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Relevant bibliographies by topics / Korean Folk songs

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Academic literature on the topic 'Korean Folk songs'

Author: Grafiati

Published: 4 June 2021

Last updated: 29 July 2024

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Journal articles on the topic "Korean Folk songs"

1

Kang, Sangmi, and Hyesoo Yoo. "Effects of a Westernized Korean Folk Music Selection on Students’ Music Familiarity and Preference for Its Traditional Version." Journal of Research in Music Education 63, no. 4 (December 30, 2015): 469–86. http://dx.doi.org/10.1177/0022429415620195.

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The purpose of this study was to reveal the effects of Westernized arrangements of traditional Korean folk music on music familiarity and preference. Two separate labs in one intact class were assigned to one of two treatment groups of either listening to traditional Korean folk songs ( n = 18) or listening to Western arrangements of the same Korean folk songs ( n = 22); a second intact class served as a control group with no listening ( n = 20). Before and after the listening treatment session, pre- and posttests were administered that included 12 music excerpts of current popular, Western classical, and traditional Korean music. Results showed that participants who listened to traditional folk songs demonstrated significant increases in both familiarity and preference ratings; however, those who listened to Westernized folk songs showed increases only in familiarity ratings but not preference ratings for the same Korean songs in traditional versions. An analysis of participants’ open-ended responses showed that affective–positive responses were used most frequently when explaining preference for traditional versions of Korean folk songs (28.1%) among the traditional Korean listening group; structural–negative reasons (47.8%) were the most frequent among the Westernized listening group.

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Lee, Eugene. "The Status of Korean Folk Song Transmission in the Mid-1970s Seen through DBS Report “Minyo-ui Gohyang”." Society Of Korean Oral Literature 71 (December 31, 2023): 181–211. http://dx.doi.org/10.22274/koralit.2023.71.006.

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This study examines the actual status of the transmission of folk songs in South Korea in the mid-1970s through DBS Report "Minyo-ui Gohyang (Hometown of Folk Songs)" produced and broadcast by Dong-A Broadcasting System (DBS). DBS Report "Minyo-ui Gohyang" was a radio documentary series that covered farming and fishing villages to report on folk song transmission. DBS produced and broadcast 15 episodes of DBS Report "Minyo-ui Gohyang" in 1974 and 10 episodes in 1975. Although it did not cover all regions of the country, Gyeongsangnam-do, Gyeongsangbuk-do, Jeollanam-do, Jeollabuk-do, Gangwon-do, and Chungcheongbuk-do were included and the coverage was conducted at the village level. This program was significant in that it raised the public’s awareness of folk songs by covering and reporting in-depth on native folk songs rather than popular folk songs that were often heard through modern media, such as radio, TV, and LP at the time. DBS Report "Minyo-ui Gohyang" not only reported what kind of folk songs remained in the farming and fishing villages but also how the villagers were passing down folk songs and what these meant to them. This program covered a total of 18 villages. In 8 villages, folk songs were actively transmitted, while in the rest 10 villages, folk songs were found but not actively transmitted. The main cause of this was the changes in living conditions. In fishing villages, the opportunities to sing fishing labor songs disappeared with the decline of traditional fishing due to the development of fishing technology and changes in fishing grounds. Similarly, in rural areas, the opportunities to sing folk songs decreased due to the mechanization of farming, the use of herbicides, and the industrialization of the region. The spread of popular songs through the radio also diminished the transmission of folk songs. However, it is noteworthy that some villages underwent the same changes while the villagers worked together to preserve their folk songs. For them, folk songs were not only a means of relieving the boredom and exhaustion of labor and increasing the efficiency of work but also a source of vitality for living, art that enriched daily life, and valuable cultural heritage to be passed on to future generations.

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Kim, Jieun. "Using Korean Folk Songs in Compositions by Korean Composers." Journal of Korean Studies 86 (September 30, 2023): 67–97. http://dx.doi.org/10.17790/kors.2023.9.86.67.

