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Journal articles on the topic 'Korean Folk songs'

Author: Grafiati

Published: 4 June 2021

Last updated: 29 July 2024

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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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2

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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3

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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4

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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5

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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6

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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7

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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8

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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9

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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10

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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Jung, Hye-Jin, and Ihn-gyo Bae. "North Korean small Dance and the Use of Folk Songs." Korean Folk song 59 (August 31, 2020): 219–50. http://dx.doi.org/10.56100/kfs.2020.08.59.219.

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12

Picard, François, and Keith Howard. "Bands, Songs and Shamanistic Rituals: Folk Music in Korean Society." Cahiers de musiques traditionnelles 4 (1991): 291. http://dx.doi.org/10.2307/40240114.

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13

Bae, Ihngyo. "The National Folk Art Center and the North Korean National Music." National Gugak Center 47 (April 30, 2023): 275–97. http://dx.doi.org/10.29028/jngc.2023.47.275.

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This article aims to enhance understanding of the National Folk Art Center (hereafter, the Center) through dividing its 75-year history and activities into three periods, and to review the trend of changes in North Korean national music, From 1947 to 1965, the Center had been reorganized as the Joseon Classical Music Research Institute, the Classical Orchestra directly under the Ministry of Culture and Propaganda, the Hyeopryuldan within the National Arts Theater, the Classical Orchestra under the direct control of the National Arts Theater, the National Classical Arts Theater, and then National Folk Arts Theater. During this period, traditional music capabilities such as changgeuk (Korean opera derived from pansori) and instrumental performances of Korean traditional musician who crossed the border to North Korea had a great impact on the North Korean music scene. From 1965 to 1992, the Center had been renamed as the National Folk Opera Theater, the Pyongyang Art Organization, the Moranbong Art Organization, and then the Pyongyang Art Organization; the content of activities had changed. At this time, the pibada ('Sea of Blood') style of national opera was established, and the comprehensive music and dance performances were vitalized while many folk dance and national dance works were created. Since 1992, when the Center worked as a National Folk Art Center, it has created and performed works such as national operas, folk dance suites, and national songs and dances. Since the 2000s, the Center focused on creating large-scale art performances together collaborating with various music organizations, rather than solo performances. After the Kim Jong Un era, the Center has been pursuing activities as an independent organization. Through the activities from the Joseon Classical Music Research Institute to the National Folk Art Center, we can get a glimpse of the way in which the modern transformations of national music were realized in North Korea, and confirm that the activities of those who crossed the border to North Korea were at the base. The activities and roles they played in North Korea serve as a point of contact for South and North Korea to confirm their traditional musical culture and national identity.

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14

Kim, Jung hi. "An Examination of the Types of Sigimsae in Korean Folk Songs." STUDIES IN KOREAN MUSIC 46 (December 30, 2009): 49–80. http://dx.doi.org/10.35983/sikm.2009.46.49.

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15

Piao, Yongchun, and Kyunghoon Han. "A Study on Aspects of Mode Expansion of the Pentatonic Scale in the North Korean Folk Music." National Gugak Center 47 (April 30, 2023): 179–220. http://dx.doi.org/10.29028/jngc.2023.47.179.

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The North Korean folk Music is characterized by the pentatonic scale, which is made up of the five tones of gong (C), shang (D), jue (E), zhi (G), and yu (A). There are five corresponding modes in it: gong mode, shang mode, jue mode, zhi mode and yu mode. It contains a unique 'sigimsae' (decorative expressions) and and exhibits a unique style. Given the researches on the pentatonic scale modes in the North Korean folk Music from 1950 to 2000, it is divided into studies on structural characteristics and types of the modes based on 'pyongjo three-tone serial' and 'gemyongjo three-tone serial' and studies on the mode expansion. Among those, the researches on the mode expansion are generally based on Hwang Min-myung's theory. This study examines the theoretical background and formation process of the pentatonic scale modes in the North Korean folk songs and analyzes the structure and tone characteristics between 'basic scale modes' and 'expanded scale modes', which have not yet been studied by the theory of expansion of the pentatonic scale modes in folk songs. Furthere, it seeks theoretical study on the modal development, aspects of modulation, and aspects of modal change in the same serial of extended scale modes. Therefore, this studycomposes the mode scales based on Hwang Min-myung's theory of the expansion of the pentatonic scale modes and divides the corresponding extended modes into 9 types. Among them, it is found that 'same serial modulation' and 'same tonic-note modulation' are made between scale modes due to the characteristics of 'same serials' and 'same scale modes' that appear in modes and extended scale modes in accordance to the alternative notes such as B, Bb, C#, Eb, F, and F#. This study aims to suggest the possibility of the development of the pentatonic scale modes in the Korean folk music. Therefore, it is expected that research on the pentatonic scale modes in Korea and other countries around the world will serve as a theoretical foundation for the creation of music by presenting the direction of research results that strengthen the basic frame of theory.

