2024, Vol.32, No.1

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

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

This paper is about the study on the music education and choral activities of Chung Sin Girls’Academy which were implemented from the beginning of the academy until 1938, when the last principal was in office. The Chung Sin Girls’Academy, the first girls' school of the North Presbyterian Church, was founded in 1887 by a medical missionary, Annie J. Ellers (1860-1938) under the name of The Chung Dong Girls’Academy. Studies such as the Bible, arithmetic, and languages were taught in the academy with the goal of its students to be trained as well-behaved women with sound faith, then a middle school system was adopted from 1903. Their music classes started with hymn singing from the beginning of the academy and were conducted by female missionaries as basic singing and organ education, but the music subjects did not play a large part except in cases where they were beneficial to church ministry. However, more advanced music education was provided as the first graduate, Kim Pil-rye, who majored in piano in Japan, and Kim Hyeong-jun who was a former vocalist from Soong Sil Academy(Boy’s Academy in Peong Yang), taught music. As choir stages were set up at events such as graduation ceremonies and founding anniversaries that were held on campus every year. The Chung Sin Choir was naturally formed and it became known as the choir representing The Chung Sin Girls’Academy by participating in the events of Christian organizations that were popular between the 1920s and 1930s on and off campus. In 1922, as a missionary group practicing missionary work and sharing, they planned a nationwide tour for the first time as a domestic girls’academy to raise funds to build a library in the academy. The Chung Sin Girls’Academy was a representative Christian girls' academy where modern Western music began, and the music education and choir activities conducted there are important examples that allow us to examine the beginnings and aspects of the women's choirs in the early modern era.

The sound of every instrument has unique formants that represent the characteristics of that instrument. Not only the sounds of musical instruments but also the ‘vowels’ of the human voice can be expressed as formants, and F1 is related to the position of the jaw opening, that is, the openness of the vowel. And F2 is related to the anterior-posterior position of the tongue, that is, the frontality of the vowel. Based on this, a comparative analysis of the formants of Haegeum and female vowels is as follows. The formants of female vowels are analyzed as follows. When comparing the English vowel ‘ɑ’ and the Korean vowel ‘아’ on the graph, the Korean vowel ‘아’, which has somewhat higher F1 and F2, is brighter than the English vowel ‘ɑ’. When actually pronounced, the Korean vowel ‘아’ is a bright sound made with the tongue slightly forward, while the English vowel ‘ɑ’ is a somewhat dark sound made inside the mouth with the tongue turned back. As seen in the color perception results of synesthetes, just as one feels ‘red’ in the tone of a violin, one can also feel ‘red’ in the haegeum, a stringed instrument. It can be inferred that the vowel ‘ɑ’ has a similar pitch in F3 and F4 compared to the haegeum, but is lower in F1 and F2, so it has a somewhat darker tone. In fact, it is a darker tone than the Korean vowel ‘아’. Of course, ‘ɑ’ and ‘아’ are similar sounds, but the Korean vowel ‘아’ is closer to the tone of the haegeum. In other words, the violin tone is close to the English ‘ɑ’, and the similar Korean stringed Korean instrument, Haegeum, is close to the Korean vowel ‘아’, and the tone of the Haegeum can be said to be brighter and stronger than the violin tone.

This study examines the sensualistic perspectives of Michel Paul Gui de Chabanon (1730-1792) on instrumental music in eighteenth-century France, particularly in relation to the doctrine of imitation. Chabanon took a different stance on instrumental music compared to the followers of the doctrine of imitation at that time. His sensualistic perspectives may be a reflection of his identity as a musician: he was a competent violinist, composer, and librettist for François-Joseph Gossec (1734-1829), one of the most renowned French symphonists. Furthermore, Chabanon discussed the connection between musical pleasure and the immediacy of musical sounds in his work De la musique considérée. This demonstrates Chabanon’s understanding of music from a phenomenological perspective. He believed that music neither represents affect nor language. Further he recognized the importance of acoustic perception in musical experience. When asked by Fontenelle’s famous question, “Sonate, que me veux tu?” Chabanon may have replied, “Music does not imitate, but expresses.”