad. Hong Nan-Pa’s song is best characterized as very simple in form, so anyone can easily learn and sing his song. Such simplicity and easiness made it possible for the composer’s song to communicate with his and later generations, contributing to achieving the objectives of practical music.

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Journal of the Korean Society for Musicology 2024 KCI Impact Factor : 0.64

2008, Vol., No.15