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16

Hong, Na-rae. "A Study on the Role and Potential of Oral Literature Classes as a University Major Education." Research of the Korean Classic 61 (May 31, 2023): 151–77. http://dx.doi.org/10.20516/classic.2023.61.151.

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This paper reviews the current issues of the oral Literature course, based on the Korean Oral Literature course at Ewha Womans University, and proposes plans with cases in order to raise the possibilities and objectives of Korean oral Literature as a university major. The 15-week Korean oral Literature course covers various genres such as folk narratives, Shaman’s songs(muga), folk songs, pansori, and folk plays. Because the regions, histories and genres of works are diverse, works and topics are selected according to the professor’s teaching goal. In terms of students, in addition to Korean Literature majors, students from other departments with interests in classics, contents, and oral language, and as the proportion of foreign students increases in the university, foreign students are also increasing in the Korean Oral Literature course. Even if the aspects of utilization are highlighted in the curriculum due to the change in the university, the study of Korean traditional literature should aim for the social values that we dream of. Since the research on Oral literature started as research on folk/minority literature, we should consider its basic nature while considering the collective wisdom and symbolic value creation of the community. In addition, we must consider the locality and reality as a genre that is still alive. In the class, students were encouraged to pre-learn videos and materials before the class, and each genre was arranged with group presentations and discussions to dynamically construct the class. In the situation where foreign students are increasing, comparative literary perspectives were used to lead their participation and review the universality and specificity of Korean oral literature, and cultural perspectives were used to interpret Korean oral literature in different eras and cultural regions. This not only deepens our understanding of Korean oral literature, but also moves towards deepening our understanding of humans and society by analyzing current social and cultural phenomena from the perspective of Korean oral literature, challenging familiar situations and values. Thus, Korean oral classes that focus on our daily lives and stories should expand their academic role even in the midst of university change.

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Kim, Jeong-Hee. "Types of Altered Tones in Indigenous Korean Folk Songs and Their Usage." Korean Folk song 67 (April 30, 2023): 99–166. http://dx.doi.org/10.56100/kfs.2023.4.67.99.

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Nurkhazanah, Lia Amelia, Yulianeta Yulianeta, and Didin Samsudin. "A comparison of cultural meanings in Sundanese and Korean traditional children's songs: An anthropologist study." Journal of Korean Applied Linguistics 1, no. 2 (October 29, 2021): 53–70. http://dx.doi.org/10.17509/jokal.v1i2.34064.

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Traditional children's songs are a literary heritage that contains cultural values and noble norms that are meaningful in people's lives. This research aims to describe the (1) comparison of the linguistic units, and (2) comparison of cultural meaning in Sundanese and Korean traditional children’s songs. The data were taken from four Sundanese and Korean children folk songs’ lyrics. This research method is a qualitative descriptive based on an anthropolinguistic approach, and the data were collected by downloading the lyrics on youtube. The data were analyzed using the distributional and identify method. The results show that both in Sundanese and Korean traditional children’s songs lyrics consist of linguistic units words, phrases, clauses, sentences, and discourse. In the realm of anthropolinguistics, the results show similar cultural meanings in (1) Ayun Ambing and Jajang Jajang Uri Aga (자장 자장 우리 아가) which is the cultural meaning of cradling a baby, family love and respect for parents. (2) in Bulantok and Dal-dal Museun Dal (달달 무슨 달) include the meaning of being grateful for the beauty of nature, (3) in Cing Cangkeling and Saeya- saeya Pharangsaeya (새야 새야 파랑새야) shows the meaning of vigilance against colonizer, (4) in Oyong-oyong Bangkong and Dukkeoba-dukkeoba (두껍아-두껍아) contains cooperation and life guidance. This research is expected to be used as a means of preserving language and culture through traditional songs.

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Le, Tam Thi Thanh. "KIM SO-WOL AND NGUYEN BINH KINDRED SOULS OF THE SAME SORROW." Science and Technology Development Journal 13, no. 1 (March 30, 2010): 13–25. http://dx.doi.org/10.32508/stdj.v13i1.2100.

