2023, Vol.31, 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 research aims to comprehensively analyze the types of creative activities, musical elements, and media used in music textbooks across 28 different revised music textbooks for middle school. The goal is to propose a direction for sound-centered creative learning activities in line with the 2022 revised music curriculum. The results of the analysis showed that in terms of creative activity types, creating lyrics and body expression occupied the largest share. These results were found to be associated with rhythm and tempo being the most extensively covered musical elements, and the fact that creative activities integrated with other subjects held a larger share compared to independent music creative activities. Furthermore, sound-based activities utilizing actual sounds and internal auditory elements outweighed non-sound-based activities, and a statistically significant relationship between sound and non-sound activities and creative activity types was discovered. Based on these findings, the study proposed a direction for sound-centered creative learning activities by presenting specific activity phases, examples of music creation activities using rhythm cards and note cards, and improvisational music activities centered around Korean and Asian folk music. Using this research as a basis, it is expected that the 2022 revised music curriculum will emphasize sound-centered creative activities in music textbooks, and it is hoped that effective teaching methods and continuous research on teaching materials for music creative learning will be pursued.

Articulation is one of the most important performance practices for giving expression to music. This study examines the precise meaning of Widor researcher John Near’s remark in his book published in 2019, “The art of organ playing has not changed at all since Johann Sebastian Bach,” in connection with Charles-Marie Widor’s performances of Bach’s organ works. To find an answer, the study compares and analyzes the articulations of Bach and Widor, and observes Widor’s interpretation of Bach’s organ works through the preface to his Bach edition. Through a historical study of keyboard literature, starting with the fingerings and articulations found in early keyboard music through Bach and his pupils and up to Widor, this study also observes the performance practices in the times of Bach and Widor and discusses whether Widor’s interpretations of Bach’s organ music are based on the German performance literature of the past. It also discusses the various types of articulations that Bach employed in his music, their characteristics, and what each type of articulation is intended to express. It becomes clear that the markings Widor indicated in his Organ Symphony include more expressive articulations and tempo indications than are found in Bach’s own articulation, displaying characteristics of the music of the Romantic era. Although Widor is well known as a composer who inherited Bach’s tradition, his interpretation of Bach’s organ works is based on the so-called French rules, using absolute legato technique that is different from the articulation of the Bach’s time. The players of the French Romantic organ school, starting with Jacques Lemmens and represented by Widor, Alexandre Guilmant, and Marcel Dupré, performed organ music using these French rules. Widor had technical mastery of Bach’s organ music and recognized its value, but his interpretation reflected the trends of his time. Ultimately, articulation in any music is determined by what kind of musical expression the performer wants to create.

This research aims to comprehend the worship leading experiences of baptismal praise leaders. While many churches have praise and worship teams, the challenges, preparation processes, and essential concepts faced by praise leaders are often overlooked. Therefore, this study delves into the worship leading experiences and perspectives of baptismal praise leaders within the denomination to which the researcher's institution belongs. To achieve this goal, a qualitative research approach, specifically qualitative case study methodology, is employed. Methodology: The study involves eight purposively selected baptismal praise leaders from churches with a weekly attendance of over 1,000. The inclusion of church size as a criterion aims to exclude physical constraints and gain a more in-depth understanding of the parise leaders’ environment without limitations on resources such as personnel and equipment for the worship team. Data collection involves in-depth interviews lasting at least an hour, with additional questions conducted via phone or text after the initial interview. Results: The worship leading experiences of the participants are explored in four categories. First, the structure of worship ministry comprises praise leaders, worship teams, and sound technicians. Second, the procedures of worship ministry are examined through the song selection and rehearsals. Third, the worship leading experience encompasses the role and influence of worship teams during congregational singing, examining the language of worship leaders, the impact of music education on worship leading, and collaboration between choir and worship teams. Fourth, obstacles in worship ministry include challenges related to time constraints, personnel shortages, musical expertise and training, communication with preachers, and recognition and reward for ministry efforts. Discussion and Recommendations: First, this study highlights the necessity for a balance between spiritual standards and musical expertise and training for worship leaders. Musical training should incorporate vocal and harmony lessons for the worship team, and the church should offer both human resources and financial support. Second, sound technicians are encouraged to adopt a humble and communicative approach to achieve optimal worship sound. Their skills should go beyond technical expertise, requiring a discerning “good ear” for music. Third, maintaining continuous communication with preachers for song selection and fostering ongoing collaboration among various ministry roles contribute to systematic worship. Worship is a human response to God's calling. Congregational singing, as a vital element of worship, serves as the most proactive response to God's calling. This study aspires to lay a valuable foundation for enhancing worship and praise ministry in Korean churches.