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Kwon, Oh-Kyung. "Korean Folk Songs, Asking the Way Again." Korean Folk song 67 (April 30, 2023): 9–33. http://dx.doi.org/10.56100/kfs.2023.4.67.9.

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Lee, Okhee. "The Awareness System for “Dignity” of Korean Folk Songs." Society Of Korean Oral Literature 72 (March 31, 2024): 75–107. http://dx.doi.org/10.22274/koralit.2024.72.003.

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Respecting someone requires treating them with “dignity.” In other words, you should avoid treating them in a way that demeans, insults, or expresses contempt. This study investigated how people recognize and respond to dignity through folk songs: people enjoy folk songs based on the idea that dignity is lost when human rights are violated. Also, when communication with family members failed, they felt left out and did not receive favors; instead, when criticized and ridiculed, they felt a failure of dignity. Protecting dignity was so important to them that they showed how they would rather die through the poetic speakers of folk songs. They protested that their dignity was undermined by calling them folk songs and tried to resolve the issue by making it public. Next, we investigated their perceptions and attitudes toward the deceased. In folk songs, human dignity also applies to the dead, highlighting why the person died and why those were the cause must apologize. In particular, funeral songs include, “Who is the deceased?What kind of life did they live? Why did they die? What do they mean to those who remember them? What kind of words do we want to leave behind for them, and what do we want to say to them as they leave the world?” People who enjoyed folk songs also recognized the dignity of animals based on feelings of compassion. Meanwhile, the word “dignity” has always been associated with the word “human being,” and dignity has been recognized as “the essential value of human beings.” However, recently, dignity has been extended to non-human entities, expanding its meaning. Respect for others based on compassion attracts attention, as it is a value we need to live together in the future. Defending dignity is possible by realizing one’s rights and respecting the rights of others. It is emphasized that recognizing dignity based on mutual respect regardless of race, religion, gender, social status, region, or age, abandoning the instrumental perspective of non-human beings such as animals, plants, and artificial intelligence, and cooperating to respect them is needed.

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Yoo, Hyesoo, and Sangmi Kang. "Teaching the Korean Folk Song (Arirang) Through Performing, Creating, and Responding." General Music Today 31, no. 1 (April 27, 2017): 16–25. http://dx.doi.org/10.1177/1048371317705163.

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This article introduces a pedagogical approach to teaching one of the renowned Korean folk songs ( Arirang) based on the comprehensive musicianship approach and the 2014 Music Standards (competencies in performing, creating, and responding to music). The authors provide in-depth information for music educators to help their students achieve learning outcomes for the skill, knowledge, and affect domains of the Korean folk song ( Arirang). Furthermore, the authors offer music lessons for Arirang in a variety of ways that are appropriate for upper elementary and secondary general music classrooms, including performing, creating, and responding to the music. An educational website that includes exemplary lesson plans, videos, and worksheets is also provided to help music teachers obtain content and pedagogical knowledge of Arirang.

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Kwon, Hyejin. "A Study on the Teaching Method of Elementary Gukak Education Using Local Folk Songs: Focusing on the traditional children's song of Eumseong-gun <kiwa palkki Song>." Korean Association For Learner-Centered Curriculum And Instruction 22, no. 23 (December 15, 2022): 223–35. http://dx.doi.org/10.22251/jlcci.2022.22.23.223.

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Objectives The purpose of this study is to find an effective guidance plan for Korean traditional music education by utilizing the children's songs of Eumseong-gun among local folk songs in Chungbuk. Methods To this end, the theoretical background of the integrated subject-oriented curriculum and the music- oriented curriculum were theoretically examined, and the traditional nursery rhymes of Chungbuk were examined. Based on this, the traditional children's song “kiwa palkki Song” in Eumseong, Chungcheongbuk-do, was selected as a research song, and a total of 7 teaching and learning plans were integrated for 5th and 6th graders. Results It could be seen that it would be a guidance plan that meets the cultivation of creative and convergent talents aimed at the 2015 revised music curriculum, and the necessity of research on integrated education between subjects could be recognized. Conclusions Through this study, it is hoped that it will serve as an important foundation for learning our traditional music and understanding the essence, and furthermore, it was suggested that various follow-up studies on local folk songs in Chungbuk are continuously needed.