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Kim So-wol and Nguyen Binh are poets living and writing in special ages of North Korean and Vietnamese literature: the first steps of literature modernization process which was full of success. They are strangely alike in poetry talent, in melancholy, and in the death by the beginning of spring. Their very sad life together with their poetry genius is witness for the marvellous meeting of the two oriental poets. Their background tendency is firm dependence on tradition, and imitation of beautiful melody from national folk-songs to inspire the writing. They resemble each other in the way they create passionate modern folk-songs of the same consonance and upright hearts, desperate wrench of painful love, and sorrowful songs of the road. Through their masterpieces with deep prints in readers’ minds, Kim So-wol and Nguyen Binh nurture poetry veins toward tradition and assert the value of that style in the face of changes of history and literature.

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20

Hur, Young Jin. "Social Aspects of and Literary Expressions in Cho Yong-Pil’s Lyrics." Korean Association for the Study of Popular Music 29 (May 31, 2022): 337–71. http://dx.doi.org/10.36775/kjpm.2022.29.337.

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This study set out to analyze the social nature of Cho Yong-pil’s lyrics and examine the ways social aspects are expressed and messages reflected in Korean popular songs. The findings were as follows. First, Cho’s songs such as <Come Back to Busan Port>, <Seoul, Seoul, Seoul>, and <Arirang in My Dream> were written to commemorate historical moments. <Come Back to Busan Port> offers lyrics reflecting the pain of family separation due to the Japanese occupation, national unity, and his wish for the unification of North and South Korea. <Seoul, Seoul, Seoul> focuses on the placeness of Seoul and paints a depressing outlook for the social aspects that the nation would face after the Seoul Summer Olympic Games. <Arirang in My Dream> reinterprets the Arirang folk song that represents the history of the Korean people’s suffering, indicating that the history of Korea faces a grand turning point. Secondly, <The Empty Sky>, <Life>, and <1987 of Seoul> reflect people’ aspirations for anti-autocracy and democratization. <The Empty Sky> and <Life> are set against the backdrop of “Seoul’s Spring in 1980” and the “Gwangju Democratization Movement of May,” depicting the dream of democratization that was lost in the “empty sky” and the noble spirit of sacrifice of democratic souls. The lyrics of <1987 of Seoul> talk about the historical site of a democratic protest on June 10 and the beginning of the democratic society that the Korean people finally won. Lastly, <Ilseong> represents people’s anger toward the political world. Its lyrics are impressive for their harsh political satire. <My Friend’s Morning> and <One Day on the Way Back Home> talk frankly about the anxiety and alienation of the middle aged and the older generations that faced a rapidly changing social situation after the foreign currency crisis. These findings show that many of Cho Yong-pil’s songs contain social messages in their lyrics, that the lyrics of his songs did not enjoy as much attention as their popular awareness, that it was inevitable for him to hide his original intentions with literary expressions, and that he continued to deliver his social messages.

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21

Yang, Ok-kyung. "The Meaning of Nongak(農樂) Education in vocational High School and the Direction of Nongak Education in the Higher Education Level." Sookmyung institute of Global Governance 2, no. 1 (June 30, 2023): 56–65. http://dx.doi.org/10.56485/jous.2023.2.1.56.

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Since the establishment of the Korean government, Gugak has entered institutional education. Attention was paid to this aspect because it shows that professional Korean traditional music education, which relied on apprenticeship education in the past, began within a modern and contemporary educational institution called “school.” Starting with high school education in the early 1950s, Korean traditional music education has been upgraded to higher education in universities over time. And as time went by, the number of professional education institutions also increased. But, it was only just before the 21st century that folk arts such as folk songs and folk games, including Nongak, entered higher education. Instead of higher educational institutes, in vocational high schools specialized Nongak education, which had been away from the center of education since the middle of 1950. It is clear that this phenomenon must be explored to shed light on changes in modern Nongak history and Korean traditional music education. This is because figures trained through Nongak education in the vocational high school space are currently actively participating in the transmission, performance, and education of Nongak in each region and have a significant impact on the current stage of Nongak transmission.

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22

Pratt, Keith. "Bands, Songs and Shamanistic Rituals: Folk Music in Korean Society (review)." Korean Studies 15, no. 1 (1991): 124–27. http://dx.doi.org/10.1353/ks.1991.0010.

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23

Howard, Keith, Yi Po-hyong, Kwon O-song, Kim Yol-gyu, Paek Tae-ung, and Yi I-ha. "Ppuri kip'un namu p'alto sori (The Deep-Rooted Tree Collection of Korean Folk Songs)." Ethnomusicology 32, no. 1 (1988): 165. http://dx.doi.org/10.2307/852239.

