2013, Vol.21, No.2

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

eISSN : 3092-2410
https://journal.kci.go.kr/musicology

Liber primus sacrarum cantionum (1589) is the first publication made up entirely of Byrd’s Latin motets, compositions that not only show Byrd’s strength as an English musician but also as a defender of his faith. Byrd was a very active Catholic, present at a major Jesuit event to welcome two secret missionaries from Rome in the 1580s, when Catholics were under the threat of intense persecution. He was also connected to the plots for the accession of Mary, Queen of the Scots, for the revival of Catholic faith in England. By publishing Latin motets -- which couldn’t expect economic profits after the establishment of the Anglican Church in England -- Byrd found a way to express his religious and political beliefs. In this essay, Byrd’s specific plans of publication, as well as the religious background of the period, are examined. Also, the texts of Liber primus sacrarum cantionum are reviewed to understand their secondary meaning, the reflection of the English Catholic community under persecution. Byrd’s texts are mostly Scripture-based. Among 16 pieces, two highlight praise and joy with others focusing on Babylonian captivity, Egyptian captivity, the plight of Jerusalem, the advent of God, liberation and martyrdom. Through these texts, the plight of Byrd, and his contemporary Catholics, is represented through music and song.

Joseph Haydn rapidly changed his musical style from a light Galant style in his early period to a bold, experimental, and intense one from about 1768. Théodore de Wyzéwa, who first paid attention to the change in Haydn’s style, named it “Sturm und Drang” after the German literary movement in the 18th century. Though it is not clear whether Haydn’s Sturm und Drang style stemmed from the literary movement or from his own inner artistic motivation, this stylistic change had great differences from Haydn’s earlier style, and it also served as a base for Haydn’s mature classical style. Haydn’s works in Sturm und Drang style began to pour out from about 1768 in his instrumental music such as his symphonies, string quartets, and keyboard sonatas. According to Haydn’s complete work list by Georg Feder, composition of his Sturm und Drang style keyboard sonatas date from 1765, 3 years earlier than those of other instrumental genres. Therefore, the keyboard sonata could be the first instrumental genre in Haydn’s Sturm und Drang style. Seven Sonatas in 1765-1772 set and L.33(Hob. XVI /20, c minor) sonata which was composed in 1771 represent the characteristics of this style. In general, characteristics of Haydn’s Sturm und Drang musical style are the use of minor key, unexpected and remote key modulations, abrupt change of tempo and dynamics, and contrapuntal texture. These characteristics were conceived to express the intense and dramatic emotions 90of the composer. This thesis first researches new key relationships between sonata movements in the above eight sonatas, and then analyzes three minor sonatas which are L.19(Hob. XVI/47bis, e minor), L.32(Hob. XVI/44, g minor), and L.33(Hob. XVI/20, c minor). The inclusion of minor key sonatas is due to the fact that the use of minor key is the first characteristic that signified a change in style. Thoroughly analyzing the sonatas in detail, this thesis claims that Haydn’s Sturm und Drang style is unique and innovative, and that its great expressiveness was different from those of contemporaries such as C. W. Gluck and C. P. E. Bach, who alsofocused on expressing emotions of a composer. Although Haydn’s Sturm und Drang style was short-lived and not continued, it surely contributed to the establishment of his mature classic sonatas. Furthermore, it is believed that these unique compositional elements affected later composers such as Mozart and Beethoven, and even those of the Romantic period.

This Paper aims to explore the identities of American single women missionaries who were responsible for the education in the music department at Ewha College (1925-1945), based on the primary sources of the United Methodist Archives. The missionary music teachers of Ewha College were Mary Young,Catherine Baker, Josephine Dameron, Grace Wood. They received higher education and came to Korea as single women missionaries, choosing to pursue their careers as single women instead of accepting marriage and motherhood. Since it was impossible to find information on these missionaries in KoreaI visited the United Methodist Archive Center, Madison, NJ in the United States to collect primary sources to reveal the biographical information and activities of the missionaries. In this paper, I summarize the biographical information of the missionaries, based on the primary sources. I also analyze the works of the Woman’s Foreign Missionary Society of the MEC and single women missionaries in the context of the changes of American society after the Civil War and the Industrial Revolution. This paper aims to shed light on the missionary musicians ‘personally’, since they have been called missionaries ‘collectively’ in Korean modern music history. Furthermore I insist the coming of the missionary music teachers to Korea indicated the opportunities for well-educated American women in the first half of the 20th century to pursue their professional careers.