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Sundari, Wiwiek. "Javanese Language Maintenance Through Javanese Traditional and Modern (Folk) Songs." Culturalistics: Journal of Cultural, Literary, and Linguistic Studies 4, no. 1 (July 12, 2020): 11–16. http://dx.doi.org/10.14710/culturalistics.v4i1.8143.

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Javanese Language is learnt and studied by many people throughout the world as it has a complex system of language covering the letters (Javanese Language Orthography), the politeness level, and also the history and the culture behind the language. However, there is a concern on Javanese Language shift by its young speakers because they tend to use Indonesian Language as Indonesia’s Official Language, English as the world’s international language, or another popular language in the world like Korean with its K-Pop phenomenon. Javanese Language maintenance is then needed to keep these young generation as the language users who will pass it to the next generation. One of the ways to do it is embracing their world so that the language is considered good and beneficial for them as the young generation. Since music and song is very close to the young generation as they are very up to date with the latest trend of it, the language maintenance can be done through exposing Javanese kinds of music and songs. Recently, a kind of Javanese music called Campursari along with its songs are gaining popularity with the fame of The Godfather of The Brokenheart, Didi Kempot, who creates thousands of Campursari songs full of love stories in the lyric, particularly the brokenheart storied. Out of nowhere, the young generation, who are Javanese, who are Javanese but do not understand Javanese Language or even who are not Javanese and not understand Javanese Language are joining the crowd and becoming his fans that previously filled with the old generation. This research shows how Junior Highschool Students maintain the Javanese Language usage by liking the music, singing the songs and understanding the Javanese Language in the lyric. This research also observes whether they still know or able to sing traditional Javanese songs they exposed from their family, environment (neighbourhood) or Javanese Language class at school that shows their Javanese Language maintenance. Keywords: language maintenance, Javanese Language, students, Junior Highschool, Campursari, Javanese music and song

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LEE, JUNG-MIN MINA. "Minjung Kayo: Imagining Democracy through Song in South Korea." Twentieth-Century Music 20, no. 1 (February 2023): 49–69. http://dx.doi.org/10.1017/s1478572222000470.

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AbstractDuring South Korea's authoritarian period (1961–87), student activists employed songs to express their anti-government and pro-democratic views. Known as minjung kayo (people's songs), these protest songs can be traced to the modern American folk music embraced by South Korean youth in the 1960s. By the late 1980s, however, minjung kayo carried emphatically anti-American, nationalistic, and socialist tones, echoing the minjung ideals that strove to achieve authentic ‘Koreanness’. This article unravels the complexities underlying the process of minjung kayo's development into an emblem of the pro-democratic movement, which entailed a shift away from its initial reflective and poetic style inspired by American folk music (exemplified in the songs of Kim Min-ki) and a move towards the militant style influenced by the Marxist composer Hanns Eisler. It argues that minjung kayo embodied the complex relationship South Korean activists held with their colonial past and autocratic present, as well as visions of their democratic future.

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Yukio, Uemura, and Keith Howard. "Bands, Songs, and Shamanistic Rituals: Folk Music in Korean Society." Asian Folklore Studies 51, no. 2 (1992): 362. http://dx.doi.org/10.2307/1178351.

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Dissertations / Theses on the topic "Korean Folk songs"

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Kim, Young-Youn. "Traditional Korean children's songs : collection, analysis, and application /." Thesis, Connect to this title online; UW restricted, 1998. http://hdl.handle.net/1773/11288.

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Maliangkay, Roald Heber. "Handling the intangible : the protection of folk song traditions in Korea." Thesis, SOAS, University of London, 1999. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.392108.

