2014, Vol.22, No.2

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

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

The Gallican liturgy and chant formed in 5thcentury and flourished in the kingdom of the Franks for centuries. In the later years of the eighth century,Pepin and his son Charlemagne, the first Carolingians, oppressed the Gallican liturgy and chant proper in other to standardize their liturgy andchant with the Roman liturgy and chant. The Gallican liturgy and chant disappeared before the development of musical notation. For this reason, it’svery difficult to find examples of the original Gallican chant. Improperia, a chant of Good Friday, was derived from the Gallican liturgy and taken over into the Gregorian repertoire. It seems to find some charactersof the Gallican chant proper from Improperia. This chant is composed in two part; 1st part is made up 3 reproaches and the Trisagion, a kind of arefrain, and 2nd part 9 verses and refrains. In the aspect of melody, 3 reproaches show a resemblance for one another,but the Trisagion parts have different melodic lines from reproaches. 9 verses’ melodic structure are based on the psalm tone for mode 1, but they are more prolix than psalm tone’s in regard to having decorated melodies in the mediant and in the termination and using an intonation for the secondpart of a verse, too. In the aspect of text, all the reproaches and all the verses use a syncrisis. Every reproach and every verse compare two events in the Bible; one isevents related the Exodus of the Old Testament and the other is eventsrelated Jesus’ death upon the Cross of the New Testament. The characters of the Gallican chant in Improperia are as follows;‘splendor of festive,’ ‘dramatic elements,’ ‘preference for long prayers,’ and ‘using of non-psalmic centonated texts.’ Furthermore, we can find a trace of the Gallican chant in Improperia from using of the pes stratus, asemiologic sign used in Gallican region.

So far, this researcher has examined creative words that were used asthe lyrics of mission songs in the early period of evangelization by the Korea church. Some of those words were tuned to British or American hymns. Others were sung by using the melodies of popular or traditional songs that were in fashion at that time. Nevertheless, many creative words are still uncertain when it comes to music pieces to which those words were adapted to be sung. This is because the words are remained without any musical information. Therefore, this study aimed to identify songs to whichthe creative words were adapted to be sung. In the previous study, this researcher focused on correlations in termsof vocabulary, content and expression between creative and original words and similarities in meter and syllable structure between the two groups of words. Accordingly, the researcher identified hymns that have something to do with some creative words while informing other creative words whose related hymns were not found. This study discussed in the following how to more effectively identify songs based on which creative words were sung, which were not identified in the previous research. First, this study examined cases that original and creative words match with each other in terms of content and form. In terms of content, those original and creative words are same or similar to each other in implications and the composition, vocabulary and expression of the refrain. In terms of form, the two groups of words are exactly equal to each other in meter,syllable structure, the number of syllables and rhythm. In some of the cases,creative words have more syllables than original ones do. This is attributed to rhythmic division for communicating the meaning of Korean lyrics. It’s not a big problem musically. Second, this study examined cases that creative words are different in content or form from original words. More specifically, those cases include creative words that are similar in content to original words or have sometraces of the originals, but different in the number of syllables and creativewords that are same in meter, but different in lyrics from original words. In these cases, it’s possible to identify songs only if creative and originalwords are same in any of content and form. Third, this study dealt with cases that it’s difficult to determine a music piece to which creative words were adapted. Those cases include creative words which are presumed to have been adapted to a music piece when their meter, number of syllables and lyric structure and expression are considered, but that piece is uncertain, creative words that seem to have something to do with traditional music, but which piece of that music is related is uncertain(a long-text music piece like pansori) and creative wordswhose refrain is different from that of original words. In this study, the researcher could identify songs that were sung with creative words by determining the originals of those words. This provides basic information for helping identify songs based on which many other creative words for which music scores can’t be found were sung. The identification is necessary for clarifying this country’s history of earlier church music.

K-Pop is receiving the spotlight by making a meteoric rise as a leader of the Korean Wave all over the world. K-Pop is spreading to various countries via various social networking services such as YouTube, Facebook, Twitter. And the world consumers are fascinated by catchy tunes, singer’s style, group dance and fancy performance. In 2012, Korean rapper Psy’s ‘Kangnam Style’ records more than abillion hits on Youtube, the 2nd highest ever and became a flare of globalization of K-Pop. In addition to the national brand image of Korea,‘K-Pop fever’ makes developmental opportunities throughout industries and raise many economical effects. So it shows that the ripple effect of popular culture largely influence on economic and living, moreover, the excellence of popular culture is proportional to competitiveness. The recent success of K-Pop is the fruit of Korean entertainment companies and music industry’s relentless efforts during the past one decades. however, because of problems resulted from poor structure of K-Pop market and the lack of diversified contents, the future of K-Pop fever is not positive. in order to improve the quality and the diversification of the K-Pop contents, This study tries to explore the famous musics oflatin and african style as well as K-Pop style. Expending the audience by appealing to a wider, more varied range of listeners sometimes requires retreats as well as advances. Fernandez says “performances always demand stylization, which works fine line: it always must distort, but only so long as the distortion does not become a caricature.” We should bear it in mind that the challenge for practitioners of K-Pop is to make today’s distortion tomorrow’s authentic tradition.