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Kim, Min-Ha. "Planning the Appreciation Education of Korean Folk Songs in Relationship to the Familiarization Area." Korean Journal of Teacher Education 30, no. 1 (January 30, 2014): 113–35. http://dx.doi.org/10.14333/kjte.2014.30.1.113.

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25

So, In-hwa. "Historical Research of the Performances of Korean Traditional Folk Songs at National Gugak Center." Korean Folk song 68 (August 31, 2023): 7–29. http://dx.doi.org/10.56100/kfs.2023.8.68.7.

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Koo, Jea-hyoun, and Jae-won Choi. "A Study of the Compilation of Selected Poems, Cheonggusicho and Its Meaningin Korean Chinese Literature History." Daedong Hanmun Association 74 (March 31, 2023): 329–56. http://dx.doi.org/10.21794/ddhm.2023.74.329.

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The main purpose of the present study is to elucidate the background and process in the compilation of selected poems, Cheonggusicho published by the Japanese Government-General of Joseon and its meaning in Korean Chinese literature history. Because Kim, Taejun made a diachronic study of Korean Chinese literature history to describe ancient parts of Joseon Chinese Literature History by using a lot of Cheonggusicho. The Competitive Exhibition of Local Products for the Fifth Anniversary of New Politics’ held by the Japanese Government-General of Joseon provided an occasion to publish Cheonggusicho. It was held to commemorate the fifth year of Japanese rule of Joseon and to make Joseon merged as a colony of Japan. Though Cheonggusicho was published to commemorate the fifth year of Japanese rule of Joseon, it was not a local product. It seems that its aim was for some Japanese to enjoy Korean folk culture, due to the words in the preface, “to give the books printed by the typographic culture of Joseon to the ‘persons interested in the same subject’”. It is doubtful why Cheonggusicho was taken to Joseon Chinese Literature History. Cheonggusicho consists of 176 poems stemmed from Gojoseon, the first Korean kingdom, to the Goryeo dynasty. Over 130 poems in it were recorded on Dongmunseon. The poems representing each historical era are arranged in chronological order with a poem a poet. It is different from other anthologies. So the origin of Joseon poetry dates back to the earlier era. According to the preface of Joseon Chinese Literature History, it does not belong to Chinese Literature because it is the translated Chinese character version of native Korean words. At that time when Kim, Taejun wrote Joseon Chinese Literature History, Samgukyusa(Memorabilia of the Three Kingdoms) began to spread and the literary approach to Hyangga(old Korean folk songs), Korean myths and folktales emerged in the academy. That Chinese Literature in Korea should belong to Joseon Chinese Literature History was under discussion. In conclusion, though Cheonggusicho was published for some Japanese to enjoy Korean folk culture, it is a clue to spread the origin of old Korean literature by Kim, Taejun at that time when the concept of literature began to change.

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Kim, Hey Jung. "Performance Patterns and Challenges of Local Folk Songs by Participating in the Korean Folk Arts Festival and Recognizing Culturla Properties." Korean Folk song 65 (August 31, 2022): 73–102. http://dx.doi.org/10.56100/kfs.2022.08.65.73.

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Choi, Jin, and Dong-Hyuk Jang. "Educational Status of a Popular Korean Traditional Music and Development Plan Using Interviews with Middle and High School Music Teachers." Institute for Education and Research Gyeongin National University of Education 43, no. 4 (December 31, 2023): 161–73. http://dx.doi.org/10.25020/je.2023.43.4.161.

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In this study, creative Korean traditional music, which is taught and learned educationally without clear definitions such as new folk songs, new Korean traditional music, creative Korean music, Korean traditional music, Korean traditional music, fusion Korean music, crossover, and world music presented in various textbooks, is called popular Korean traditional music. Understanding popular Korean traditional music will allow teachers and students to experience more diverse forms of Korean traditional music and will give them an easier access to traditional Korean music, which can only be felt difficult. To this end, it was possible to investigate and analyze popular Korean traditional music contained in textbooks and grasp the educational status of popular Korean traditional music to see what musical elements are emphasized educationally. Moreover, 38 incumbent teachers working as middle and high school music teachers across the country presented educational implications and development plans through actual educational cases, awareness, teaching, and interviews of learning about Korean traditional music. Through the above research, we will find educational significance for popular Korean traditional music, which is unclearly educated, and provide students with an opportunity to understand the current creative traditional music and improve their artistic sense expressed in traditional music.

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Mun, Bong-seok. "A Study on the Current Status and Problems of Korean Folk Songs in Music Textbooks." Korean Folk song 61 (April 30, 2021): 51–88. http://dx.doi.org/10.56100/kfs.2021.04.61.51.

