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Tsi-Shin Kut of Younghi Pagh-Paan, Deconstruction or Representation of Folk sound

Yun Shin-Hyang 1

1숙명여자대학교

Candidate

ABSTRACT

This study aims to examine how folk sound of the non-western culture including Korea was deconstructed or represented in Tsi-Shin Kut(1993/94), masterpiece of Younghi Pagh-Paan. After introduction to the theoretical background for works of Younghi Pagh-Paan was presented, stylistic characteristics of Tsi-Shin Kut were drawn. Musical composition consisted of the part in which four percussion groups were performed by four performers and the part in which electronic sound was performed and two parts got joined together. Seeing pure live and electronic sound as the whole, musical composition of this work can be classified into the prologue, deconstruction of the non-western folk sound, mixture of improvisation and electronic sound, and epilogue Stylistic characteristics can be summarized as follows: the further musical composition goes, the more pure live and the less electronic sound; folk musical instruments of Korea were positioned in three groups and exotic percussion instruments from China, South America and Africa were positioned in at least one group; the designed pitch value was changed to the rhythmic value and was diluted due to mechanical sound; the rhythm of korean farm music was transformed and the Shim blinder’s lamention of p’ansori Shim-Chung was reproduced as mechanical sound at second section. The core of this work was that original sound of percussion instruments of non-western cultural area including Korea was mixed with sound that was reproduced mechanically. Therefore, mechanical deconstruction and reproduction of the korean farm rhythm and the Shim blinder’s lamentation of p’ansori are significant. The process of the deconstructively restructuring of the folk sound becomes schematized with ‘mechanization of folk sound- impromptu - performance’ pattern. In the Usage of old machinery, and in the illustration of Shim blinder’s lamentation is hidden resistance of the third world, or of the women. The two percussion instrumentalist’s impromptu implies at the possibility of the representation of the Others, but in the end, it only raises doubts on the possibility of a ‘real’ representation transfigured into a performance epilogue. Tsi-Shin Kut can be also explained through the ‘subaltern’ concept of G. Spivak. Spivak’s feministic view, which applies to the ‘deconstruction’, or the ‘hidden resistance’ of postmodernism, meets partly with the ‘backstage of the postmodernism’ that was also referenced to the subtitle of Younghi Pagh-Paans’ Taryong IV(1991). Migrant musical composition belongs to the category of migrant labor. As a result, Tsi-Shin Kut describes the mechanical trans of the women of the third world.

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* References for papers published after 2024 are currently being built.

This paper was written with support from the National Research Foundation of Korea.
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