A performance guide: new cello compositions by Serra Miyeun Hwang

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1 University of Iowa Iowa Research Online Theses and Dissertations Spring 2017 A performance guide: new cello compositions by Serra Miyeun Hwang Eunkyung Son University of Iowa Copyright 2017 Eunkyung Son This dissertation is available at Iowa Research Online: Recommended Citation Son, Eunkyung. "A performance guide: new cello compositions by Serra Miyeun Hwang." DMA (Doctor of Musical Arts) thesis, University of Iowa, Follow this and additional works at: Part of the Music Commons

2 A PERFORMANCE GUIDE: NEW CELLO COMPOSITIONS BY SERRA MIYEUN HWANG by Eunkyung Son An essay submitted in partial fulfillment of the requirements for the Doctor of Musical Arts degree in the Graduate College of The University of Iowa May 2017 Essay Supervisors: Associate Professor Anthony Arnone Professor William LaRue Jones

3 Copyright by EUNKYUNG SON 2017 All Rights Reserved

4 Graduate College The University of Iowa Iowa City, Iowa CERTIFICATE OF APPROVAL This is to certify that the D.M.A. essay of D.M.A. ESSAY Eunkyung Son has been approved by the Examining Committee for the essay requirement for the Doctor of Musical Arts degree in Music at the May 2017 graduation. Essay Committee: Anthony Arnone, Essay Supervisor William LaRue Jones Katie Wolfe Christine Rutledge Trevor Harvey

5 To My Loving Family and Serra Miyeun Hwang ii

6 All musical examples and scores included in this essay Beckoning, Presence, and Hundredth View are used with the kind permission of Serra Miyeun Hwang. iii

7 ACKNOWLEDGEMENTS I am deeply grateful to my Essay committee members, Professors Arnone, Jones, Wolfe, Rutledge, and Harvey for their continuous advice and support. This essay would not have been possible without their motivation and encouragement. I would like to express my special thanks to Serra Miyeun Hwang for letting me write about her and her compositions, providing me with related resources, and taking the time to review and correct my essay. I also thank her for giving me permission to premiere the new composition, Hundredth View for Solo Cello. I am very lucky to have a wonderful editor and good friend, Katheryn (Kery) Lawson. Her passion, enthusiasm, and patience inspired me to keep writing my essay and encouraged me to finish this work. We shared laughs and tears together during this long process of writing and editing. I have learned the joy of writing through working with her. Lastly, I am very happy to acknowledge my family (Byung-kook Son, Ok-hee Anna Cho, and Seok-kyu Son) and friends for their endless love and prayers as I finish this fruitful journey in Iowa. iv

8 PUBLIC ABSTRACT Korean Canadian composer Serra Miyeun Hwang (1962-) has written three compositions for cello- Beckoning, Presence, and Hundredth View- inspired by Korean culture and traditional music. She infuses each piece with Korean elements, including special rhythmic patterns, text, and tone color, which are influenced and motivated by traditional Korean percussion music, religions, culture, combined with techniques of Western instrumental performance. The purpose of this study is to introduce Hwang s music to other cellists and help them incorporate the historical and cultural aspects of Korean traditional music to their performance practices. By analyzing Hwang s compositions in greater detail, this essay will provide cellists practice guidelines to achieve the desired tone and interpretive gestures of new cello repertoire. This essay contains Hwang s biography and her philosophy of music and a description of the Korean influences on her music, including the genres of traditional music in Korea, their cultural background, music in Shaman ceremonies, Buddhist music, and p ungmul (folk drumming and dance). There is also a performance guide of Beckoning for Cello and two Korean Drums; Presence for Soprano, Cello, and Piano; and Hundredth View for Solo Cello with my own interpretation. Learning Hwang s pieces will bring cellists new experiences that are a mixture of music, culture, thoughts, and methods from Western and Eastern influences. v

9 TABLE OF CONTENTS LIST OF TABLES... vii LIST OF FIGURES... viii INTRODUCTION... 1 CHAPTER I: SERRA MIYEUN HWANG Biography Philosophy of Music... 9 CHAPTER II: KOREAN INFLUENCES Chang-dan: Types of Rhythmic Patterns in Korean Music Major Genres of Traditional Music in South Korea CHAPTER III: PERFORMANCE GUIDE Beckoning for Cello and Korean Drums (2003) Presence for Soprano, Cello, and Piano (2004) Hundredth View for Solo Cello (2015) CONCLUSION BIBLIOGRAPHY APPENDIX A. List of Serra Hwang s Compositions B. Three Poems by Yong-Un Han C. Types of Sigimsae in Western Notation D. Serra Hwang, Hundredth View for Solo Cello (2015) vi

10 LIST OF TABLES Table 1: Common chang-dan in Korean music Table 2: Major genres of Korean music Table 3: The four-part narrative (storytelling) structure Table 4: Beckoning, sections by rhythmic patterns Table 5: Beckoning, pitch center by sections Table 6: Presence, section by four-part narrative structure Table 7: Presence, pitch sets and pitch centers Table 8: Presence, movement of pitch centers Table 9: Expansion and micro-expansion of the pitch center B-natural Table 10: Presence, text in Korean and English translation Table 11: Hundredth View form vii

11 LIST OF FIGURES Figure 1: Changgo (an hourglass-shaped drum) Figure 2: Performance of Korean drumming Figure 3: Performance of Korean drumming Figure 4: Core instruments for p ungmul Figure 5: Serra Hwang, Beckoning, mm Figure 6: Serra Hwang, Beckoning, percussion part, mm Figure 7: Serra Hwang, Beckoning, mm Figure 8: Movement of pitch center on the 12-tone circle, by section in Beckoning Figure 9: Taeguk symbol on Korean puk Figure 10: Taeguk-ki, the National Flag of the Republic of Korea Figure 11: Serra Hwang, Beckoning, cello part, mm Figure 12: Kayakeum (Korean 12-string board zither) Figure 13: Serra Hwang, Beckoning, m Figure 14: Serra Hwang, Beckoning, cello part, mm Figure 15: Serra Hwang, Beckoning, cello part, mm Figure 16: Serra Hwang, Beckoning, cello part, mm Figure 17: Serra Hwang, Presence, mm Figure 18: Serra Hwang, Presence, different meters and rhythmic patterns Figure 19: Serra Hwang, Presence, mm Figure 20: Serra Hwang, Presence, Score, mm Figure 21: Serra Hwang, Presence, microtones (mm ) Figure 22: Serra Hwang, Presence, mm (G), (H), and (I) Figure 23: Serra Hwang, Presence, the soprano and cello parts, mm viii

12 Figure 24: Serra Hwang, Presence, mm and Figure 25: Hundredth View, types of nong-hyun effects Figure 26: Serra Hwang, Hundredth View, mm Figure 27: Serra Hwang, Hundredth View, mm Figure 28: Serra Hwang, Hundredth View, mm Figure 29: Serra Hwang, Hundredth View, examples of various rhythmic patterns Figure 30: Serra Hwang, Hundredth View, tempo and meter changes in section B Figure 31: Serra Hwang, Hundredth View, various notes values and groupings of beat Figure 32: Serra Hwang, Hundredth View, examples of various pitch intervals Figure 33: Serra Hwang, Hundredth View, mm Figure 34: Serra Hwang, Hundredth View, m. 40 and mm ix

13 INTRODUCTION Traditional classical music has often been referred to as Western art music. However, now that the world is becoming more globalized, Western classical music has been influenced by different cultures. A History of Western Music states: In twenty centuries, as a part of the heritage from Romanticism, composers were expected to write music that was true to their national identity and drew on regional traditions yet spoke to an international audience. For many composers, their own national traditions had elements they could draw upon that help to make their music individual, addressing simultaneously the desire for originality and authentic national identity that had been growing since the nineteenth century. 1 Since then, composers such as Mahler, Strauss, Debussy, Falla, Elgar, Janacek, Sibelius, Rachmaninov, Scriabin, and Bartok, wrote music by contributing nationalistic elements to the Western concert tradition. As we move into the modern era, more musicians from non-western countries are becoming a big part of Western classical music in performance, composition, and history than in the past. With this trend, more East Asian composers are including their own folk and traditional music in the Western classical style. Bright Sheng, Chinary Ung, Isang Yun, Tan Dun, Toru Takemitsu are the most representative composers in the twentieth century who are from East Asian countries. For example, Isang Yun is the very first composer whose Korean influenced music was introduced to Europe in the 1950s and early 60s. 1 Donald J. Grout, A History of Western Music, 8 th ed., ed. Peter J. Burkholder and Claude V. Palisca (New York: W.W. Norton, 2009),

14 Although Korea has shared cultures with other countries in East Asia such as China, Mongolia, and Japan, the sound of Korean music is different from other East Asian music. Korean music incorporates the culture, vocals, dances, religions, and lifestyles of Korean people. Korean music expresses joy, anger, sorrow, excitement ( 喜怒哀樂, hei-ro-ae-rak), and the spirit of Korean people based on ideology of ritual and music ( 예악사상, ye-ak-sa-sang). 2 Since Isang Yun s exploration of European- Korean musical hybridity, the number of composers using traditional Korean musical materials in art music compositions has increased. For example, Yong-Ja Lee (1931- ) combines elements of French, West African, Indonesian gamelan, and traditional Korean music in her compositions, and Kyungsun Suh (1942- ) incorporates Western instruments and Korean traditional instruments in her works. 3 One lesser known composer, Serra Miyeun Hwang (1962-) is a musician from a non-western country who blends South Korea s culture and art forms using Western instruments and compositional forms in her music. Hwang uses Korean traditional rhythms that are the unifying element that provides energy, stability and unity to the composition. 4 The focus of this study is to introduce the music of Hwang through her cello compositions. In so doing, this study will assist in making her music better known 2 Heungsub Han, Traditional Korean Music: Its Genres and Aesthetics (Seoul, Korea: Korea Journal, 2007), Kyoungwha Cho, Korean women's voice: The vocal music of Young-Ja Lee. DMA diss.,(the University of Memphis 2012) 4 Serra Hwang. Program Note. In Beckoning: New Music for Cello, Performed by Anthony Arnone (Newtown, CT: MSR Classics, 2012), CD. 2

15 and more accessible for other cellists to incorporate the historical and cultural aspect of Korean traditional music in their performance practices. My study investigates selected sources in both Korean and English relevant to Hwang s cello works. By analyzing Hwang s compositions in greater detail, this essay will also provide cellists with practice guidelines to help achieve the desired tone and interpretive gesture of new cello repertoire. Serra Miyeun Hwang, a Korean Canadian composer, was born and raised in Seoul, Korea. She studied in the United States (University of California, University of Michigan), and has lived in London and Korea, prior to presently residing in Vancouver, Canada. As a result of living in many different places, she has struggled with her own hybridized cultural identity and compositional voice and style. Her rediscovery of South Korean folk drumming and dance (p ungmul) during her studies at Michigan was a turning point at which she reconnected with her home Korean culture and folk music. Her multinational experiences make her music a unique mixture of Eastern influences such as Korean folk music, Shaman ceremonies (Shamanistic rituals), Buddhist liturgies, festive music representing village life in rural areas in South Korea, and Western musical concepts including written musical practices and Western instruments. 5 In her music, Hwang uses driving rhythmic percussion sounds from p ungmul, a type of Korean performance tradition which includes percussion 5 Shamanistic rituals are performed primarily for "practical" purposes (healing, protection, solving problems, bringing good fortune, avoiding misfortune) rather than "worship". (Stephen Garrigues, Shamanism in Korea, Kyungpook National University, South Korea. November 28, 2016, 3

16 ensemble music, dances, and theatrical acts (see chapter 2 for more details). Ethnomusicologist Nathan Hesselink says, P ungmul was an integral component of village life in Korea, serving as musical accompaniment in the often overlapping contexts of labor, ritual, and entertainment. 6 P ungmul is not just a type of music but its rhythms are also included in dance, theatre, and religious ceremonies. Hwang was inspired by the energy flow and rough timbre of p ungmul rhythms and directly uses or reconfigures them in her music. In particular, these traditional rhythmic patterns are applied to Beckoning (2003) and Hundredth View (2015). Hwang also uses Buddhist Chant and lines from poems by a Korean Buddhist monk, Yong-un Han, as the text for one of her compositions, Presence for Soprano, Cello, and Piano (2004). I attended a class lead by Professor Hesselink at the University of British Columbia in Korean folk drumming, and a final concert of the Korean folk drumming ensemble. During my visit to Vancouver, I also contributed to a revision of Hwang s recent composition, Hundredth View for solo cello (2015). These experiences greatly increased my understanding of Hwang s music and especially to this new composition. After meeting Hwang in Vancouver, we have communicated by . She has provided me with her resume, biography, program notes, recordings, scores, and additional information. Since Hwang's music presents elements of traditional Korean music, which are rarely used in the Western classical music, cellists can employ various types of 6 Nathan Hesselink, P ungmul: South Korean drumming and dance (Chicago: The University of Chicago, 2006), 2. 4