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This thesis is a study of how the South Korean government has tried to protect folksong traditions by designating them as Chungyo mUhyong munhwajae (Important Intangible Cultural Properties), a category of national treasures, and by regulating the transmission of these through the appointment of poyuja ("holders"). In 1962, the South Korean government promulgated the Munhwajae pohopop (Law for the Protection of Cultural Properties) on the basis of which a system was set up to protect and promote both so-called "tangible" (yuhyong) and "intangible" (muhyong) cultural properties. The law stipulated that in order to regulate the decision-making process, a committee was to be formed out of specialists of different fields of study, the Munhwajae wiwonhoe (Cultural Properties Committee; hereafter CPC). The CPC subsequently sent its members all over the country to survey and write reports on cultural items, and on the basis of these reports, it could decide to appoint cultural items as national treasures. In this thesis, I show how the system was set up, how the protection of these Intangible Cultural Properties is managed, and what factors have affected the decision-making process. Chapter 1 examines the state of folk arts in Korea after the Pacific War, and the social conditions at the time of the enactment of the Law. It also briefly looks into what its impact has been to date. I define the system's theoretical scope and highlight its limiting factors. Chapter 2 discusses the terminology for Korean folksongs and describes the songs' general characteristics. In chapter 3, I give a historical account of the protection of Korean cultural properties by law. I also examine the current law's main stipulations and explain how the system is institutionalised. Chapter 4 studies the government reports on which the appointments of intangible cultural properties are based and discusses their flaws. Besides the legal criteria, and those generally agreed upon by the CPC members, it looks into what other criteria may affect the appointment of folksong genres. Chapter 5 focuses on the appointed folksong genres, and their "holders," from the province surrounding the capital Seoul, the Kyonggi minyo (Folksongs from Kyonggi Province) and Sonsori sant'aryong (Standing Mountain Songs) respectively. Chapter 6 studies the appointed folksong genre from the now North Korean Hwanghae and P'yongan provinces, the Sodo sori (Folksongs from the Northwestern Provinces), as well as the "one-man opera" Paebaengi kut (Ritual for Paebaengi). Chapter 7 briefly considers the remaining four appointed folksong genres from other provinces in South Korea and highlights the main issues regarding their transmission. In the final chapter, I conclude that although the system has been successful in promoting many traditions, it has so far failed to fully preserve the appointed folksong traditions.

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Yoon, Hye Jung. "Birds, Birds, Bluebirds." University of Cincinnati / OhioLINK, 2017. http://rave.ohiolink.edu/etdc/view?acc_num=ucin1504802573765048.

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Hwang, Mirae. "The Blue Bird." University of Cincinnati / OhioLINK, 2018. http://rave.ohiolink.edu/etdc/view?acc_num=ucin1522319891865069.

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Shin, Jackie Kyung A. Shin. "Illumination: On Korean folk songs." 2006. http://link.library.utoronto.ca/eir/EIRdetail.cfm?Resources__ID=449777&T=F.

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Park, Hyunyoo, and 朴炫惟. "Construction of Folk Scenes in 1970s Taiwan and Korea: "Rock Magazine" and "Monthly Pop Song"." Thesis, 2018. http://ndltd.ncl.edu.tw/handle/bb2hs9.