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Suh, Young Sook. "Meaning and Analysis of Korean Narrative Folk Songs about Women’s Married Lives for Digital Archiving." Journal of Korean Oral Literature 60 (March 31, 2021): 195–229. http://dx.doi.org/10.22274/koralit.2021.60.007.

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Suh, Young-Sook. "Perception of Nature and Life in Korean Folk Songs and Reflection for a Sustainable Future." Journal of Korean Oral Literature 57 (June 30, 2020): 5–38. http://dx.doi.org/10.22274/koralit.2020.57.001.

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Choi, Jin. "A Study on the Teaching of Korean Folk Songs Using Gayageum Byeongchang Approaches to Accompaniment." Journal of Namdo folklore 43 (December 31, 2021): 229–56. http://dx.doi.org/10.46247/nf.43.8.

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Yi, Ji young. "Popular folk songs and Pansori performances in a first-generation Korean American’s full-length novelst." Journal of Pansori 48 (October 31, 2019): 303–37. http://dx.doi.org/10.18102/jp.2019.10.48.303.

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Yang, Ji-Young. "The meaning of ‘Korean things’ considered from Sinminyo - Noguchi Ujō and “Research of Korean folk songs” and Kim Sa-Yeop." Japanese Cultural Studies 66 (April 30, 2018): 183–202. http://dx.doi.org/10.18075/jcs..66.201804.183.

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Han, Kyeng Min. "Comparative Analysis of Black and White’s Color Meaning Symbol: Analysis of Korean-Hungarian Folksong’s Text." East European and Balkan Institute 48, no. 1 (February 29, 2024): 163–91. http://dx.doi.org/10.19170/eebs.2024.48.1.163.

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This paper is a study on the meaning symbols of black and white in Korean and Hungarian folk song texts. Starting from the original form of black and white with basic meaning in folksongs, I analyzed the symbolism that contains various expanded meanings. In other words, starting from the conceptual meaning of black and white, we looked for usage cases that spread to thematic, connotative, social, emotional, reflective, and collocational meanings, and classified the various semantic symbols expressed by color words. The classification method was divided into positive and negative meaning symbols depending on whether the color's meaning was positive or negative for the individual or society, and the expanded meaning belonging to each was presented and classified. I wanted to find out whether the black and white colors used in the folk songs of the two countries have common positive and negative meanings, and if specific meaning symbols appear for one people, what the reason is. The direct goal of the study was to understand the universal and general meaning symbols of color, but behind the scenes, it was expected that each nation would have individual and unique meaning symbols. As a result of the study, the original black and white colors were common to both ethnic groups, but the derived meanings had both similarities and differences. It can be inferred that cultural and environmental factors such as the religion, history, and living environment of the two peoples may have had an influence in the background.

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Heo, Jeong-joo. "The direction of the transmission of Korean folk songs through the Baltic States Intangible Cultural Heritage ‘Celebration of Song and Dance’." Korean Folk song 68 (August 31, 2023): 63–94. http://dx.doi.org/10.56100/kfs.2023.8.68.63.

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Lee, Jisun. "A Study on Development and Achievement of the Korean Musicology in Japan since 1945." National Gugak Center 48 (October 31, 2023): 137–92. http://dx.doi.org/10.29028/jngc.2023.48.137.