17 tone, gesture, and techniques in Hwang s compositions. 7 Studying Hwang s life and work more thoroughly and having basic background knowledge of traditional music, culture, and religions of South Korea will be helpful for musicians to interpret Hwang s unique rhythms, sounds, timbre, and gestures. This essay is organized into three chapters and a conclusion. Chapter 1 contains Serra Hwang s biography and her philosophy of music. As there are few sources about the composer and her music, Hwang has provided me with her biography and materials such as scores and program notes. Chapter 2 describes the Korean influences on her music, which includes the genres of traditional music in Korea, its cultural background, music in Shamanist ceremonies, Buddhist music, and p ungmul (folk drumming and dance). The description of Korean influences provides context for the history and religions of South Korea, as well as provenance, rhythms, and forms in Korean folk drumming. This chapter will help cellists include proper historical and cultural aspects to their performances of cello compositions by Hwang. Chapter 3 begins with an introduction of the compositional background of Beckoning for Cello and two Korean Drums; Presence for Soprano, Cello, and Piano; and Hundredth View for Solo Cello, followed by my analysis of their structures, pitch centers, rhythmic patterns, and textures. Lastly, a comprehensive conclusion will be offered. I have plans to give the world premiere of Hundredth View for solo cello on Saturday, May 6th, 2017 at the Old Capitol Museum, the University of Iowa. The final score of Hundredth View for Solo Cello is included in the Appendix. 7 A type of note ornamentation technique in Korean traditional performances. 5

18 CHAPTER I: SERRA MIYEUN HWANG Serra Miyeun Hwang s compositions have been performed extensively around the world in the Caribbean, England, Asia, Canada, South America, and the United States. She has received many awards and won competitions including the International League for Women Composer s Search for New Music (1990), the Bakersfield Symphony Orchestra s New Direction Concerts Chamber Music Competition (1991), and the British Broadcasting Corporation s Composer s Platform Competition (1995). This chapter is based on resources including Hwang s resume and program notes that she provided me, and correspondence. 1. Biography Serra Miyeun Hwang was born in 1962 and raised in Seoul, South Korea. As early as 4 or 5 years old, she remembers being fascinated with the sound of instruments and music. When she listened to her cousin practicing piano for the first time, she was mesmerized by its beauty. Although there was no structured music training in her early childhood, Hwang, her two older sisters, and younger brother often enjoyed singing and harmonizing together with her older sister s guitar accompaniment. Music became a central part of her entertainment from early childhood. For Hwang, school was very rigid, tough, and competitive, and there were very few opportunities for creative activities. Music became a way to escape from the pressure of school. Hwang s fascination with music kept her searching for interesting musical activities such as going to concerts and listening to the radio. At 6

19 the age of 10, her father finally gave her a piano. That is when she started to dream of being a musician someday. Her father was not sure music was the best career, but she knew very clearly that the only thing she wanted to do was music. When she was 11 (4th grade), she joined the Seoul Metropolitan Children s Choir, which marked the beginning of her formal musical training. She learned a variety of music styles from all over the world including folk, art music, and even some operettas for children. These choir activities gave her great joy in learning and performing music. At around the age of 16, Hwang began to think of a way to leave all the academic pressures behind and study music in America. Two years later, she finally was able to leave Korea for California. She took music theory and history classes at Golden West College, California, and tried to find her specialization. Although she played piano and sang, she was not interested in becoming a pianist or singer. As she studied more music theory and history, she was introduced to composers such as Schönberg, Berio, Ives, Druckman, and others and gradually gained insights that increased her desire to compose music. Hwang studied music composition with Edward Applebaum at the University of California, Santa Barbara (UCSB), and graduated in She secured a composition fellowship at the Music Academy of the West in Santa Barbara, California. She moved to Michigan to continue her education at the University of Michigan, Ann Arbor, where she received her Master of Arts in Music Composition (1989) and Doctor of Musical Arts (DMA) in Music Composition with a Minor in 7

20 Ethnomusicology (1993) under William Albright, Leslie Bassett, Michael Daugherty, and George B. Wilson. Her interest in the music of other cultures inspired Hwang to minor in Ethnomusicology while in Michigan. There, she met her husband Nathan Hesselink, who was studying Ethnomusicology, specializing in Japanese music. Hesselink was the child of American missionaries who lived in Japan for 30 years. His childhood was spent in Japan and he had studies in cello performance beginning age 11 through his Bachelor of Music at Northwestern University. After earning a Master s degree at Michigan, Hesselink was introduced to Korean folk music while spending time with Hwang s family in Korea. He became enamored with its sound and decided to change his field of study to Korean folk music. While Hwang was studying at the University of Michigan, all composition students had to take electronic music classes. As a result of taking these classes, she gained more interest in learning new activities than composing music. Hwang also became a member of a Javanese gamelan ensemble ( ) and attended a summer workshop in electronic and computer music at Oberlin Conservatory of Music in Oberlin, Ohio (1993). In 1993, Hwang and Hesselink moved to London for Hesselink s Ph.D. in ethnomusicology, specializing in Korean music at the University of London s School of Oriental and African Studies (SOAS). While in London, she joined the Korean folk and Thai classical performance ensembles at the University of London (1994, ). In 1995, as Hesselink was finishing his coursework, they moved to Jeonju City, North Jeolla Province in South Korea, for Hesselink s fieldwork. While he studied at 8

21 the State Art Center for Traditional Music, Hwang taught at Jeonju University as a visiting assistant professor of music. After living one year in Korea and two years in London, Hwang and Hesselink moved back to the United States, building their careers in Illinois. Hwang taught theory and composition at Bradly University in Peoria (2000), Illinois Wesleyan University in Bloomington (2001, ), and at Illinois State University in Normal ( ). She also served as a member of the Board of Directors at Heartland Philharmonic in Bloomington ( ). In 2005, Hesselink got a job offer at the University of British Columbia in Vancouver, Canada. The location, with large Asian communities, was an ideal place for them. Since relocating, Hwang has raised a son while continuing her composing in Vancouver. 2. Philosophy of Music As a Korean-Canadian composer who studied and lived in the United States, Hwang expresses her cultural and ethnic identity through her work. With her cultural background and inspiration from Korean traditional music, her works offer unique timbres, rhythms, and melodies that are fresh to the ears of classical music audiences. Hwang writes in her program note for Presence: I am constantly inspired to cultivate and develop East-Asian values and aesthetics as expressed through contemporary art music. The motivation behind this work was an attempt to reconcile tradition with innovation. In the multitude of positions any form of contemporary music can take today in the wider cultural landscape, I am provoked to evoke or incorporate this Korean-ness as a process of re-evaluation and subsequent deeper valuing of my Korean identity. The search for one s voice, musical or otherwise, is especially encouraged in the United States with its ongoing efforts to understand and provide a safe haven for multiculturalism. 8 8 Serra Hwang, Presence for Soprano, Cello, and Piano (Program note, Illinois State University, March 3, 2004). 9

22 In the late 1980s, as Hwang was introduced to different composers and styles of music, she realized that she wanted to become a composer. During her study, like other young composers living in this time period, finding her own style was the most difficult and important challenge. Her primary goal was always searching for ideas and inspiration to create something unique through her composition. Studying at the University of Michigan was the most enriching experience for Hwang. During those seven years, she learned compositional techniques and styles; in addition, studying ethnomusicology opened her eyes and ears to the music of different cultures. She experienced new soundscapes through the variety of school music ensembles and visiting musicians from all over the world. Ironically, Hwang was re-introduced to a style of Korean folk music by her non-korean colleagues. In the 1990s, the Korean traditional drumming quartet known as SamulNori was gaining international recognition, and they toured the United States. Hwang s fellow student composers and ethnomusicologist friends were very much intrigued by this new sound. Hwang also loved the sound of the driving rhythmic percussion in the folk music she had heard as a child. This event was important for both Hwang and her husband, and it became a chance for Hwang to reconnect with the music of her culture and to start her own research into Korean folk music. Most of her composition teachers encouraged her to explore the sounds of Korea as compositional resources. Moreover, the real inspiration came when she studied with Michael Daugherty. Two years before Hwang finished her DMA degree, Daugherty came to the University of Michigan to teach composition. Daugherty was writing music that reflected his own cultural background of jazz and American 10

23 popular culture, and Hwang was excited to hear music with a distinctive personal style. She loved the music of Takemitsu and Bartok for the same reasons, but seeing her teacher pursuing a similar endeavor made it real and exciting. In her last two years ( ) at Michigan, Hwang spent more time searching and listening to recordings of Korean folk music. Her second orchestral work, Pinari (1997), a title borrowed from the name of the Korean folk ritual, reflects the sound of Korean folk music. Hwang has composed more works that were influenced by Korean traditional music including Beckoning, Presence, and Hundredth View. These compositions will be discussed in chapter 3, and the list of Hwang s entire compositions can be found in the Appendix. During her studies at Michigan, she realized the value of exploring and understanding electronic music for 20th-century composers. As she composed music for electronic music classes, she learned to appreciate using computer software for writing certain kinds of music, such as that for movie trailers. Hwang enjoyed the freedom to control music performances. Drawing from her new interests, Hwang composed Study in White (2002), which was performed for the Women in Music III concert series at Illinois State University. Her most recent composition for electronic music is Setting #3, which was performed at the Vancouver International Women in Film Festival in After graduating, her life in London was an important time living the reality as a working composer outside of academia. Hwang started to re-think the meaning of music, music making, and the roles of the composer and audience. Quickly, she realized how difficult it is for new music to gain the attention of audiences. She 11

24 wanted to look outside of academia for musical inspiration and searched for what music people actually enjoyed in the different places and cultures. Her skepticism and frustration gave her a stronger desire to find the identity of her music and to compose works in which everyone can participate. Hwang exposed herself to new experiences and joined other musical activities such as Korean folk and Thai classical performance ensembles at SOAS (School of Oriental and African Studies). Through those experiences, Hwang began to educate herself as a percussionist playing Korean drums. While Hwang was teaching at Joenju University in Korea, she was reintroduced to the Korean traditional culture of the countryside. In addition, Hesselink s field work and connections introduced her to Korean traditional music performances and many master musicians. As Korean musicians adjust their performance styles to fit Western concert culture, it is rare to see a fully staged traditional performance. For example, a traditional performance of P ungmul was usually held outdoors in a venue such as a village square, and its length, depending on the purpose of the performance, could be many hours long. Modern performances of traditional Korean music are held indoors with smaller instrumentation and shorter concert length because they remove the ritual ceremonies and theatrical and dancing elements. Therefore, Jeonju City, a place of cultural heritage for Korean traditional music, was a great place for Hwang to receive a great deal of information. Jeonju is located at the seat of North Jeolla Province and houses the North Jeolla Korean Traditional Performing Arts Center. According to Hesselink s research, the North Jeolla Province has 23 groups that 12

25 actively perform P ungmul, which shows the richness and variety of traditional music genres. 9 In addition, Jeolla Province is in the southwestern region of Korea where a type of professional folk song, pansori, originated. Pansori is a storytelling musical performance by a trained singer and a drum player. According to Inhwa So, Pansori is regarded to have originated from the Shamanist chants or the folk entertainment in the Southwestern region of Korea in the 17th century. 10 Hwang describes life in Jeonju City as an amazingly rich time to learn and experience traditional Korean religions, including Shamanism (a type of ethnic religion), Confucianism, and Buddhism through music, dance, and art. These experiences helped her find an answer for her musical identity. Since then, most of her compositions have been directly or indirectly influenced by the flavor of Korean folk music. She has attempted to find a well-assimilated style that reflects both Korean folk music and Western art music. Although Hwang creates unique sounds in her music, she continues to search for something new to enrich her ideas further. Recently, she was asked to write fusion compositions as part of a community project for Chinese and Western instruments in Vancouver (which has a large Chinese community). Hwang has written one piece for viola and zheng (zither) and one piece for piano and erhu (two-stringed bowed fiddle). 9 Hesselink, P ungmul, Inhwa So, Theoretical Perspectives on Korean Traditional Music: An Introduction (Korean Music Resources Series V) (Seoul, Korea: The National Center for Korean Traditional Performing Arts, 2002),

26 CHAPTER II: KOREAN INFLUENCES Korean traditional music represents different types of rhythms and genres Shamanist music, Buddhist music, and p ungmul. In order to gain a better understanding of Hwang s compositions for cello, I will include information necessary to understand and analyze Hwang s music. 1. Chang-dan: Types of Rhythmic Patterns in Korean Music Chang-dan literally means long (chang) and short (dan) in Korean. It is the term for repeated rhythmic patterns in Korean music that is determined by a set tempo, length of time, meter, series of accents, and rhythmic content. 11 In an ensemble music setting, the player of chang-dan (a percussion player) has the most significant role as conductor. In his book, Hesselink states: Korean rhythmic patterns are determined by rhythmic models consisting of a series of accented and unaccented strokes or beats, often varying in metrical and repeat structure, use of tempo, and phrase length (when applicable). 12 As chang-dan is commonly used for all genres (see Table 1) of Korean traditional music, there are countless types and variations. In accordance with Inhwa So s book, Table 1 will discuss nine common chang-dan for Korean traditional folk music with accompanying Western notation. 13 These rhythms are often played on changgo, an hourglass-shaped drum which has 11 Hesselink, P ungmul, Ibid, Types of chang-dan: sangyeongsan of Samhyeon-yeongsanhoesang, sanyeongsan of Hyeonakyeongsanhoesang, seryeongsan, dodueri, taryeong, yangcheong dodeuri, chwita, daechwita, jeolhwa, 16-beat gagok, 10-beat gagok, gasa dodeuri, chegasa and yangyangga, sangbyeolgok, 5-beat sijo, 8- beat sijo, jinyang-jo, jung-mori, jung-jung-mori, eon-mori, jajin-mori, hwi-mori and dan-mori, eotjung-mori, gutgeori, and semachi. (Inhwa So, ) 14