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碩士
國立臺灣大學
音樂學研究所
106
This research examines the issue of localization of popular music through folk music in the 1970s Taiwan and South Korea. Two representative pop music magazines in this period, Rock Magazine (Taiwan) and Monthly Pop Song (Korea), are examined and compared to show how the American folk as a genre was localized and modified, and what the possible reasons would be. The two magazines are valuable data which show how Anglo-American popular music was promoted and localized each in Taiwan and Korea. Furthermore, the publications contributed greatly to the construction of domestic pop scenes and connections between participants of the music scenes, not only promoting the pre-existing overseas popular music. In particular, the magazines participated actively in the emergence of domestic folk scenes. Folk music was one of the most prevalent musical trends of the youths in the 1970s Korea and Taiwan, along with other genres of overseas-oriented popular music. Korean and Taiwanese youths participated in constructing new domestic folk scenes as audience, musicians, and workers in the music industry, arousing changes in domestic pop music environments. They adopted many musical elements in the American modern folk revivals, but domestic folk scenes were placed in different contexts from American ones. Specificities of Korean and Taiwanese folk come from the historical contexts of domestic pop scenes, as well as different mindsets of scene participants, which are shown through these two magazines. As well as analyzing the publications, this research also tries to give an overview of popular music and the emergence of folk in Korea and Taiwan. The 1970s Korean and Taiwanese folk, as genres and scenes, were two separate phenomena in themselves. Still, this paper examined, compared and contrasted the two different cases together, starting from several notable common features of folk’s development in Korea and Taiwan. Multiple reasons, including political limitations under authoritarian regimes, specific socio-cultural conceptualizations of youth, and prevalence and internalization of Anglophone pop music, are mentioned as the reasons for similarities. At the same time, through investigating magazines and other related materials, this research also dealt how Korean and Taiwanese folk, which share the root of modern American folk, diverged under different domestic circumstances.

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Books on the topic "Korean Folk songs"

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Kim, Kyŏng-hŭi. P'urŏ ssŭn minyo: Korean folk songs reinterpreted. Sŏul T'ŭkpyŏlsi: Kungnip Kugagwŏn, 2017.

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Chʻoe, Chong-min. Minyo irŏkʻe karŭchʻimyŏn chemat i nayo. Sŏul-si: Kungnip Kugagwŏn, 1997.

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Chʻu, Chŏng, Chŏng Min, Korea (South). Kuksa Pʻyŏnchʻan Wiwŏnhoe., and Hanyang Taehakkyo Hanʾgukhak Yŏnʾguso, eds. Sobietʻŭ sidae Koryŏin ŭi norae: Chŏng Chʻu kyosu chʻaerok. Sŏul: Hanyang Taehakkyo Chʻulpʻanbu, 2005.

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Yi, Hyŏn-su. Uri sori ŭi maek (maek) ŭl ch'ajasŏ. Sŏul: Minsogwŏn, 2008.

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Yun, Chʻi-bu. Cheju chŏllae tongyo sajŏn. Sŏul: Minsogwŏn, 1999.

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Yun, Chʻi-bu. Cheju chŏllae tongyo sajŏn. Sŏul: Minsogwŏn, 1999.

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Kim, Yŏng-don. Cheju ŭi minyo. Sŏul: Sina Munhwasa, 1993.

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Chʻoe, Chʻang-ho. Minyo ttara samchʻŏlli. [Pʻyŏngyang]: Pʻyŏngyang Chʻulpʻansa, 1995.

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Chʻoe, Chʻang-ho. Minyo ttara samchʻŏlli. [Pʻyŏngyang]: Pʻyŏngyang Chʻulpʻansa, 1995.

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Han, T'ae-mun. Miryang minyojip. [Miryang-si]: Miryang-si, 2010.

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Book chapters on the topic "Korean Folk songs"

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Wang, Yilin. "Research on the Teaching Practice of the Korean Folk Song “Platycodon Grandiflorus Ballad” in Primary School Music Classroom——Taking Jilin Yanbian C School as An Example." In Advances in Social Science, Education and Humanities Research, 1098–105. Paris: Atlantis Press SARL, 2023. http://dx.doi.org/10.2991/978-2-38476-170-8_123.

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"FOLK SONGS." In The Columbia Anthology of Traditional Korean Poetry, 263–80. Columbia University Press, 2003. http://dx.doi.org/10.7312/lee-11112-010.

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Howard, Keith. "Songs for the Great Leader." In Songs for "Great Leaders", 11–42. Oxford University Press, 2020. http://dx.doi.org/10.1093/oso/9780190077518.003.0002.