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This article examines the Korean musicology, developed in Japan since 1945, by period and the the results by field. During the Japanese colonial period, Japanese research on Korean music was actively conducted in relation to the ruling policy of the Japanese Government-General of Korea, but after the defeat in World War II, research on Korean music decreased significantly. Therefore, the period from 1945 to 1965 can be called the ‘gap period’ of the Korean musicology in Japan. In the 1970s, as Ethnomusicology grew significantly in Japan, Korean music research was conducted as part of it. Master's and doctoral theses on Korean music were published, related research also surged, and the Goryeoak yeonguhoe (Komagaku Research Society) was established (1976) beginning regular academic exchanges between scholars from the two countries. Therefore, the period from 1966 to the 1970s can be called the growth period of the Korean musicology in Japan. In the 1980s, in-depth research was conducted through long-term fieldwork and study abroad, and the number of studies increased significantly due to academic activities of various generations. Two research books, Song of Arirang and the Study of Sound were published, and six articles on Korean music were included in a collection related to Asian music, strengthening the status of Korean music research in Japan. In addition, high-quality academic exchanges between music scholars from both countries continued by the Komagaku Research Society. Therefore, the 1980s can be called the establishment period of the Korean musicology in Japan. The 1990s was a time when the research field expanded significantly, and research results came out in all fields except court music. In particular, it is noteworthy that research on the history of music during the Joseon Dynasty and modern music began. Although the number of studies has decreased compared to before, in terms of diversity in research, it can be said that the Korean musicology has entered a stable period during this period. In the 2000s, the number of studies decreased even more than before. This is because academic activities were centered around the third-generation researchers. Therefore, this period can be viewed as a stagnation period or period of generational change in the Korean musicology in Japan. It is noteworthy that while there was no articles on folk songs and instruments that had been studied steadily before, modern music history increased dramatically (12 articles) compared to the previous period (1 article). Since 2010, research results have increased significantly, the number of researchers has increased, and the publications in Korean journals (in Korean) have increased, marking a period of significant quantitative and qualitative development in Korean music research. Therefore, this can be called the prosperity period of the Korean musicology in Japan. It has been confirmed that Korean music research has been conducted in all fields in Japan since 1945. A total of 190 studies were conducted, with the most popular field being folk music (53), followed by music history (49) and musical instruments (32), followed by general theory (17), music style (14), music exchange (11), royal music (6), and etc (8). This is in contrast to the intensive publication of articles on court music in Japanese colonial period. The reason why so many studies on folk music seems to be the result of active research using ethnomusicological approach to collecting data through fieldwork while the reason why the study of modern music history has increased rapidly since 2000 may be because of interest in the special situation of the Japanese colonial period and materials written in Japanese in this period, which easily accessible to Japanese researchers.

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Kim, Hyun-ju. "A Study on Types of the Janggu Accompaniement and Application for the Jajinmori-jangdan Korean Folk Songs." Korean Folk song 60 (December 31, 2020): 51–80. http://dx.doi.org/10.56100/kfs.2020.12.60.51.

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Lee, Min-Gyu. "Differences in Gender Perception and Problems of Sexual Objectification in Korean Folk Narrative Songs and Sasul-Sijo." Eomunhak 155 (March 31, 2022): 245–68. http://dx.doi.org/10.37967/emh.2022.3.155.245.

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Huh, Jeeyeon. "American Missionaries and Korean Christian Intellectual’s Recognition of Traditional Music and Practice for it: Focusing on Korean Folk Songs, Vol. 1 (1931)." Journal of Music and Theory 40 (June 15, 2023): 11–37. http://dx.doi.org/10.36364/jmt.40.1.

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41

Lee, Juwon. "Meaning of Acceptance of Popular Music through the Influence of the Beatles in Korean-Japanese Popular Music in the 1960s - Focused on the 1960s Band Music of Both Countries." Korean Association for the Study of Popular Music 33 (May 30, 2024): 317–40. http://dx.doi.org/10.36775/kjpm.2024.33.317.

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Since the Beatles’ arrival in New York on February 7 th , 1964 was broadcast, they have shaken up not only the United States but also the world’s popular music market. Korea and Japan, which were strongly influenced by American pop culture at the time, were also influenced by British-style band music including the Beatles. Based on this cultural phenomenon that Korea and Japan experienced simultaneously in the 1960s, this study examined the patterns of cultural spread in the Anglo-American region between the two nations via a comparison of the music of the two countries at the time. This study compared Korean and Japanese 60s popular music in terms of melodies and harmonies that were influenced by British-style band music represented by the Beatles. As a result, the band music of both countries exhibited similarities and differences in musical aspects. A common factor is that the band music of both countries follows the Beatles’ band formation and arrangement method; however, differences were also observed. In the case of Korean bands, excluding their adapted songs, the musical influence of the Beatles is not easy to find. Korean band Add4’s songs were made using pentatonic scales, which give the feeling of Korean folk music. The band Keyboys wrote songs in the trot genre. In the case of Japan, other examples can be found. The band The Spiders and The Dynamites used music as similar to the Beatles as possible, thereby reflecting the Beatles’ melodic and harmonic characteristics as much as possible. Jackey Yoshikawa and the Blue Comets showed enka tendencies. Based on our results, Korea’s 1960s band music localized new English-American music and accepted it in a compromise manner. Japanese band music also attempted to localize, but attempted to copy the trend of English-American music represented by the Beatles. It was confirmed that attempts had also been made. Based on these differences in cultural acceptance between the two countries, the patterns of cultural transmission at the time in the Anglo-American world can be summarized as follows. 1. The public’s level of exposure to Anglo-American culture was different in the two countries. 2. The music production companies of the two countries had different approaches to the newly forming English-American music. Thereafter, Korean and Japanese popular music in the 70s and 80s took different paths. This difference can be viewed as the result of the two countries’ different acceptance of Anglo-American music from the 50s, 60s, and 70s, which are considered a time of differentiation in Anglo-American popular music genres such as rock, rock‘n’roll, and R&B. The occurrence of the phenomenon of cultural acceptance influencing later generations of music is believed to be repeating with the birth of K-pop. Accordingly, the formation of modern K-pop and its differences from J-pop can be considered as future research tasks.