27 two heads (see image- Figure 1). In general, the left head is struck with the bare palm or with a wooden mallet, and the right head is struck with a thin bamboo stick. Usually, the left hand plays strong beats to provide the down beats of each measure, and the right hand plays weak beats to create rhythmic patterns. Figure 1: Changgo (an hourglass-shaped drum) Picture taken from a final concert (April 6, 2016) of World Music Ensembles - Korean Drumming class by Dr. Hesselink at the University of British Columbia, Vancouver, Canada. 15

28 Table 1: Common chang-dan in Korean music. (Top part: right hand, bottom part: left hand) Name of Chang-dan (rhythmic patterns) Tempo (approximate) Notation Kut-guri ( 굿거리 ) = Do-duri ( 도드리 ) Se-machi ( 세마치 ) Ut-mori ( 엇모리 ) Ja-jin-mori ( 자진모리 ) Jung-mori ( 중모리 ) Jung-Jung-mori ( 중중모리 ) Jin-yang-jo ( 진양조 ) Hwu-mori ( 휘모리 ) = 30 = = = = = = =

29 In Table 1, these chang-dan are in basic form. The top part is played with the right hand, and the bottom part is for the left hand. During performances, however, musicians play variations of and shift between basic chang-dan. It is impossible to write all of the variations because they are improvised as they are played. Even though the patterns change, the rhythmic cycle is usually long and predominantly within the triple meter. 15 As mentioned earlier, Hwang uses these elements of chang-dan and reconfigures them in her works, including Beckoning, which will be discussed in Chapter III. Although the patterns vary by region, the idea of using chang-dan is applied to almost all Korean traditional music genres to unify the entire ensemble, control the rhythmic flow, and accompany singers. 2. Major Genres of Traditional Music in South Korea Since 4000 B.C., Korean traditional music has been influenced by the local politics, economy, society, and culture. John H. Koo writes: As agricultural life developed, so did music and dance associated with the seasonal religious festivals, creating a new cultural heritage. 16 In Korea, music and religion are closely related. Han Man-yong explains which religions have influenced Korean culture and music: The main religions which have ruled the minds of the Korean people and Korean society in a significant way are Shamanism, Buddhism, Confucianism, and in the twentieth century, Christianity. 17 It is difficult to separate religions and music in Korea because they are influenced by and intertwined with each other. Table 2 15 Inhwa So, Koo, Man-Yong Hahn, Religious Origins of Korean Music, in Traditional Korean Music 1983, ed. The Korean National Commission for UNESCO (Oregon, USA: Pace International Research, Inc, 1983),

30 briefly introduces each genre of Korean traditional music, its meaning, purposes, and instrumentation. Hesselink classifies Korean traditional music into two categories: kug-ak (Court Music or Classical Music) and min-sog-ak (folk music). 18 In addition, Inhwa So lists the major genres within kug-ak (A-ak, Hyang-ak, Dang-ak, Chwita, Jeong-ak and Jeongga) and folk music (Shamanist music, Buddhist music, Nong-ak, folk song, Pansori, Sanjo and Japga). 19 All of the different genres of Korean traditional music have been performed for many events such as rites, banquets, entertainment, and farm work. 18 Nathan Hesselink, Contemporary Directions (CA: the University of California, 2001), So,

31 Table 2: Major genres of Korean music. Categories Genre Meaning Purpose of use Performance style and Instrumentation Kug-ak (Court Music) A-ak (Confucian Shrine and ceremony music) Hyang-ak Dang-ak Chwita (Military band music) Jeong-ak and Jeongga (Classical Chamber Music and Songs) Elegant music: A symbol of a universe with music including instrumental music, song and dance Indigenous music ( native music ) Music of the China, Dang (Tang) dynasty Music for blowing and beating Authentic music, music of the scholar-literati Spring and autumn Confucian shrine and rituals - Court sacrificial rituals - Court banquet and ceremonies -Royal Ancestral Shrine - Marching - Accompanying the procession for king - Confucian shrine - Royal Ancestral shine rituals - various court ceremonies Orchestral setting: Nearly 200 people with 46 kinds of instruments including strings, winds, brass, and sets of bells and percussion. (Percussion in C: pyun-jong, pyun-kyung.) 20 Orchestral setting: 7 kinds of instruments geomungo, hyang-pipa, gayakeum, dae-keum, sokwan-ja, cho-juek, hayngpiri. 21 (Winds in E-flat: dae-keum, piri) Orchestral setting: 13 kinds of instruments- Banghyang, pak, kyobanggo, walgeum, changgo, dang-pipa, haekeum, a- zheng, dae-zheng, dangjuek, dang-piri, tung-so, Taepyungso. 22 (Winds in C: Dang-piri) Marching band setting: Total 50 instruments: 1-gong, 5-nagak, 5-nabal, 5- bara, 5-senap, 5-changgo, 5-piri, 5-haekeum. 23 Chamber music setting: Various combinations of winds, strings, and vocals. Often collaborate with dances. 20 Pyun-jong (sets of bells with fixed pitch), pyun-kyung (sets of stone-chime bell with fixed pitch) 21 Guemungo (Korean 6 string zither), hyang-pipa (Korean pear-shape lute), gayakeum (12-string zither), dae-keum (large bamboo flute), so-kwan-ja (small bamboo flute), cho-juek (leaf-flute), hyangpiri (Large bamboo double-reed oboe). 22 Banghyang (Chinese chang), pak (drum), kyobang-go (Chinese drum), walgeum (moon guitar), dang-pipa (Chinese lute), haekeum (A vertical fiddle with two silk strings), a-zheng (Korean bowed string instrument), dae-zheng (Chinese stringed zither), dang-juek (Chinese flute), dang-piri (Chinese oboe), tung-so (Korean bamboo flute), Taepyungso (double reed trumpet). 23 nagak (a large seashell-shaped horn), nabal (a long straight brass horn), bara: (pair of large cymbals made of copper), senap (double-reed brass trumpet), changgo(hourglass drum), piri (double-reed cylindrical oboe with a bamboo body). 19

32 Table 2 (continued). Categories Genre Meaning Purpose of use Performance style and Instrumentation Min-sog-ak (Folk music) Religious Music Mu-ak (Shaman music) Shaman rituals Main instruments: puk, changgo and gong. Additional instruments: hae-geum, pi-ri or pipe 24 Nong-ak (P ung-mul) Buddhist Chant -Yeombul -Hwacheong - Bumpae Folk song (Min-yo) Pansori, Sanjo and Japga (Folk Music and Songs by professional trained musicians) Farmers music A simple song transmitted through commoners with their feelings, customs, and kindness - Pansori: Vulgar songs (storytelling music) - Sanjo: solo instrument music - Japga: professional folk songs - Yeombul: daily indoor services - Hwacheong: spead buddha s teaching - Bumpae: outdoor special rites Ritual or entertainment purpose in most villages For ordinary people to enjoy Entertainment Jing, puk, and mok-tak to accompany the chant. 25 Percussion ensembles Main instruments: kkwaenggwari, jing, puk, and changgo. Additional instruments: nabal, tapyungso, and sogo. 26 No instrument accompaniment Pansori: a singer and a drum (changgo) Sanjo: solo instrument Japga: vocal solo with no instrument accompaniment 24 Puk (drum), changgo (hourglass drum), hae-geum (stringed fiddle), pi-ri (flute). Additional instruments are used depending on the performance styles by regions. 25 Jing (large gong), puk (round drum), mok-tak (wooden gong with a slit). 26 Nabal (long and straight brass horn), tapyungso (double reed wind instrument that looks like trumpet), sogo (small double-headed hand-held drum). 20

33 2-1. Mu-ak: Music in Shaman Ritual The music that is used for Shaman ceremonies in Korea is called Mu-ak. Shamanism is one type of religion in South Korea. 27 Donnalee Dox states, Shamanism refers to a category of spiritual-religious practices characterized by the encounter between humans and spirits. 28 Hwang uses rhythmic patterns of a particular Shamanic ceremony for the percussion parts of Beckoning. The fundamental principle of Korean Shamanism is unifying and balancing three elements: heaven, earth, and humans. 29 In Korea, Shaman rites have been held for well-being, peace and prosperity of individual homes and village people, or the soul of a deceased. 30 These Shaman ritual ceremonies are called kut, and they are performed by mu-dang, female shamans. According to Kwon, Scholars define kut as large-scale ritual performance based on indigenous folk religious beliefs and customs. 31 During a kut, a mu-dang wears bright colored dresses (often mixed with red, white, yellow, blue, and green) and a special hat. The structure, style of music, and dance performances for kut differ region to region but usually include music (chant and instrumental parts), Shamanic dance, theatrical acts, and stunts. The 27 Shamanism is a term, originally taken from a Russian word used to describe a phenomenon of the religions of Siberia, that has now become established in international usage. It means a form of culture that revolves around the central position of the Shaman, a religious expert who acts as an intermediary between man in his environment and society and the forces and the spirits of the other world... (Mark K. Juergensmeyer and Wade Clark Roof, Encyclopedia of Global Religions, (Thousand Oaks: SAGE Publications, 2012), 1158.) 28 Donnalee Dox, "Shamanism." Ecumenica 7, no. 1-2 (ATLA religion Database with ATLAS Serials, EBSCOhost, 2014): Donna Lee Kwon, Music in Korea (New York: Oxford University Press, 2012), Po-Hyung Yi, Performing Styles of Korean Traditional Music, in Traditional Korean Music 1983, ed. The Korean National Commission for UNESCO (Oregon, USA: Pace International Research, Inc, 1983), Kwon,

34 length of kut is also varied: some performances could be two or three days long. Koo describes the performance of kut: The Shaman ritual, which usually has twelve segments, begin with the songs calling for gods to be present at the ritual. These are followed by songs that praise the virtues and goodness of the gods and entertain them. After that, come the songs which invoke the good wishes of the gods for reconciliation between the gods and the host and his family. At the end, the song of farewell to the gods is sung. 32 For those performances, rounded drum (puk), hourglass drum (changgo) and gong are the main instruments. Stringed fiddle (hae-geum), flute (pi-ri) or pipe instruments are added depending on the style of the composition by region. Drums lead the performance ceremonies, and the most popular rhythmic pattern in Shaman music is kut-guri chang-dan (see Table 1). 33 In his book, Healing Rhythms, Simon Mills lists many types of chang-dan in Shaman music performances. He also writes, Throughout Korea, mu-dang perform rituals to guide unhappy spirits to the Buddhist paradise. 34 As Simon says, the influence of Shamanic music and dance on other genres of music has been considerable. Especially in Korea, Buddhism and Shamanism are very connected. Shamanism is influenced by Buddhism: for example, yeombul, one Buddhist chant, is often used during kut. In Korea, Buddhism is open to various beliefs and adopts elements of other religions, especially Shamanism. Therefore, the purpose of Buddhist ceremonies is often the same as the basic principle of Shamanism in Korea. 32 Koo, Ibid. 34 Simon Mills, Healing rhythms: The World of South Korea's East Coast Hereditary Shamans (Aldershot, England ; Burlington, VT: Ashgate, 2007),

35 2-2. Bumpae: A Chant of Buddhist Music In the 3rd and 4th centuries, Buddhism was introduced to Korea, and it gave the people in middle and lower class the opportunity to listen to some of the new music and experience new kinds of musical performances other than kut (Shaman ritual ceremonies). There are three genres of ritual chant in performances of Buddhist music: yeombul, bumpae, and hwacheong. Yoembul (invocation) is the chant which is performed with syllabic style songs, accompanied by a wooden gong played by monks for daily services inside the temple. Bumpae is the chant which is performed with melismatic songs by trained Buddhist musicians for special rites outdoors. Hwacheong is the chant used to spread Buddha s teaching effectively in the Korean language. 35 It is performed at the end of special ritual ceremonies to spread Buddhism and make it more accessible to common people. Hwang uses elements of bumpae in her composition, Presence, which will be discussed in the following chapter. Bumpae came from China in the 8th century. Bumpae is a monophonic chant (traditional Korean hymns) sung with text from Buddhist sutra in ancient Chinese and Indian languages. The original text syllables are hard to sing because they are melismatic in style, with free rhythms at a very slow tempo. The chant is combined with solo music, responsorial music between solo and chorus, and choral music. In the article, Buddhism and the Musical Cultures of Asia, the difficulty of understanding the text of bumpae is described: 35 Inhwa So,

