Copies of the Introduction to this exhibition and catalogues of previous exhibitions  are available from the Rare Books Department

Aspects of Korean Music and Culture

Exhibition organized by the Monash University School of Music-Conservatorium, in association with Korean Studies, School of Languages, Cultures and Linguistics; the Monash Asia Institute; and Monash University Library.

The exhibition will run May 27 - June 26, 2002

The exhibition  includes editions of musical scores rarely seen outside Korea. Recordings of traditional, folk and contemporary art music will be on display as well as a collection of modern Korean objects.

Exhibition Curator and author of Introduction: Annette Bowie, Post-graduate student, School of Music-Conservatorium, Monash University.

Special thanks to Jung-Sim Kim, and Aline Scott-Maxwell, Asian Studies Research Library, Richard Overell and Lorraine David, Rare Books Collection, and Georgina Binns, Music Library.

Illustrations on this page show villagers performing "Nong-ak".
Traditional farmers' band music and dance.


Introduction

The aim of this exhibition is to encourage and create an awareness of the rich diversity of Korean music and culture. The history of Korean music itself can be traced back over 1000 years. In the late 1800s Western music and culture was introduced to the 'Hermit Kingdom' by two American protestant missionaries.

Under the Japanese occupation (1910-45) Korean indigenous activities were not encouraged, although there was token use of court musicians for some ceremonial purposes. After liberation in 1945, and the end of the Korean War [1950-53] the majority of composers were primarily involved in Western style composition. In many institutions the study of Western music was encouraged and thought most desirable. Gradually from the 1960s a growing awareness and appreciation of the wealth of their own culture, through the work of several musicologists, encouraged some composers to further explore and enhance performance skills on traditional instruments by extending playing techniques and composing works for specific instruments. Composition as such was a new approach as traditional musicians were taught aurally and by honing improvisation skills. Byung-ki Hwang is especially noted for his work in this area, particularly for the Kayagum [a 12 stringed zither].

As the search for Korean identity broadened many composers of Western style music looked toward aspects of their own culture to incorporate in their works, such as Asian philosophy [In-yong La], religious beliefs, or adaptation of modes, rhythms and other styles linked to traditional court of folk music [Cheong-mook Kim].

Amongst the composers whose works are on display, Isang Yun [1917-95] was one of the first Korean musicians to achieve success in Europe. Yun emigrated to Europe in 1956, was abducted by South Korean secret police in 1967, arraigned on charges of sedition and treason, and sentenced to life imprisonment. After a campaign led by prominent musicians Yun was released and returned to Germany, held a teaching position at Hanover State College 1969-70 and then became Professor of Composition at the Hochschule fur Musik, Berlin. He became a German citizen in 1971. At first he was strongly influenced by the Viennese School of composition but gradually began to include elements of Korean classical music in his later works. Several younger Korean composers including Byong-don Paik, Suk-Hi Kang and Chong-gil Kim travelled to Germany to study with Yun and their consequent teaching and composition activities in Korea have influenced many aspiring Korean musicians.

Nam June Paik [b.1932 ] travelled to Germany for further study in 1962 and became involved with the 'Fluxus' group and its 'avant garde' concerts. He was particularly influenced by experimental American composer, John Cage. Paik is now noted for his multi-media video and electronic presentations and was honoured in 2000 by a major retrospective exhibition at the Guggenheim Museum, New York.

There are a number of composer organizations in Korea including the Asian Composers League - Korea Branch, the Society for the Study of 21st Century Music, Contemporary Music Society Seoul and Korean Society of Korean Women Composers. The KSWC in particular has expanded over the past 10 years with now over 150 members. [Currently 70-75% of composition students at the majority of major universities in Seoul are female]. The president of KSWC is Chan-hae Lee - a graduate of Yonsei University (where she now teaches), who continued her studies in the USA. Her work, From the Island Under the Full Moon was performed last year in Australia at the Melbourne Composers Federation Music Festival. A recently commissioned work for Baritone and Percussion - Black and White, will be premiered in Berlin, June 2002.

Traditional Classical and Folk Music cover a broad spectrum of styles and genres. Traditional Classical music was originally influenced by Chinese music and Confucian philosophy and was primarily used for ceremonial activities as well as entertainment at the court of the Choson Dynasty. Folk music, much of which has evolved from Shamanistic rituals, is usually more boisterous in nature. Buddhist music and ritual has also influenced certain dance and performance activities.

Pyoun Jo Ha, a Korean student studying English at Monash University, will present a short version of Kayagum Sanjo at the launch of this exhibition. 'Sanjo can be translated as 'scattered melodies' developed from folk songs, p'ansori [epic story telling through song] and shaman music,' [Keith Howard: Korean Music, A Listening Guide. NCKTPA Seoul 1999, p45]. It consists of three basic sections Chinyang [slow], Chungmori [moderate] and Chajimmori [fast]. Kayagum Sanjo came into existence about 90 years ago, and is a highly refined form of folk musical art.

An Australian link with Korean music was established in the 1970s by Coralie Rockwell [1945-1991], who was the first Australian musicologist to study Korean traditional music, especially Kagok [lyric song]. The composer Ann Boyd's Cycle of Love for Alto flute and Cello, was inspired by Korean sijo. Sijo are three lined poems which 'are traditionally moralistic or describe through allusions and double meanings love affairs or political happenings.' [Howard p45].

At the Monash University School of Music-Conservatorium musicologists are given much support and encouragement to research all aspects of Asian music.

Annette Bowie
PhD Student
School of Music-Conservatorium
Monash University

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