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Ha, Seongwoon. "The Representation of the Death of Modern Popular Songs and Their Formative Methods." Korean Society of Culture and Convergence 45, no. 10 (October 31, 2023): 1259–69. http://dx.doi.org/10.33645/cnc.2023.10.45.10.1259.

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This paper attempts to extract death-related thoughts, images, and motifs from Korean classical poetry to find out how they are shaped, and to try to categorize them. Among them, the genres to be reviewed are New folk song, Short poetry, New song in the modern transition period. This study aims to explore the values and directions of life pursued by the people of the day through the representation of death implied in the popular song text. The perception of death that we could see in the modern popular song text is the emotions, reactions, and countermeasures that human figures feel in the disconnected worldview of life and death. Death is expressed differently depending on the times, situations, and genres, but it is basically an object that cannot be overcome, and the adaptive life that accepts it accounted for most of the work. Of course, the feeling of disappointment, regret, and loneliness about it were also included in the work. Under these realistic conditions, there was an expression of willingness to enjoy the present, an effort to find the meaning of life, and an attitude to preserve the value of a finite life, accepting that there was nothing to do about “how to live”.

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Byun, Jung-Min. "Restoration of High-Resolution Audio Recording - With a Focus on NonmaegiSoli (Korean Folk Songs Being Played While Weeding a Rice Paddy) -." Journal of the Korea Entertainment Industry Association 11, no. 4 (June 30, 2017): 79–85. http://dx.doi.org/10.21184/jkeia.2017.06.11.4.79.

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Park, Ji Young. "A Study on the Development of North Korean Folk songs for Elementary School Textbook in Preparation for Korean Unification - Focused on integrated subject textbooks and music textbooks-." Korean Music Education Society 48, no. 1 (February 28, 2019): 75–99. http://dx.doi.org/10.30775/kmes.48.1.04.

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Park, Ji Young. "A Study on the Development of North Korean Folk songs for Elementary School Textbook in Preparation for Korean Unification - Focused on integrated subject textbooks and music textbooks-." Korean Music Education Society 48, no. 1 (February 28, 2019): 75–99. http://dx.doi.org/10.30775/kmes.48.1.75.

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Lee, Sung-Cho. "Appropriateness of Korean Traditional Music Terms: In the 2015 Revised Middle and High School Music Textbooks." Korean Journal of Teacher Education 39, no. 6 (November 30, 2023): 129–46. http://dx.doi.org/10.14333/kjte.2023.39.6.06.

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Purpose: This study examines related terms by dividing Korean traditional music terms in middle and high school music textbooks revised in 2015 into terms related to Jangdan, Tori, and Sigimsae, and proposes ways to present correct terms based on the reviewed contents. Methods: The Korean traditional music terms in the 2015 revised middle and high school music textbooks are divided into terms related to Jangdan, Tori, and Sigimsae, and the related terms are reviewed, and a method of presenting the correct terms is proposed based on the reviewed contents. Results: In terms related to jangdan, accent of jangdan and Hanbea were incorrectly indicated. The first beat of the jangdan was not presented with a strength. The strength was not indicated when the shape of the rhythm changed according to the wording. Hanbea was used only in tempo. Tori was explained only on the scale. Sigimsae did not distinguish between Sigimsae in performance and Sigimsae in melodic progression. Conclusion: The strength must be marked on the first beat and indicate that the strength changes according to the words. Tori must present only not the scale, but also the main notes, the intervals between the main notes and the Sigimsae. Jeju folk songs suggest explaining the characteristics of Seowoojeori in the concept of Tori. Sigbimsae should be presented separately as Sigimsae inperformance and Sigimsae in melodic progression.

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Kyounghwa Lim. "“Folk Songs” as a Contact Zone in the Process of “Korean Literature’s” Institutionalization in Colonial-Age Korea: The Character of Keijō Imperial University’s Korean Literature Lecture Course as Reflected in Ko Chǒng’ok’s Graduation Thesis." DONG BANG HAK CHI ll, no. 177 (December 2016): 33–65. http://dx.doi.org/10.17788/dbhc.2016..177.002.