36 Since the melody of each text syllable is greatly prolonged or filled with a series of vocables, the meaning of the text in most cases becomes difficult to grasp. On a macrostructural level, a pomp 'ae piece consists of a number of stock melodies, each of which is given a tide, such as "bugle sound," "double phrase," or "frequent phrase." These stock melodies serve as the main source of the numerous pomp 'ae pieces and can be reshuffled, reordered, and transposed at the chanters' discretion. 36 Instruments such as jing (large gong), puk (round drum), and mok-tak (wooden gong with a slit) accompany the chant. 37 During bumpae, these percussion instruments are used as signals for the beginning and the end of the chant to indicate the changes between text lines and musical style. However, in p ungmul, percussion instruments are used to lead the performances P ungmul: Traditional Folk Drumming and Dance P ungmul is a genre of percussion instrument ensembles used by farmers and professional musical bands, which is often combined with kut. Scholars have been searching for the origin of p ungmul, and there are many theories claiming it originated from communal labor teams, Shaman ritual ceremonies, military music, or Buddhist chant. P ung-mul is also called as nong-ak (farmers music in Korean), which supports that it came from farming and laboring music. The performances are related to agricultural life to encourage farmers as they plant, weed, and harvest. However, p ungmul was used for more than just farming. Some of the performances include many kinds of kut in Shaman ceremonies and its theatrical act and dances to drive away evil spirits. Hahn divides p ungmul into four types according to the occasion under which it is performed: p an kut (entertainment oriented 36 Paul D. Greene, Keith Howard, Terry E. Miller, Phong T. Nguyen and Hwee-San Tan, "Buddhism and the Musical Cultures of Asia: A Critical Literature Survey," in The World of Music, Vol. 44, No. 2, Body and Ritual in Buddhist Musical Cultures (VWB - Verlag für Wissenschaft und Bildung, 2002) Koo,

37 performance), ture p ungjang kut (communal labor performance), kollip kut (fundraising performance), and makut (village ritual performance). 38 Often, p ungmul performances are related to various military activities, and some ensemble members wear a large hood-shaped hat similar to the Buddhist monks. Therefore, it is not simple to make a conclusion where p ungmul originated. It is perhaps influenced by all of these religious and cultural activities to develop into the format we see now. Although the p ungmul is music for percussion, Hwang applies p ungmul s basic rhythms and rhythmic grooves to a string instrument through her new composition, Hundredth View for Solo Cello. On p ungmul performances, Hesselink states, The ultimate goal, then, is not that of beautiful performance, as it is in an aesthetic perhaps more typical of the Western concert hall, but rather the generation of energy and a common spirit through the joint activity of all the participants. 39 P ungmul is not just a music performance; it is more like a festival activity for village people to gather to celebrate, pray, and unite in rural areas. Hesselink describes the entire performance of p ungmul that he experienced from a tae-bo-rum (full moon) festival performance in Chin-an County, North Jeolla province in South Korea, on March 5, 1996: Eleven percussionist-clothed in the loose-fitting white cotton dress of the traditional laborer, complemented by striped-sleeved vests and multicolored sashes-formed a large semicircle around the group that had eagerly as assembled. The silence of the countryside was then shattered by the deafening sound of gongs and drums, After a brief musical introduction, the ensemble began to move in single file along a narrow path that wound its way through the as yet unplanted field. The crowd followed in a similar manner, As the performers took a short interval to readjust their instruments and secure their spinning-tasseled hats, Gongs and drums were 38 Man-Yong Hahn, Religious Origins of Korean Music, in Traditional Korean Music 1983, ed. The Korean National Commission for UNESCO (Oregon, USA: Pace International Research, Inc, 1983), Hesselink, P ungmul,

38 again sounded, and for the next two hours those who had convened danced and drank to the accompaniment of rhythms in the light of the bonfire 40 The following images (Figures 2 and 3) are taken from a final performance of a Korean Drumming class at the University of British Columbia on April 6, In this processional performance, kkwaenggwari (small gong), jing (large gong), changgo, and puk (round drum) were used, and performers walked in complex formations intertwining and diverging under Dr. Hesselink s lead. Although the style of performance can be varied by region, it is performed with mostly percussion instruments such as kkwaenggwari, jing, changgo, and puk. (see Figure 4). Each instrument represents lightning (kkwaenggwari), wind (jing), rain (changgo) and clouds (puk). Instruments like na-bal (long and straight brass horn), tae-pyung-so (double reed wind instrument that looks like trumpet), sogo (small double-headed hand-held drum) are added, depending on the performance. 41 The rhythmic structure of p ungmul is flexible and variable. Hesselink cited Kinam Shin s book illustrating how it is limitless to play all rhythmic patterns of p ungmul. 42 Kinam Shin writes how complicated it is to master all the rhythms of p ungmul: If you play the rhythmic patterns of nong-ak kut [p ungmul] without leaving anything out, it is almost limitless Hesselink, P ungmul, Hye-jin Song, A stool though Korean Music history (Seoul, Korea: Sam Jung Printing, 2000), Hesselink, Kinam Shin, What Do I Have To Do to Get a Single Smart Disciple before I Die? (Seoul, Korea: Ppuri Kipun Namu, 1992),

39 Figure 2: Performance of Korean drumming. 44 Figure 3: Performance of Korean drumming. Figure 4: Core instruments for p ungmul. Kkwaenggwari, jing, changgo, and puk (from left). 44 Pictures (Figures 2, 3, and 4) taken of a final concert of World Music Ensembles Korean Drumming class by Dr. Hesselink (April 6, 2016) at the University of British Columbia, Vancouver, Canada. 27

40 CHAPTER III: PERFORMANCE GUIDE Serra Miyeun Hwang has composed three pieces for cello: Beckoning for Cello and Korean Drums; Presence for Soprano, Cello, and Piano; and Hundredth View for Solo Cello. This chapter is a performance guide divided into three sections according to each composition. It contains my analysis of three compositions as a Western trained cellist. My aim is to reconcile Korean traditional music and Western classical music. The introduction contains the compositional background of the pieces that are provided by Hwang in her correspondence, followed by my analysis of the music structure and texture, pitch center, and rhythmic patterns or meter changes, and finally ending with a conclusion. In addition, the section on Presence includes the historical background and explanation of the text. 1. Beckoning for Cello and Korean Drums (2003) 1-1. Introduction Beckoning was composed for a conference called Composing Identity: Korean Sounds and Sentiments in an American Context in Morrison Hall at the University of California, Berkeley on March 14, Previously Hwang had written two compositions for Korean instruments and Western instruments entitled Variations for piano and Korean drum (1999), and Spirit, Wind for oboe and gongs (2002) (see the list of Hwang s compositions in the Appendix). Hwang writes in her program notes that the conference motivated her to compose another piece using 28

41 Korean and Western instruments. 45 According to Hwang s correspondence, for Beckoning, she wrote the Korean drum parts for her husband, Nathan Hesselink. The cello part was written for her good friend and colleague, Greg Hamilton. Currently, Dr. Gregory R. Hamilton is an Associate Professor of Cello and Double Bass at Concordia College, Minnesota. Beckoning was first premiered by Hwang, Hesselink, and Hamilton at the conference in Berkeley in Several years later, Anthony Arnone, Associate Professor of Cello at the University of Iowa, discovered the piece and decided to include it on his project CD for new, unrecorded solo cello works. Arnone s recording, titled Beckoning: New Music for Cello was released by MSR classics in In the CD notes, Hwang describes her composition: 1-2. Analysis The composition Beckoning was composed as part of a series of compositions that were inspired by the folk music of South Korea, my native country. For the past few years, I have attempted to evoke or incorporate a sense of Korean-ness in my work. In addition to the obvious choice of Korean traditional instruments and their timbres. Significantly I decided to use rhythms as the core structural as in Sanjo (solo instrumental suite) or P ungmul (percussion music and dance) performances, where the rhythmic pattern or cycle employed is also the name of the movement. This rhythm or groove is the unifying element that provides energy, stability and unity to the composition. 46 Structure Beckoning is written for cello, a changgo (jang-gu, hourglass-shape-drum), a large gong, and a small gong. The piece is approximately 7-8 minutes in duration, and is divided into six sections by changes of rhythmic patterns, meters, and 45 Serra Hwang, Beckoning. Composing Identity: Korean Sounds and Sentiments in an American Context, (program note, Morrison Hall at the University of California, Berkeley, March 14, 2003). 46 Serra Hwang, Program note in Beckoning: New Music for Cello, CD performed by Anthony Arnone (Newtown, CT: MSR Classics, 2012). 29

42 tempos. However, I found the overall structure also fits into a four-part musical storytelling form: Ki (introduction), Seung (development), Jun (climax or expansion), and Kyuel (closing). This is a similar narrative structure to Korean folk tales used in pansori, which are passed on by word of mouth (see chapter 2). Table 3: The four-part narrative (storytelling) structure. Table 3 shows the four-part narrative structure of Beckoning according to the level of tension, determined by the pitch range, thickness of texture, dynamics, and tempo. Ki (introduction) begins with a gong followed by solo cello, which could be called a warm-up section in which listeners can prepare to hear the piece. The pitch rage is narrow, the texture is thin with solo cello and sparse percussion, the dynamic is soft, and the tempo is slow. Seung (development) increases interest and induces a sense of immersion to lead to Jun (climax), which is the peak of tension. These tensions are created by higher pitches on the cello, thicker texture, increased dynamics, and faster tempo. Kyuel (closing) resolves the tension with a return to low pitches on the cello, thinner texture, softer dynamics, and slower tempo. The 30

43 ending is the same as the beginning with the gong sound, which brings the piece back to the peaceful mood of the beginning. Rhythmic patterns While the cello carries the melodic line, the Korean drums provide the rhythmic structures. The large gong plays the downbeats of each measure for stability, and the changgo creates the main rhythmic patterns which collectively form the foundation of the piece. These rhythmic patterns are associated with Shaman ritual music, especially from dotang-kut in the Kyung-gi province. 47 During dotang-kut ceremonies, percussion rhythms are used to accompany dances and prayers, and the pattern changes over eleven times. In Beckoning, tempo, stroke ornamentation (emphasis of beats), and grouping of divisions or subdivisions are composed based on the rhythmic patterns of dotang-kut music. Composite rhythms like 10/8 or 12/8 continuously change their groupings between 2 and 3. Although the rhythmic patterns change, the piece maintains groups of three beats based on triplets throughout. Compound meters, or triple groupings, are one of the common characteristics of Korean music. The asymmetric quality of triplets gives the music a sense of instability. In addition, triple subdivisions can create more subdivisions than duple meters: etc. Table 4 is divided into six sections by changes of rhythmic patterns in Beckoning. 47 Dotang-kut: Shamanic ceremonies for spring and fall, each year in the central Korea. 31

44 Table 4: Beckoning, sections by rhythmic patterns. Four-part Narrative Structure Sections by Rhythmic pattern Tempo Measure Number Basic Rhythmic Pattern from Dotang-kut Meter (groups of beats) Ki (introduction) Section 1 = Free 9/8 (3+3+3) Seung (development) Section 2 (A)(B)(C) = Teobullim ( 터벌림 ) 4 beats with groups of triplets and duplets ( ) 9/8 (3+3+3) 6/8 (3+3) Section 3 (D)(E)(F) = Jinsoe ( 진쇠 ) Total 10 beats 10/8 ( ) Cello: ( ) Section 4 (G)(H)(I) = Ja-jin-mori ( 자진모리 ) 12/8 ( ) Jun (climax) Section 5 (J)(K) = Jinsoe ( 진쇠 ) 10/8 ( ) Kyuel (closing) Section 6 (L) = Kut-guri ( 굿거리 ) 12/8 ( ) In section 1, the percussionist plays sparse rhythms which don t provide the metrical foundation for the cello. Meanwhile, the cello line moves freely as in a cadenza. From m. 15, the percussion part appears to give stability of meters, which alternate between 9/8 and 6/8, based on teobullim chang-dan, a mix of triple and duple. In this composition, Hwang often uses complicated rhythms for the cello against the percussion part, which is written with groupings of three beats 32

45 throughout the piece. Figure 5 is a good example of complicated duple, triple, and quadruple rhythms in the cello part, which creates an improvised style. Figure 5: Serra Hwang, Beckoning, mm Section 3 introduces a new rhythmic pattern with increased tempo. The new rhythmic pattern in the percussion is based on jinsoe chang-dan from dotang-kut, which is originally constructed with 10 beats per measure. It contains subdivisions as groupings of triplets and duplets ( ) in 10/8 meter. While the percussion continues to play the original rhythmic patterns ( ), the cello plays in duple ( ). In section 4, the 12/8 meter drives the piece and gives the effect of moving forward. In mm , changing rhythmic patterns from triple to duple in changgo increase tension, drive the rhythmic groove, and build to the climax of the piece (see Figure 6). Figure 6: Serra Hwang, Beckoning, percussion part, mm

