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- All Subjects: Orchestra
- Creators: Rogers, Rodney
Description
ABSTRACT
Korea’s first opera Chunhyang Jeon was composed by Jaemyeong Hyun in 1948. Until that time, most Korean vocal music was sung by a few native traditional artists. Inspired by their work, composer Hyun combined elements from the ancient Pansori (epic poetic forms presented by a solo singer with drum) and Western music techniques to create his opera. Hyun also used the more vernacular Hangeul (Korean alphabet) for his libretto rather than the Chinese usually heard in Korean theatrical presentations. It might be noted that in that same year (1948), the first Western opera: Verdi’s La Traviata was performed in Seoul.
This study concerns the bringing together of Korean traditional idioms (in Pansori) and Western musical ideas (harmony, orchestration, etc.) to create what is now known as Chunhyang-jeon Opera. In this regard, the author will present a brief split-analysis of the older style and the more modern musical attributes of the combined style of traditional Korean music and European style opera. It is hoped that this study might provide the basis for a future opera course and guide for both disciplines.
This study will also show that the Pansori and its subsequent operatic treatment has historical, social and artistic elements. Some similarities and differences of both forms were noted here with regard to cultural sensitivities.
While Chunhyang-ga (older form) and Chunhyang-jeon (Hyun’s modern adaptation) have some musical similarities, the latter was not composed based on the former. Chunhyang-ga consists mainly of compound meter (6/8, 9/8, 12/8, 24/8), which is at the heart of Korean traditional music, while Chunhyang-jeon uses simple meter (2/4, 3/4, 4/4).
Identical words are not often used in the two works, but their libretti are of much significance. Chunhyang-ga had been traditionally handed down with Chinese characters, whereas Chunhyang-jeon constituted its libretto with more modern Korean words which were easily understood by the audience.
Pansori have been sung with traditional singing techniques, which demonstrate the flow of the melodic line found in the images of the words (as interpreted and improvised by the solo performer), while in opera, vocal music is primarily from a set of melodic and harmonic techniques.
Korea’s first opera Chunhyang Jeon was composed by Jaemyeong Hyun in 1948. Until that time, most Korean vocal music was sung by a few native traditional artists. Inspired by their work, composer Hyun combined elements from the ancient Pansori (epic poetic forms presented by a solo singer with drum) and Western music techniques to create his opera. Hyun also used the more vernacular Hangeul (Korean alphabet) for his libretto rather than the Chinese usually heard in Korean theatrical presentations. It might be noted that in that same year (1948), the first Western opera: Verdi’s La Traviata was performed in Seoul.
This study concerns the bringing together of Korean traditional idioms (in Pansori) and Western musical ideas (harmony, orchestration, etc.) to create what is now known as Chunhyang-jeon Opera. In this regard, the author will present a brief split-analysis of the older style and the more modern musical attributes of the combined style of traditional Korean music and European style opera. It is hoped that this study might provide the basis for a future opera course and guide for both disciplines.
This study will also show that the Pansori and its subsequent operatic treatment has historical, social and artistic elements. Some similarities and differences of both forms were noted here with regard to cultural sensitivities.
While Chunhyang-ga (older form) and Chunhyang-jeon (Hyun’s modern adaptation) have some musical similarities, the latter was not composed based on the former. Chunhyang-ga consists mainly of compound meter (6/8, 9/8, 12/8, 24/8), which is at the heart of Korean traditional music, while Chunhyang-jeon uses simple meter (2/4, 3/4, 4/4).
Identical words are not often used in the two works, but their libretti are of much significance. Chunhyang-ga had been traditionally handed down with Chinese characters, whereas Chunhyang-jeon constituted its libretto with more modern Korean words which were easily understood by the audience.
Pansori have been sung with traditional singing techniques, which demonstrate the flow of the melodic line found in the images of the words (as interpreted and improvised by the solo performer), while in opera, vocal music is primarily from a set of melodic and harmonic techniques.
ContributorsShin, Jinhee (Author) / Britton, David (Thesis advisor) / Dreyfoos, Dale (Committee member) / Rogers, Rodney (Committee member) / Arizona State University (Publisher)
Created2017
Description
This paper explores the relationship of text and music in Dies Natalis by Gerald Finzi. Many of Gerald Finzi’s compositions have been researched and analyzed, but Dies Natalis, a work for high voice and string quartet, has received limited attention. The text is by Thomas Traherne, a lesser-known English poet and theologian. The research investigates textual interpretation and an explanation or a discussion of the religious mysticism of Traherne. After a biographical discussion of the composer and the poet, this paper provides a musical analysis, including a study of thematic and harmonic relationships in the work, and an examination of word painting and text setting. To facilitate my analysis, I used the piano reduction and not the string score for this project.
ContributorsMcKee, Marcy (Author) / Mills, Robert (Thesis advisor) / Rogers, Rodney (Committee member) / Hawkins, Gordon (Committee member) / Arizona State University (Publisher)
Created2016
Description
By examining the cognitive mechanisms behind human memory, the author hypothesizes that instrumental conductors can more quickly and effectively internalize music scores. With this theory, conductors could offer more informed and nuanced communications to their ensembles. Furthermore, these ideas could be incorporated into how conducting is taught to younger students by cultivating a more in-depth understanding of the music being studied.
This research paper surveys current trends in cognitive science related to the interactions of long-term memory (LTM) and short-term memory (STM) concerning score study and memorization employed by instrumental conductors. The research is divided into three sections, beginning with an examination of the key literature from the field of cognitive science. It continues with an overview of current musicological research and applications and finally concludes with a review of current instrumental conducting pedagogy that include discussions of memory. Moreover, recommended steps and a potential framework to incorporate cognitive science research into future conducting pedagogies are further outlined. The primary cognitive theory of focus is the Working Memory Theory of Alan Baddeley and Graham Hitch.
This research paper surveys current trends in cognitive science related to the interactions of long-term memory (LTM) and short-term memory (STM) concerning score study and memorization employed by instrumental conductors. The research is divided into three sections, beginning with an examination of the key literature from the field of cognitive science. It continues with an overview of current musicological research and applications and finally concludes with a review of current instrumental conducting pedagogy that include discussions of memory. Moreover, recommended steps and a potential framework to incorporate cognitive science research into future conducting pedagogies are further outlined. The primary cognitive theory of focus is the Working Memory Theory of Alan Baddeley and Graham Hitch.
ContributorsLucas, Cullan Baynes (Author) / Caslor, Jason (Thesis advisor) / Gardener, Joshua (Committee member) / Hill, Gary (Committee member) / Rogers, Rodney (Committee member) / Arizona State University (Publisher)
Created2017