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Lee, Ran. "Research Trend on the Writing Patterns of Multimedia Utilization －Focusing on Korean Education." Korean Association of General Education 17, no. 1 (February 28, 2023): 77–89. http://dx.doi.org/10.46392/kjge.2023.17.1.77.

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The purpose of this study is to examine the patterns of writing with multimedia and to suggest an advanced direction for successful classes. To the end, this study took 22 academic studies through a purposeful sampling method and analysed each kind of medium used, as well as the subject’s learners interaction with the writing patterns utilized in Korean education. Most of all, it classified them according to the kinds of utilized media: genre media, vessel media and vessel media with genre media. As a result, it found that there were variety of genre media used, such as traditional folk songs, fairy tales, video materials, homepage profiles. The same was found to be true for vessel media, such as e-mails, Instagram, video-editors, smart-phones, and Zoom. In terms of interaction, individual writings with computer programs, communicative CMC-based writings with other users, and face-to-face cooperative writings with the teacher and other learners were shown as well. Also, it identified the writing activities for creating the identical or different genres with the previously utilized genre media, as well as the writings through letters after reading genre materials. Furthermore, a genre-based approach was applied to the teachings in which genre literacy education was operated in advance for creating each authentic media texts and the instruction of learners to write in the appropriate genre. This shows that the perspective on creation-based media education was reflected, and that the critical media literacy education deeply affects Korean teaching in foreign language education. Based on these findings, this study proposed some suggestions.

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Kim, Mi-A. "On the Comparative Study of African American’s Blues and Korean’s Arirang." Journal of Social Sciences Research, no. 53 (March 10, 2019): 596–602. http://dx.doi.org/10.32861/jssr.53.596.602.

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There are diverse cultures which have been expressed and sublimed into the form of art when we look into the world history. When it comes to African American culture and Korean culture, African American’s blues, spirituality, and Korean’s Arirang have been in the deep ideological root of the two nations. Under unilateral dominance and colonization, African Americans and Korean nations needed something that could embrace and burst out their agony and sadness. It was the African-American spirituality, blues, and Arirang that sometimes became their mother, their partner and their social company, consoling their despair. Although the early African-American spiritual and blues and Korean’s Arirang didn’t have any specific musical form, they were the reflectors of the two nations’ emotion and culture. It is a legacy that best reflects the sentiment of two nations. The analysis on blues, Black spiritual and Arirang in this paper will be looked into the same viewpoint of Ayana Smith and J Rhee who claimed that African American’ and Korean’s positive power was originated from their singing of blues and Arirang. This paper will unceasingly try hard to analyze the traces of their positive identity through their history and their life story. Blues and Black spiritual were sung anywhere of their life to express their true story. Arirang and other folk songs were also sung anywhere Koreans scattered to burst out their anger, sadness and joy. Likewise, the examination of the history of blues, Black spiritual and Arirang let the readers face up African American’s and Korean’s real life in the form of art. The finding in this paper will supply people with more understanding of blues and Arirang for African Americans and Koreans who were in unique historical and cultural situation. This paper will look into how the musical foundation of these two nations could become the cornerstone of rebuilding up their positive identity in the harsh reality. It will be researched and analyzed in the view of Ayana Smith and J Rhee. This study will explore and analyze the history of blues, Black spiritual and Arirang, which played a crucial role in establishing the positive identity of the two peoples.

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Atkins, E. Taylor. "The Dual Career of “Arirang”: The Korean Resistance Anthem That Became a Japanese Pop Hit." Journal of Asian Studies 66, no. 3 (August 2007): 645–87. http://dx.doi.org/10.1017/s0021911807000927.

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“Arirang” is known worldwide as the quintessential Korean folk song. Its iconic status in contemporary Korea derives from its perceived role in strengthening Korean resolve to resist the cultural violence of the Japanese colonial occupation (1905–45). A musical “skeleton” capable of countless improvised variations and interpretations, some “Arirangs” explicitly assailed the Japanese and thus were censored by colonial authorities. However, in the 1930s and 1940s, precisely the time when assimilationist pressures in colonial Korea were intensifying, Japanese songsmiths, singers, and recording companies released “Arirang” renditions in prodigious quantities, sometimes in collaboration with Korean performers. “Arirang” became the most familiar song in the Japanese empire: Its persistent theme of loss spoke to Koreans of their lost sovereignty and to Japanese of the ravaging effects of modernity on traditional lifeways. For both peoples, it served as a mirror for self-contemplation and an “ethnographic lens” for gazing upon the other.

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