46 Following, in mm , a changgo solo in the percussion part plays rhythmic patterns in 10/8 with a faster tempo, which propels the piece forward. Similar to section 3, the percussion ( ) and cello ( ) play different groupings of beats, creating complicated rhythmic patterns. The articulation of the drums becomes stronger though a crescendo to ff with accents on every note in mm In section 6, m. 115 to the end, is a short nine-measure dramatic closing section. This new section, in 12/8, is based on kut-guri chang-dan with four beats in groupings of three. Within this slower tempo, which changes from dotted quarter note = 112 to 74, the cello play longer notes, dotted quarters and dotted half notes, against the percussion s steady triplet subdivisions. The ritardando and decrescendo from m. 120 slow the piece to nothing at the end (see Figure 7). Figure 7: Serra Hwang, Beckoning, mm Pitch Centers In her program notes, Hwang writes, although the key signature suggests C minor, the pitch center moves freely and does not relate to any scale or mode. 48 According to the program notes, Table 5 demonstrates pitch centers by section. 48 Serra Hwang, Beckoning. Composing Identity: Korean Sounds and Sentiments in an American Context (program note, Morrison Hall at the University of California, Berkeley, March 14, 2003). 34

47 I have selected those pitch centers that are sustained throughout or repeated the most in each section. Even though there is no key signature or mode, I sought to find relationships between pitches throughout the piece. In Figure 8, the pitch centers by section are marked with dots on a 12-tone circle. As illustrated by this pitch visualization, Hwang uses all pitches in the chromatic scale except C#, E, E, and F. Table 5: Beckoning, pitch center by sections. Figure 8 demonstrates how the pitch centers do not move in strict stepwise motion between sections; rather, they move in 3 rd, 4 th, 6 th, or half steps, which together draw the shape of a spiral or taeguk symbol (Figure 9). As shown in Figure 8, the pitch center starts from B-flat and moves as it makes spiral motion into the center of the circle. The distance (range) of pitch movement decreases from a 6 th to half steps until it reaches A-flat at the end of the piece. Figure 8: Movement of pitch center on the 12-tone circle, by section in Beckoning 35

48 The movement of the pitch center seems to rotate all the time and never ends. This is similar to the taeguk symbol which refers to the interlocking spirals which are commonly associated with Taoism philosophy and Shamanism in Korea. 49 In Figure 9, within the three-colored taeguk symbol, the yellow color represents humanity, the red earth, and the blue heaven. The taeguk symbol is also used in taeguk-ki, the national flag of South Korea (Figure 10). 50 Figure 9: Taeguk symbol on Korean puk (left). 51 Figure 10: Taeguk-ki, the National Flag of the Republic of Korea (right). The taeguk symbol is defined as: representing the principles of the cosmos creation and the norms of human life. The circumference of the Taegeuk mark symbolizes infinity and the two parts, red and blue, inside the circle symbolize yin(negative) and yang(positive), which look like rotating all the time. Therefore, Taegeuk is the light which is the unified core of the cosmos and human life and its boundlessness signifies energy and the source of life. The yin and yang represents the development of the cosmos and human life and the 49 Sang Yil Kim and Young Chan Ro, Hanism as Korean Mind: Interpretation of Han Philosophy (Los Angeles, Calif.: Eastern Academy of Human Sciences, 1984), Wikipedia contributors, "Taegeuk," Wikipedia, The Free Encyclopedia, (accessed March 21, 2017). 51 Wikipedia contributors, "Buk (drum)," Wikipedia, The Free Encyclopedia, (accessed March 21, 2017). 36

49 oneness of symmetrical halves, such as negative and positive, hardness and softness, and materials and anti-materials. 52 The design of taeguk captures the basic principle of the harmony and balance of two opposites such as: blue and red, heaven and earth, male and female, good and evil, and all and nothing. The combination of opposites symbolize the basic philosophy of duality where two things complement each other to form a unity. 53 In section 1, the first three-measure motive of B -B-F-E is extended and developed in five measures, and then seven measures, until it reaches high G in m. 14 (see Figure 11). The tritone interval between B and F (in m. 2, 5, and 8), creates harmonic tension. Figure 11: Serra Hwang, Beckoning, cello part, mm In section 3 m. 47, the cello plays a C-natural with the pitch bending technique as seen in Figure 13, which is similar to the bending effect (nong-hyun, 농현 ) on the Kayakeum (or gayageum), a Korean 12-string board zither (see Figure 12). In Western instrumental techniques, different nong-hyun effects can be played as trills, 52 Daehan Taekwondo, Taegeuk, (accessed March 21, 2017). 53 MICRESS, (accessed March 21, 2017). 37

50 glissandi (upward and downward), trills with glissando, wide tremolos, or varied speeds of vibratos. Figure 12: Kayakeum (Korean 12-string board zither). 54 Figure 13: Serra Hwang, Beckoning, m. 47. The pitch bending technique. Each string of the Kayakeum is tuned with moveable bridges and is played with the right hand plucking, pulling, tapping, or snapping the strings and the left hand pressing strings to create bending effect (nong-hyun). Nong-hyun is one of the left 54 Wikipedia contributors, " 가야금," Wikipedia, The Free Encyclopedia, 8&oldid= (accessed March ). 38

51 hand ornamentation techniques on string instruments. 55 Because of the structure of the instrument (the gap between strings and body of the instrument is wide), the pitch center is not clear and wide for nong-hyun technique. It sounds similar to wide vibrato, a slide from a low note to high note or the other way around, or irregular trills on Western instruments. The pitch bending in m. 47 is used as one of the techniques of nong-hyun, and cellists can play it with a slight slide between C and quartertone below C. Rather than attempting to play the quartertone precisely, the cellist should focus on bringing out the effect of the pitch bending technique. Section (E) ends with an F#, and section (F) maintains the pitch center and ends with F#. Section (F) begins with the ascending motive F#-B -C, which develops to F#-C-D, F#-B -C-D, and F#-C-D-F# (see Figure 14, melodic expansion on cello part). These variations on the pitch F# act as a bridge from sections 3 to 4 (see Table 6). The variations expand the motive in two ways: first, by extending into a higher pitch range and second, by increasing the interval size between the first and final pitches of each motive. Figure 14: Serra Hwang, Beckoning, cello part, mm Doosan Corporation, Nonghyun,, (accessed February 22, 2017). 39

52 As the piece reaches the climax at sections (J) and (K), the texture becomes thicker through sustained notes on the large gong, fast rhythmic patterns on changgo, and double stops on the cello. Figure 15 demonstrates double stops on cello in section K, whose intervals are in fifths and octaves with neighbor tones. Figure 15: Serra Hwang, Beckoning, cello part, mm In mm , the cello plays a number of motives using the unordered pitch set B-D-E-F#, repeatedly leading to the final note of F#. Hwang reduces the note durations, from quarter-note triplets in mm , to eighth notes in m. 111, and eighth-note triplets in mm (see Figure 16). Reducing the rhythmic durations of this pitch set creates the effect of increasing tension and driving the energy flow to the end of section (K). Figure 16: Serra Hwang, Beckoning, cello part, mm In the closing section, in mm , the cello moves by half steps (D -E and G - A ). After the interval and pitch expansion in the development to the climax, the 40

53 final section reduces tension by minimizing the pitch range and narrowing the melodic intervals Conclusion The overall structure of Beckoning fits into a four-part narrative form: Ki- Seung- Jun- Kyuel ( 기-승-전-결, introduction, development, climax, and closing), which are demarcated by pitch range, texture, tempo, and dynamics, contributing to the piece s sense of tension and release. The most important feature of this piece is rhythmic groove which is inspired by the rhythmic patterns of Korean folk drumming dance and Shamanist music tradition. Therefore, maintaining the tempo with the given metronome markings for each section is important to effectively deliver the energy and character of the drumming music to the audience. Various changes in rhythm in the cello part are technically difficult and do not fit with the usual Western performance practices of the cello. However, accents in the percussion part, which carry special rhythmic patterns, helps the cellist to perceive meter changes and asymmetrical meters. 56 Within the framework set up by the percussion accompaniment, the cellist can have some freedom to swing the rhythms lightly, creating a rhythmic groove to maintain a sequence of accurate metric accents and durations. 56 Asymmetrical meters are compound meters that have beat units of unequal duration. The irregular beat length are typically created by a measure with five or seven eighth notes or quarter notes at the beat-division level, which cannot group into evenly spaced beats. (Jane Piper Clendinning and Elizabeth West Marvin, The Musicians Guide to Theory and Analysis (New York: W.W. Norton & Company 2005), 706.) 41

54 2. Presence for Soprano, Cello, and Piano (2004) 2-1. Introduction According to Hwang s program note, after the performance of Beckoning at UC-Berkeley, Hwang was inspired to keep incorporating Korean elements in her new composition, Presence. Hwang continued to use Korean traditional musical elements and added Korean text from poems by Korean Buddhist monk Yong-un Han. Hwang first read the collection of Han s poetry as a teenager and is interested in how those poems represent the potent emotion and sentiments of South Korea during the s. Through this composition, Hwang expresses her emotional inspiration and Korean heritage more directly by using Yong-un Han s poems Analysis Structure Presence for soprano, cello, and piano is approximately 12 minutes long. Hwang follows a similar format of musical progression with Beckoning: Ki-Seung- Jun-Kyuel, as referenced in Table 3 with the four-part narrative structure. Throughout the piece, Hwang creates a natural acoustic sound by applying musical elements of Buddhist chant, bumpae. Bumpae (pomp ae) is usually played as background music for ceremonies or accompanying music for dances in Buddhism. It is hard to define the musical style of bumpae since it is passed down and learned generationally. The general characteristics of bumpae do not include specific rhythmic or harmonic patterns. Rather it has monophonic melody lines (unison) in 57 Serra Hwang, Presence for Soprano, Cello, and Piano (Program note, Illinois State University, March 3, 2004). 42

55 melismatic settings. 58 Although the melody is in unison, it sounds like heterophony because it is sung responsorially by solo and chorus in their own styles. 59 Byongwon Yi explains how difficult it is to perform bumpae: Its musical style is highly melismatic, and it makes such extensive use of vocable patterns that the original text syllables are difficult to locate during an actual performance. Because the style of bumpae, unlike the sutras and hwachong, is extremely difficult, it is performed only by priest-musicians specially trained in its performance. 60 When the soloists and chorus sing the melody in different styles, timbres, and registers, the melody line produces a heterophonic texture. In bumpae, the melody lines are florid and decorative, moving stepwise with no large-interval jumps. Yi also states that the structure of a typical stock melodic phrase consists of a formula in which the phrase is consecutively repeated or constantly re-appeared throughout the piece. Due to the extremely slow tempo, the macro-structure of bumpae rhythm is difficult to perceive. Indeed, it seems to operate in a free-rhythmic framework. 61 In addition, there is no instrumental accompaniment, except percussion instruments such as mok-tak (wooden gong with a slit), jing (large gong), and puk (round drum). They are used as a signal to define the beginning and ending of each prayer or section. In the article Pomp ae, Buddhist Chant, Hahn describes how the bumpae is served by those instruments: Pomp ae, a ceremonious Buddhist chant, resembles the sound of a temple bell. In the pre-dawn darkness, when most of the world is still fast asleep, soft beats of mokt ak, a hollow wood-block instrument, stir the quiet of the star-lit garden of the main 58 Melisma: more than one note sung to one syllable. 59 The simultaneous performance of modified or ornamentation versions of the same melody performed by two or more singers or instruments. (Tom Gerou, Essential dictionary of music, 2 nd ed. (Los Angeles, CA.: Alfred publishing Co. Inc., 1976), 66.) 60 Byong-won Yi, Micro- and macro-structure of melody and rhythms in Korean Buddhist Chant in the Traditional Korean Music, ed. Korean National commission for UNESCO. (Oregon, USA: Pace International Research, Inc., 1983), Byong-won Yi,

56 prayer hall to announce the morning service. A more crisp sound of the unp an, a flat cloud-shaped iron gong, follows and a clear voiced monk makes the invocation that the sound of the bell may cover the world. Then after some titillating moments of hesitation, the large temple bell sends its first sonorous sound over the quiet valleys. At the first gong the rocks of the deep mountain shake out of sleep, at the second gong the trees shudder to full awakeness and at the third gong the birds soar from their nests in a chorus of praises for the coming of another day. 62 In Presence, there is no percussion part; however, the piano imitates the sound of jing (large gong) in (M) through (N) by playing sustained B-natural octaves (Figure 17). Jing is one type of gong which has a special tone or acoustic structure: unlike other percussion instruments, it plays a pitch in a low register. However, the pitch is not steady because the surface of jing is not consistent or smooth. Each part of the jing plays different sets of harmonics and the pitch ascends as it rings. 63 In addition, the cello in mm sounds like a temple bell, as described by Hahn. 62 Man-young Hahn, Pomp ae, Buddhist Chant in the Koreana, Vol.1/ No.2 (Seoul, Korea: International Cultural Society of Korea, 1987), Namhyun Shin, 징, (accessed March 20, 2017). 44