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Chapter 1 explores key songs to establish the formative issues and political ideologies of North Korea, from the beginnings of the creation of official history, through the notion of “popular,” to the 1960s, by which time cultural production was being brought into line with the juche ideology of “self-reliance” and the Ch’ŏllima unitary system of work under the cult of the paramount leader, Kim Il Sung. It looks at Soviet and Chinese influence on song production, and at the legacy of Japanese colonialism, as well as the factionalism that was rife among artists in Pyongyang. The chapter explores how a national identity was established in which folk songs were the foundation, though folk songs were remodeled, removing local particularity but accommodating the lyrical style of professional renditions to create a characteristic vocal style known as the juche voice, and censoring or adjusting lyrics to comply with ideology. Key song composers are introduced, distinguishing “songs of the people” from “songs for the people,” and discussing “revolutionary songs” and “immortal songs.”

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"Protest Songs from the Textile Mills and Coalfields." In Writing Appalachia, edited by Katherine Ledford and Theresa Lloyd, 176–80. University Press of Kentucky, 2020. http://dx.doi.org/10.5810/kentucky/9780813178790.003.0026.

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Protest songs have sustained strikers on picket lines, memorialized disasters, galvanized support for unions, sparked folk revivals, and established Appalachia in the national consciousness as a site of labor struggle. In Coal Dust on the Fiddle (1943), a collection of songs from the bituminous coal mines, George Korson explains that the folk songs of immigrant miners, traditional ballads of the Southern Appalachians, and African American spirituals combined in music that documented and commemorated life in the mines....

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Tick, Judith. "Dio's Circus." In Ruth Crawford Seeger, 291–309. Oxford University PressNew York, NY, 1997. http://dx.doi.org/10.1093/oso/9780195065091.003.0019.

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Abstract I am running a four-ring circus-school teaching, private teaching, books, and four children of my own,” Ruth wrote in 1946. This was what she wanted, for she meant what she said to Peggy over and over--that she al ways wanted children. In 1943 when she was forty-two and Charles was fifty-seven, they had their fourth child. Her friends at the arch,ve, who saw her frequently with one to three of the other children in tow, W( re surprised. “She’s pregnant again?” Harold Spivacke asked Rae Korson at the Archive of American Folk Song. “She can’t be. She’s too old.” But the baby was wanted, perhaps more by Ruth than Charles. This time she chose her third daughter’s name, balking at any more reminders of her husband’s previous girlfriends.

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Conference papers on the topic "Korean Folk songs"

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Young, Choi So. "A STUDY ON THE ORIGIN OF CHEOYONG: THE ANCIENT CULTURAL EXCHANGE BETWEEN CENTRAL ASIA AND KOREA." In UZBEKISTAN-KOREA: CURRENT STATE AND PROSPECTS OF COOPERATION. OrientalConferences LTD, 2021. http://dx.doi.org/10.37547/ocl-01-18.

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In 879 (or 875), Cheoyong, who appeared with several people wearing unfamiliar appearance and strange clothes, performed singing and dancing in front of the king of Silla. After that, he moved to the capital with the king, and it is believed that he performed there. According to the legend, Cheoyong, who came in late at night after performing, found that the god of smallpox was with his wife, sang and danced without anger. The god, who saw Cheoyong's behavior, said he would not invade the place where his image was painted, so his portrait later served as an amulet to prevent disease and ghosts. After that, Cheoyong has left somewhere and his dances and songs remained as Cheoyongmu(dance of Cheoyong) and Cheoyongga(song of Cheoyoung), settling down as a Korean folk art. Cheoyong is seen as a sogd performer who escaped from the political turmoil in China when looking at his appearance, his profession, and the situation at the time, which was not familiar to Koreans.

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Han, Danbinaerin, Daewoong Kim, and Dasaem Jeong. "Aligning Incomplete Lyrics of Korean Folk Song Dataset using Whisper." In DLfM 2023: 10th International Conference on Digital Libraries for Musicology. New York, NY, USA: ACM, 2023. http://dx.doi.org/10.1145/3625135.3625154.

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