57 Figure 17: Serra Hwang, Presence, mm Although bumpae has no certain rhythmic patterns, according to her program notes, Hwang applies generative rhythmic ideas of Korean folk music to Presence. 64 The rhythmic flow seems uneven because of shifts between simple and compound meters, inconsistent groupings of beats, and long phrases. However, a consistent triplet subdivision throughout the piece provides smooth transitions between meter 64 Serra Hwang, Presence for Soprano, Cello, and Piano (Program note, Illinois State University, March 3, 2004). 45

58 changes. Table 6 divides Presence into four sections according to the four-part narrative structure (Table 3) and six sections according to meter changes. Table 6: Presence, section by four-part narrative structure. Four-part Narrative Structure Ki (Introduction) Seung (Development) Jun (Climax or Expansion) Kyuel (Closing) Measure Numbers Section According to Meter Changes 1-27 Section 1: (A) (B) (C) (D) (E) (F) Section 2: (G)(H) Section 3: (I) Section 4: (J) Section 5: (K)(L) Section 6: (M)(N)(O)(P) Meter Tempo Marking 18/8 Dotted quarter = 58 4/4 Quarter = 68 3/4 Quarter = 68 12/8 Soprano and Cello: Piano: Dotted quarter = 58 10/8 Dotted quarter = 58 12/8-6/8-12/8 Dotted quarter = 54 In the section 1 (mm. 1 27), the rhythmic patterns move freely within groupings of triple subdivisions (triple eighth-note groupings become triplets in 4/4). In this section, the rhythmic freedom and lack of accents create an atmosphere like bumpae or a slow operatic pansori, a non-metrical form of the narrative storytelling music. The piano, cello, and soprano melodies each move independently in their own style and do not line up metrically. However, from the section 2 (m. 28), the entire ensemble lines up vertically. Seung section contains three different meter changes. Section 2 is in 4/4, section 3 is a short transition in 3/4, and section 4 is in 12/8. In section 4, the soprano and cello have a rhythmic pattern in 12/8, while the piano maintains a pattern, as shown in Figure 18. These meter 46

59 changes in Seung create a natural forward direction in the rhythmic groove, along with a slightly faster tempo, finally arriving naturally and smoothly at Jun, section 5, in 10/8 meter. Figure 18: Serra Hwang, Presence, different meters and rhythmic patterns. As the piece arrives at Kyeul in mm (K), the entire ensemble plays the unified rhythmic pattern and shifts to at m. 65 (L), which propels the music forward, as if increasing tempo, without changing meters. In Kyeul (section 5, K and L), the high pitches across all parts and dense chordal structures in the piano create the thickest texture of the piece. An accelerando and crescendo increase the tension at the end of Jun (climax) in mm Jun section is followed by the closing Kyeul, sections (M) through (P). In (M), the soprano part drops out, and the duration of cello and piano notes are long, which makes the music sound empty compared to Jun. As the pieces continues to the end, the texture of the music gets thinner. For example, the piano plays single-line melodies instead of full chords, as in section (K). In section (P), the cello drops out while the soprano and piano fade into pianissimo. 47

60 Pitch Center Hahn describes the characteristics of the bumpae as a vocal technique involving the long sweep of melodic lines and sustained sound followed by multiple melodic ornamentation. 65 According to Hwang s Presence program notes, the pitch structure and relationships between the instrumental lines (soprano, cello, and piano) are based on the East-Asian texture referred to as heterophony. She also states: Almost all the pitch material for the piece is derived from a single melody around which each instrument and the voice embellish or vary. 66 Table 7 and 8 list the unordered pitch sets and pitch centers for each section, which illustrates the expansion and reduction of the pitch sets. As mentioned earlier, the pitch centers are selected by frequency of use and length of duration of held notes. As seen in Table 7, the pitch sets start from B-natural and expands into the climax, and then contract into the pitch set, G-B -B-D at the end of the piece. Also, the pitch center begins with B-natural as shown in Table 8, and it moves by stepwise motion, third, or fourth while the melody lines are florid and decorative, moving stepwise like bumpae. In the article Buddhist Chant, Hahn writes that the tri-tonal pitch set of a fourth and a minor third, such as C#-F#-A, is the common tonal structure of bumpae as well as eastern regional folk songs Man-young Hahn, Pomp ae, Buddhist Chant, Serra Hwang, Presence for Soprano, Cello, and Piano (Program note, Illinois State University, March 3, 2004). 67 Man-young Hahn, Buddhist chant, in the Survey of Korean Arts: Traditional Music (Seoul, Korea: National Academy of Arts, 1973),

61 Table 7: Presence, pitch sets and pitch centers. 49

62 Table 8: Presence, movement of pitch centers. Table 9: Expansion and micro-expansion of the pitch center B-natural. In section Ki (mm. 1-27), the contracted pitch model is centered on B-natural. The process of expansion happens in multiple directions (see Table 9). From the beginning to (A), all parts start with B-natural in unison (see Figure19) and then, each instrument moves in individual style, phrase structure, and phrase length. Starting from section (A), each line moves in individual style with different decorative notes and durations, while they share similar melodic sequences and pitch centers (see Figure20): each line moves independently, however they share the melodic sequence: B -B -B -B -E. 50

63 Figure 19: Serra Hwang, Presence, mm Figure 20: Serra Hwang, Presence, Score, mm In section (B), in mm , the pitch center temporary moves to B ; then the transitional focus on B immediately comes back to B-natural. Section (C) contains B-1/4 flat in m. 13, which is a passing note from B to B. Compared to section (C), 51

64 section (D) has more contracted pitch sets and the movement of each line is also compressed and frequently moves by half steps as in mm (D-E -D-D -C in soprano, B -A, D-E in cello, E -E -E, B -B in piano). In section (E), the pitch sets expand to eleven notes (all except B-natural), including the microtone B-3/4 flat in m. 17 (see Figure 21). The interesting fact is that the pitch center B-natural is avoided in this section; instead, the pitch center expands to the surrounding notes A and C. In section (F), the voice and cello s melody lines descend in unison from B- natural to G-natural, led by microtonal intervals, finally ending on the pitch center, F# (see Figure 21). 52

65 Figure 21: Serra Hwang, Presence, microtones (mm ). In Seung (mm ), the first three sections, (G) through (I), close with the pitch centers moving in descending gestures; however, section (J) ends with an ascending motion into Jun (climax). Figure 22 shows the descending gestures ending these sections: E -D in (G), B -A in (H), and C-G in (I). 53

66 Figure 22: Serra Hwang, Presence, mm (G), (H), and (I). The pitch falling motions In Jun, sections (K) and (L), the soprano and cello share melodic movement in heterophonic settings while the piano plays accompaniment in a homophonic setting under the soprano and cello melody lines. In section (L), the soprano and cello mostly share the same pitch sets in octaves, evoking heterophony (Figure 23). 54

67 The piano plays a variety of chord types such as clusters, which are chords based on 2 nd s, quartal 4 th s, and quintal 5 th s (Figure 24). Figure 23: Serra Hwang, Presence, the soprano and cello parts, mm Figure 24: Serra Hwang, Presence, mm and Examples of chord types on piano part in Climax. In the closing section, the melodic line often moves stepwise with small intervals and longer note durations. Some notes are sustained as ties from one to four measures, which makes the music sound inactive; for example, the piano plays B- natural in octaves through the section (M) and (N), and the cello holds G-natural for two bars in mm The cello and right hand of the piano end with G-natural, 55

68 and the soprano and left hand of the piano close with the note B-natural, recalling the piece s opening pitch. Although the soprano and left hand share the pitch center B-natural closing the piece, the two parts move in contrary motion, the soprano ascending and the left hand descending. My analyses suggest that this final widening motion between the outer voices seems to represent the prayer of bumpae, the sound of the bell may cover the world, which starts from a single convocation which then expands to surround the world. 68 Text For the text of Presence, Serra Hwang uses lines from three different poems by Yong-un Han. The titles of the three poems are I Cannot Tell ( 알수없어요 ), From Separation is Beauty Born ( 이별은미의창조 ), and The Silence of My Beloved ( 님의침묵 ). These poems can be found in the Appendix in Korean and English translations. 69 Han, Yong-un ( ) was a Korean Buddhist monk, poet, and political activist for national independence who was one of the thirty-three signers of the Korean Declaration of Independence. 70 Han was born in Hongju (now, Hong-sung), South Chung-chong Province in When he was born, Korea was going through political instability and transforming into a Japanese colony. Korea operated under Japanese rule from 1910 to Living in this time period, Han was always concerned about Korea and Korean society, fighting for liberation from Japanese 68 Man-young Hahn, Pomp ae, Buddhist Chant in the Koreana Vol.1/ No.2 (Seoul, Korea: International Cultural Society of Korea, 1987), Ji-moon Suh and James Wade, Poems from Meditations of a Lover, Han Yong-Un in the Korean Journal, Korean National Commission for UNESCO (Seoul, Korea: Korean National Commission by UNESCO, August 1978), Moo-Ung Yom, A study of Manhae Han Yong-un (Seoul: KOREA JOURNAL, WINTER 1999),

69 imperialism and freedom of Korea as one of the independence activists. 71 Also, he tried to reform the traditional Buddhism and find a new foundation for the revitalization of Korean Buddhism as a Buddhist monk. 72 Han focused on developing social activities and religious movements as well as putting effort into writing poetry. His poetry collection, The Silence of Love was published in Moo-Ung Yom writes about Han s work: his poems can be read by the young as love songs, by the religious as words of salvation, and by nationalists as watchwords that convey the ardent desire for national independence. Yong-un Han combined his writings as a poet, a Buddhist monk, and a nationalist. For this reason, his poetry collection is highly important in the history of Korean literature, even though it does not follow theories of modern Western poetry. 73 Yong-un Han died in 1944, a year before Korea s independence. Yong-un Han s poems were written to console and inspire the struggling people in Korea from the persecution during the Japanese occupation. Hwang captures the paradoxical nature of the pain of separation, the sadness of losing one s country, and the beauty of creation by using Han s poems. In Presence, the text creates the atmosphere of beauty, creation, love, and separation. Table 10 is the text of Presence in Korean and English translation: 71 Yol-Gyu Kim, Han Yong-un: His Life, Religion, Poetry (Seoul, Korea Journal, April 1973), Moo-Ung Yom, Moo-ung Yom,

70 Table 10: Presence, text in Korean and English translation. Korean 타고남은재가다시기름이됩니다그칠줄을모르고타는나의가슴은누구의밤을지키는약한등불입니까? 이별은미의창조미는이별의창조슬픔의힘을옮겨서새희망의정수박이에들어부었습니다님의침묵- 사랑의노래- 님은갔지만, 나는님을보내지아니하였습니다제곡조를못이기는사랑의노래님의침묵을휩싸고돕니다 English translation (A) Ashes become fuel again- (B) (C) (D) (F) My heart that endlessly burns, whose night does it flickering illuminate? (G) Separation is the creation of beauty. Beauty is the creation of separation. (H)(I) I lift the strength of the sadness and pour in into the well of new hope. (J) Your silence- (K) Song of love- (L) Ah- (M) - (N)(O) My beloved left, but I haven t let her go. Song of love uncontrollable my melody (P) Whirls around your silence Conclusion As I engage with this piece, Presence seems to convey the sadness, pain and hope of the oppressed Korean people during the Japanese occupation. Hwang captures these emotions and experiences, sublimating them into Western musical forms inspired by Buddhist chant. Because of the complexity of rhythmic and melodic flow in conjunction with microtonal melodic movement, performers can focus on larger gestures such as interpretive directions, tone, and form structures rather than focusing on fitting perfectly with each other s parts. By allowing freedom of melodic and rhythmic movements, performers can create the special characters and atmosphere of the piece. 58

71 3. Hundredth View for Solo Cello (2015) 3-1. Introduction According to correspondence with Hwang, Hundredth View was initially planned for cellist Greg Hesselink in After the first draft, Hwang decided to put it away until she could refine it later. In 2011, she worked on the piece again and recomposed it as a solo viola piece for her friend, Kate Hamilton. However, Hwang was not satisfied with this revised version. The piece was never finished or played for four years. In December 2015, when I began communicating with Hwang for my DMA essay, she mentioned this unfinished work, Hundredth View for solo cello. In April 2016, I traveled to meet Hwang in Vancouver and assisted her composing process of Hundredth View. Eventually, the final version of Hundredth View could be added to my dissertation as one of her cello compositions. The Hundredth View for Solo Cello is approximately 10 minutes long Analysis Tone/ Timbre The sigimsae (ornaments in Western music) is used throughout Hundredth View. The sigimsae is one of the most important components in performances of Korean music. In her book, Inhwa So writes how the sigimsae (ornaments) works: It enlivens and decorates the preceding and/or following tones. Ornaments reflect the direction (ascending and descending) of the melodic motion. Also, the ornaments operate in several levels in their rhythmic aspect; they shape and properly reveal the rhythmic significance of the tone at the beginning and end of the structural tone, especially when music is slow. Also signaling the completion of the phrase, ornaments work as an important element in clarifying the structure and determining the extent of the elasticity of the rhythm Greg Hesselink is a brother in law to Hwang. 75 Inhwa So,

72 The sigimsae is applied to all genres of Korean music performance, especially for vocal music. I have included types of sigimsae with Western notation in the Appendix which performers can refer to. The nong-hyun is also a type of sigimsae which is a technique specific to instrumental music, as with the pitch bending effect in Beckoning (Figure 13). 76 This pitch bending effect is one way to achieve the sound of nong-hyun in Western notation. By using nong-hyun techniques, Hwang creates a unique sound, tone, timbre, and gesture of traditional Korean music through a Western instrument, the cello. In Hundredth View, Hwang captures the different sounds of nong-hyun technique with four different notations: (a) Grace notes with and without accents, (b) Half-step or stepwise motion in the melodic lines, (c) Neighbor tones, and (d) Double neighbor tones. Figure 25 shows examples of how Hwang creates nong-hyun effects in Hundredth View: 76 In playing the komungo and the piri, a tone with a pitch of four degrees above can be played. In the first case, this happens by pushing the string laterally on one fret, Thus it can be seen that the way in which every tone is produced is dynamically linked to its pitch and its tone coloration. (Byung-ki, Hwang. "Some Notes on Korean Music and Aspects of Its Aesthetics." The World of Music 27, no. 2 (1985),

73 Figure 25: Hundredth View, types of nong-hyun effects. As shown in Figure 25 Hwang applies sounds of nong-hyun on solo cello in Western compositional style. The grace notes in (a) are played with more pressure on the bow while the bow continues in the same direction. In (b), the G-flat in m. 2 and A- natural in m. 3 function as passing tones to emphasize the main notes, F-natural (m. 2) and G-flat (m. 3). In (c), the neighbor tones, A-natural and F-natural in m. 40 decorate the G-flats. 77 In (d), the double neighboring tones function as ornaments to embellish C-natural. 78 To play these ornaments, cellists can add a rhythmic or 77 The neighbor tone: melodic embellishment that decorate a melody pitch by moving to a pitch step above or below it, then returning to the original pitch. Neighbor tones are approached and left by step, in opposite directions. (Musician s Guide to Theory and Analysis, 149.) 78 The double neighbor tone: the combination of successive upper and lower neighbors (in either order) around the same main pitch Sometimes the repetition of the main pitch between the up and lower neighbor is left out, with melody skipping from one neighbor to the other before returning to the main pitch. (Ibid. 157) 61

74 dynamic emphasis for expressive effect since Korean traditional musicians also perform their own personal styles through all kinds of sigimsae. Structure Hundredth View is a one-movement work that contains continuous variations which develop and transform from thematic ideas in the introduction (mm. 1-60). As seen in Table 11 Hundredth view is divided into six sections including an introduction, four variations, and a coda. There are no strong divisions between sections, recalling a process of continuous variation common in traditional Korean music performances. Table 11: Hundredth View form. Section Form Thematic Measure Meter Tempo Pitch Center ideas Numbers Markings Introduction Theme /4 D (F) -G (B ) A Variation 1 Rhythmic pattern B Variation 2 Tempo (meter change) D (F) /8 D /4 G /8 A /4 C /4 D-F-G-A -B C Variation 3 Pitch interval / /4 D Variation 4 Texture / /4 Coda Coda/closing /4 D 62

75 The introduction contains the thematic ideas that are developed in the rest of the piece. Each variation, A, B, C, and D, develops the thematic ideas according to the following characteristics: Section A features various changes of rhythmic patterns with shifting accents on different notes. Section B contains active tempo changes with different meters (metric modulation) and mixed-note values (rhythmic modulation). Section C includes contrasting pitch intervals, from narrow half-steps to wide octaves. The last variation, section D has the thickest texture of the piece with chords played on three strings. Lastly, the coda draws on materials from the introduction and closes the piece. The introduction includes thematic ideas which develop into four variations. As seen in Figure 26, the first thematic idea is accented on different beats. Throughout the introduction, the tenuto and accent marks occur on alternating down and upbeats. These accents on different beats with and against the natural metrical accent of 3/4 (strong -weak-weak) create unusual rhythmic patterns and percussive effects. Figure 26: Serra Hwang, Hundredth View, mm Accents on different beats in the Introduction. 63

76 Figure 27: Serra Hwang, Hundredth View, mm Various note values. Figure 27 is an example of the second thematic idea which demonstrates various note values including quarter note, eighth notes, sixteenth notes, triplet, quintuplet, and sextuplet. This thematic idea will be featured in variation 2, section B. The third thematic idea is pitch intervals. The introduction, in mm. 1-60, starts with melodies using small pitch intervals, however, in m. 20, the pitch range expands to two octaves from D on the C-string to D on the A-string. As seen in Figure 28, the pitch ascends, reaching natural harmonic D in m. 22. This thematic idea, expansion of the pitch intervals in ascending motion, is continued in the variation 3, section C. Figure 28: Serra Hwang, Hundredth View, mm Expansion of pitch intervals. Lastly, the fourth thematic idea changes the work s texture. In the beginning of the Introduction, the texture is thin with a single melody line. However, the texture, through the compositional technique, gradually grows and finally arrives at variation 4, section D to create the thickest texture of the piece with chords on three notes. 64

77 Section A (variation 1) features various rhythmic patterns (like chang-dan in Korean traditional music), and evokes a percussive sound. Figure 29 shows accents on alternating beats which creates different types of rhythmic patterns in 12/8. The time signature 12/8 usually gives a strong pulse in 4 with triple subdivisions, as in m. 61, in which the music naturally carries accents on each downbeat (rhythmic patterns in 3:3:3:3). However, the rhythmic pattern changes to 2:2:2:3:3 in m. 65, which creates a hemiola in the beginning of the measure. 79 These unusual accents create rhythmic grooves, recalling the Korean traditional percussion music, p ungmul. Figure 29: Serra Hwang, Hundredth View, examples of various rhythmic patterns. Section B (variation 2) contains metric modulations and multiplex note values, bringing about a propulsive effect. Throughout section B, the tempo, pulse, 79 A special type of syncopation, called a hemiola, occurs in compound meters when the accent structure of a measure is displaced so that the normal three-part beat division is temporarily regrouped into twos. (Jane Piper Clendinning, 86.) 65

78 and beat groupings increase through changing meters and notes value, with an accelerando at the end (see Figure 30). This effect is commonly found in traditional Korean music, which usually starts with slow movements and gradually increases in tempo as the music progressively changes and develops. 80 Figure 30: Serra Hwang, Hundredth View, tempo and meter changes in section B. Section B is divided into three sections: a transition (mm ), B (mm ), and B (mm ). The transition, between mm (in 3/4 and 10/8), serves as a bridge to smoothly connect new tempos from previous section (quarter note = 82) with that of the new section (quarter note =76). This is similar to doljang (turning section) in Korean traditional music. In her book, Inhwa So describes doljang: Korean music can give the impression that it is formless, because the division between section is not very explicit, as evidenced in some pieces of Yonsanhoesang with doljang (turning section) connecting two sections in different rhythmic patterns. 81 As seen in Figure 28, Hwang uses multiple note values in the introduction, which are developed in section B. Figure 31 shows examples of the multiple note values and groupings. In addition, those smaller groupings of notes such as in the hemiola, 80 Inhwa So, Ibid. 66

79 four groups of three-sixteenth notes in three groups of four-sixteenth notes, in m. 105 create a natural rhythmic acceleration. Figure 31: Serra Hwang, Hundredth View, various notes values and groupings of beat. In mm , the accelerando and ascending pitch in the melody line increase the tension and overtly carry the music to an exuberant state. The music arrives at B- natural in m. 130, followed by the fermata, which makes the transition between sections dramatic. The fermata gives a short pause, which maintains the tension and delays the arrival in the next section. In the beginning of section B, the metric and rhythmic modulation subtly increase the tempo and tension. Increasing tempo, tension, excitement, and energy reflects the natural music flow of traditional Korean music performances. Section C (variation 3) is guided by variations in pitch intervals. In the beginning of section C, the pitch intervals are wide, from the C-string to high position of the A-string on the cello. The melody lines ascend with large interval jumps. In contrast, at the end of section C, the descending melodic lines move with smaller pitch intervals like half-steps, as in a chromatic scale. 67

80 Figure 32: Serra Hwang, Hundredth View, examples of various pitch intervals. In Figure 32, pitch intervals in mm require wide motion in both hands (both the bow hand and left fingers) because this section requires playing across entire strings from C (the lowest) to A (the highest) in the bow hand and octave slides on C# in the left hand. Measure 145 demonstrates a chromatic falling motion from C-natural to A-flat. Mm contain double chromatic melodic movements on C#-C-B-B -A, and G-F#-F. Acknowledging these features, cellists can emphasize contrasting motions. Section D (variation 4) features the thickest texture in the piece with chords of three notes, which require string crossing rolls across three strings (see Figure 33). Figure 33: Serra Hwang, Hundredth View, mm

81 Figure 34: Serra Hwang, Hundredth View, m. 40 and mm As shown in Figure 34, the simple descending melody line (m. 40, introduction) develops to a thicker texture with chords on three notes (mm ). This determines the overall characteristic and quality of the sound in variation 4, section D. The chords in m. 167 will be played from the bottom note to the top note with a fast bow roll to emphasize the top note, A-natural. The coda closes the piece with a slower tempo and motion, longer note durations, and less active melodic lines. The coda refers to the ending section of the song cycle in traditional Korean music, when, according to Inhwa So, the music goes back to slow tempo, implying that people participating in the event should return to a graceful or orderly mood at the end of a party or gathering Conclusion Hundredth View is a short one-movement work for solo cello. My own analysis suggests that although the piece contains no strong section divisions, it can be divided into six sections consisting of an introduction, four variations, and a coda. The variations each contain special features that are developed to form thematic 82 Inwha So,

82 ideas that were presented in the introduction: tone color, rhythmic pattern, tempo, pitch intervals, and texture, along with contrasts between long, soft melodic lines and short, accented percussive notes. The tempo varies with meter changes and accents on alternating beats, thereby creating different rhythmic patterns, along with a wide register, from the C string to natural harmonics on the A string. The texture is sparse throughout its single melody line and double-stops to three-note chords. These features lend themselves to the cello as a solo instrument, which has special rich and deep sounds. Hundredth View will be a great fit as a first piece on recital programs for cellists. The score of Hundredth View is included in the Appendix. 70

83 CONCLUSION Hwang composed three pieces for cello, Beckoning, Presence, and Hundredth View, which were inspired by Korea s culture and traditional music. After many years of experimentation and living allover the world from California, to Michigan, Illinois, London, South Korea, and Canada she has found her own voice and color as a composer. She infuses each piece with unique features such as special rhythmic patterns, structures, pitch movements, text, and tone color, which are influenced and motivated by traditional Korean percussion music, religions, and culture, combined with techniques of Western instrumental performance. Learning Hwang s pieces will provide cellists new experiences that are a mixture of music, culture, ideologies, and methods from Western and Eastern influences. As Hwang re-discovered the music and culture of South Korea from traditional music performances, I also found myself learning more about my home country through studying Hwang s compositions and its Korean influences. These many months of study have given me the joy of knowing about my cultural roots and the opportunity to introduce them to others. I hope my study helps other cellists gain more interest in new works by living 21st-century composers like Serra Miyeun Hwang, who employ non-western classical music sounds. Furthermore, through this essay, it is my hope that more cellists will include new, diverse works in their repertoire selections. 71

84 BIBLIOGRAPHY Readings Cho, Kyoungwha. Korean women's voice: The vocal music of Young-Ja Lee. DMA diss.,the University of Memphis, Clendinning, Jane Piper and Elizabeth West Marvin, The Musicians Guide to Theory and Analysis. New York: W.W. Norton & Company, Dox, Donnalee. "Shamanism." Ecumenica 7, no. 1-2 (2014): ATLA Religion Database with ATLASerials, EBSCOhost, Gerou, Tom. Essential dictionary of music. 2 nd ed., Los Angeles, CA: Alfred publishing Co. Inc., Greene, Paul D. Keith Howard and Terry E. Miller, "Buddhism and the Musical Cultures of Asia: A Critical Literature Survey," in The World of Music, Vol. 44, No. 2, Body and Ritual in Buddhist Musical Cultures, VWB - Verlag für Wissenschaft und Bildung, Grout, Burkholder, Palisca, Burkholder, J. Peter, and Palisca, Claude V. A History of Western Music. 8th ed., New York: W. W. Norton & Company, Ha, Tae-Hung. Guide to Korean Culture. Seoul, Korea: Yonsei University Press, Han, Heungsub. Traditional Korean Music: Its Genres and Aesthetics. Seoul, Korea: Korea Journal, Han, Man-young. Kugak: Studies in Korean Traditional Music. Seoul, Korea: Tamgu Dang, Religious Origins of Korean Music, Traditional Korean Music 1983, ed. The Korean National Commission for UNESCO (Oregon, USA: Pace International Research, Inc., Buddhist chant, the Survey of Korean Arts: Traditional Music. Seoul, Korea: National Academy of Arts, Hesselink, Nathan. P ungmul: South Korean Drumming and Dance. Chicago: University of Chicago, SamulNori : contemporary Korean drumming and the rebirth of itinerant performance culture. Chicago: University of Chicago,

85 Holoman, D. Kern. Writing About Music: A Style Sheet from the Editors of 19th-Century Music. Berkeley: University of California Press, Hwang, Byung-ki. "Some Notes on Korean Music and Aspects of Its Aesthetics." The World of Music 27, no. 2 (1985): Juergensmeyer, Mark K. and Wade Clark Roof, Encyclopedia of Global Religions. Thousand Oaks: SAGE Publications, Koo, John H. An Introduction to Korean Culture. NJ, USA: Hollym, Kim, Sang Yil and Young Chan Ro, Hanism as Korean Mind: Interpretation of Han Philosophy. Los Angeles, CA: Eastern Academy of Human Sciences, Kim, Yol-Gyu. Han Yong-un: His Life, Religion, Poetry. Seoul: Korea Journal, April Kwon, Donna Lee. Music in Korea: Experiencing Music, Expressing Culture. New York: Oxford University Press, Lancaster, Lewis R. and C.S. Yu, eds. Introduction of Buddhism to Korea: new cultural patterns. Berkeley: Asian Humanities Press, Lee, Hye-Ku. Essay on Traditional Korean Music. Seoul, Korea: Seoul Computer Press, McDonald, William Rudd. A Comparison of Perceived Musicianship and Appropriate Use of Vibrato in Professional Cello Performances by String Performers, Music Majors, and Nonmusic Majors. D.M.A diss., University of Kansas, Mills, Simon. Healing Rhythms: The World of South Korea s East Coast Hereditary Shamans. Hampshire, England and Burlington, VT: Ashgate Publishing Company, Pratt, Keith. Korean Music: its History and Performance. London: Faber Music, Sampsel, Laurie J. Music Research. A Handbook. Second Edition. New York and Oxford: Oxford University Press, Shin, Kinam, What Do I Have To Do to Get a Single Smart Disciple before I Die?. Seoul, Korea: Ppuri Kipun Namu, So, Inhwa. Theoretical Perspectives on Korean Traditional Music, An Introduction. Seoul, Korea: The National Center for Korean Traditional Performing Arts, Son, Tae-Ryong, 한국음악개론 (An Introduction to Korean Music).Seoul: Dong Jin Publishing Co,

86 Song, Bang-Song. An annotated bibliography of Korean Music. Providence, P.I: Brown University, Song, Hye-jin. A Stroll through Korean Music History. Edited by Jong-hee Lee. Seoul, Korea: The National Center for Korean Traditional Performing Arts, Suh, Ji-moon and James Wade, Poems from Meditations of a Lover, Han Yong-Un in Korean Journal, Korean National Commission for UNESCO, Seoul, Korea: Korean National Commission by UNESCO, August Tojon, Chong and Hamho Tukt ong. Korea s Great Buddhist-Confucian Debate. Translated by A. Charles Muller. Honolulu: University of Hawai i Press, Wu, Yu-Ting. Music and National Identity: A Study of Cello Works by Taiwanese Composers. D.M.A. diss., The City University of New York, Yi, Byong-won. Micro- and macro-structure of melody and rhythms in Korean Buddhist Chant. In Traditional Korean Music, ed. Korean National commission for UNESCO. Oregon, USA: Pace International Research, Inc., Yi, Po-Hyung, Performing Styles of Korean Traditional Music. In Traditional Korean Music 1983 ed. The Korean National Commission for UNESCO. Oregon, USA: Pace International Research, Inc, Yom, Moo-Ung. A study of Manhae Han Yong-un. Seoul: KOREA JOURNAL, WINTER Scores/ Program notes Hwang, Serra. Beckoning. Composing Identity: Korean Sounds and Sentiments in an American Context, Music Score, Morrison Hall at the University of California, Berkeley, March 14, Hundredth View. Music Score (unpublished). Presence. Music Score, Illinois State University, March 3, Presence for Soprano, Cello and Piano, Program note, Illinois State University, March 3, Online Sources Daehan Taekwondo, Taegeuk, (accessed March 21, 2017). 74

87 Doosan Corporation, Nonghyun, (accessed February 22, 2017). Garrigues, Stephen. Shamanism in Korea, Kyungpook National University, South Korea. November 28, 2016, (accessed March 10, 2017). MICRESS, (accessed March 21, 2017). Shin, Namhyun. 징, &print=Y (accessed March 20, 2017). Stephen Garrigues. Shamanism. Last modified November 28, Traditional Korean Music. Traditional Korean Music. Traditional Korean Music Portal. (accessed May ). Wikipedia contributors, "Buk (drum)," Wikipedia, The Free Encyclopedia, (accessed March 23, 2017)., "Taegeuk," Wikipedia, The Free Encyclopedia, (accessed March 21, 2017)., " 가야금," Wikipedia, The Free Encyclopedia, %88&oldid= (accessed March ). Video/ Audio References Arnone, Anthony. Beckoning: New Music for Cello. Performed by Anthony Arnone Newtown, CT: MSR Classics MS1371, CD. Cho, Jung-rae. Spirits Homcoming, JO Entertainment, Im Kwo-taek. Chunhyang, CJ Entertainment, Nong-ak. K-heritage-TV. Accessed May

88 A. List of Serra Hwang s Compositions APPENDIX Title (date of composition) Three pieces for Orchestra (1989) Nongbu-ga (Farmer s music) (1992) Instrumentation First performance Recording Length Orchestra Saxophone and Percussion University Symphony Orchestra at the University of Michigan (1990) The University of Michigan a CD project, "Sounds Like 1996: Music by Asian American Artists" by "Innocent Eyes and Lenses (IEL)" 7 mins Pinari (October, 1997) Allegory (August, 1999) Variation (April, 1999; March 2000) Spirit, Wind (April, 2000) Triforium (January, 2001) Orchestra Violin and Piano Piano and Changgo (Korean drum) Oboe and Gongs for Guitar, Viola, and Double Bass Hallé Orchestra, Manchester, England (1997) The Laura Kobayashi and Susan Gray Duet for the USIA Artistic Ambassador concert series (1999) Korean Folk Arts Festival of San Francisco, California (2000) New Music concert series at Bradley University (2000) Illinois State University Women in Music II (2001) 2000 Compact disc (Albany), Boldly Expressive, Laura Kobayashi and Susan Grey Duo 11 mins 9 mins 8 mins 11 mins 8 min. 76

89 Study in White (March, 2002) Du-Re (October, 2002) Beckoning (March, 2003) Presence (January, 2004) Sojourn (January, 2005) Jade in Blue (April, 2008) Original Jungle (February, 2015) Hundredth View (2015) Fly Away (February, 2016) Hereafter (2016) Setting #3 (2017) Electronic Music Percussion Quartet Cello and Two Percussion (Korean Drums) Soprano, Cello, and Piano Piano and Percussion Gayageum (Korean Floor Zither) Electronic Music Solo Cello Movie trailer Piano and Erhu (Chinese violin) Illinois State University Women in Music III (2002) Illinois State University (2003) University of California, Berkeley Conference Composing Identity: Korean Sounds and Sentiments in an American Context (2003) Illinois State University (2004) Roosevelt University, Chicago College of Performing Arts (2004) University of Wisconsin, Madison (2005) Seoul National University, Seoul, South Korea (2009) Vancouver International Women in Film Festival (VIWIFF), Vanity Theatre, Vancouver, Canada (2015) Old Capitol Museum, The University of Iowa (2017) VIWIFF, Vanity Theater, Vancouver, Canada (2016) University of British Columbia, Vancouver, Canada (Oct. 2017) Compact disc (MSR), Beckoning, Anthony Arnone Youtube Link available Youtube Link available Movie trailer VIWIFF (2017) Youtube Link available 5 mins 7 mins 7 mins 11mins 12 mins 10 mins 1 min 10 min. 1 min 9 min. 1 min.

90 B. Three Poems by Yong-Un Han 83 Korean English < 알수없어요 > 바람도없는공중에수직의파문을내이며고요히떨어지는오동잎은누구의발자취입니까. 지리한장마끝에서풍에몰려가는무서운검은구름의터진틈으로언뜻언뜻보이는푸른하늘은누구의얼굴입니까, 꽃도없는깊은나무에푸른이끼를거쳐서옛탐위의고요한하늘을스치는알수없는향기는누구의입김입니까. 근원은알지도못할곳에서나서돌부리를울리고가늘게흐르는작은시내는굽이굽이누구의노래입니까. 연꽃같은발꿈치로가이없는바다를밟고, 옥같은손으로끝없는하늘을만지면서떨어지는날을곱게단장하는저녁놀은누구의시입니까. 타고남은재가다시기름이됩니다. 그칠줄을모르고타는나의가슴은누구의밤을지키는약한등불입니까. < I Cannot Tell > Whose steps are these, the paulownia leaves that fall silently, drawing vertical ripples on the windowless void? Whose face are they, the scraps or blue sky that peep through rifts in fierce dark clouds, pushed away by the zephyr at the end of a long spell of rain? Whose breath is it, this nameless fragrance that touches the silent sky above an ancient pagoda, brushing past the thick green moss on the flowerless old tree? Whose songs are those, the dips and turns of the thin rivulet born of no known source, that makes the stones and pebbles sing as it journeys past? Whose poems are these, the evening twilights that adorns the fading day, treading the brinkless sea with lotus heels, caressing the rimless sky with jade fingers? The burnt ashes feel the lamp again. Over whose night does this frail lamp of my heart keep sentinel, this heart that will never cease to burn? 83 Ji-moon Suh and James Wade, Poems from Meditations of a Lover, Han Yong-Un in the Korean Journal, Korean National Commission for UNESCO (Seoul, Korea: Korean National Commission by UNESCO, August 1978),

91 < 이별은미의창조 > 이별은미의창조입니다 이별의미는아침의바탕없는황금과밤의올없는검은비단과죽음없는영원의생명과시들지않는하늘의푸른꽃에도없습니다. 님이여, 이별이아니면나는눈물에서죽었다가웃음에서다시살아날수가없습니다. 오오이별이여. 미는이별의창조입니다. < From Separation is Beauty Born > Separation is the creation of beauty. There is no beauty like the beauty of separation, even in the ethereal gold of the morning, or the fiber-less black silk of the night; not even in the deathless eternity of life, nor in the un-withering azure flower of the sky. Oh, beloved! If it were not for separation, I could not die in tears and then rise again in laughter. Ah, separation! Beauty is the creation of separation. < 님의침묵 > 님은갔습니다. 아아, 사랑하는나의님은갔습니다. 푸른산빛을깨치고단풍나무숲을향하여난작은길을걸어서차마떨치고갔습니다. 황금의꽃같이굳고빛나던옛맹서는차디찬티끌이되어서한숨의미풍에날아갔습니다. 날카로운첫 < 키스 > 의추억은나의운명의지침을돌려놓고뒷걸음쳐서사라졌습니다. 나는향기로운님의말소리에귀먹고, 꽃다운님의얼굴에눈멀었습니다. 사랑도사람의일이라만날때에미리떠날것을염려하고경계하지아니한것은아니지만, 이별은뜻밖의일이되고놀란가슴은새로운슬픔에터집니다. 그러나이별을쓸데없는눈물의원천으로만들고마는것은스스로사랑을깨치는것인줄아는까닭에, 걷잡을수없는슬픔의힘을옮겨서새희망의정수박이에들이부었습니다. 우리는만날때에떠날것을염려하는것과같이떠날때에다시만날것을믿습니다. < The Silence of My Beloved > My dear one is gone. Ah, my beloved has gone away. She has gone without a backward glance along the pathway leading to the maple grove, parting the green of the mountain. The old oath that once was firm and radiant as a flower of gold is blown by the breeze of sighs, broken into a thousand cold particles. The sharp memory of a first kiss, deflecting the compass of my destiny, has disappeared with back ward steps. I have been deafened by the fragrant voice of my beloved, and blinded by the beautiful face of my beloved. Since love, too, is a human affair, I dreaded separation from the moment of meeting; but still, paring came as a surprise, and my frightened heart is bursting with new sorrows. 79

92 아아, 님은갔지마는나는님을보내지아니하였습니다. 제곡조를못이기는사랑의노래는님의침묵을휩싸고돕니다. But knowing full well that vain tears at parting would sap our love, I have poured the strength of this inconsolable sorrow into the well of hope. As we dread farewells when meeting, so we believe in reunion from the moment of paring. Ah, my beloved has gone but I have not let my beloved go. The tune of love that cannot overcome the sorrow of its strain hovers over the silence of my beloved. 80

93 C. Types of Sigimsae in Western Notation Tae-Ryong Son, 한국음악개론 (An Introduction to Korean Music) (Seoul: Dong Jin Music Publishing Co, 1996),

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