To see the other types of publications on this topic, follow the link: Korea Music.
Dissertations / Theses on the topic 'Korea Music'
Create a spot-on reference in APA, MLA, Chicago, Harvard, and other styles
Consult the top 50 dissertations / theses for your research on the topic 'Korea Music.'
Next to every source in the list of references, there is an 'Add to bibliography' button. Press on it, and we will generate automatically the bibliographic reference to the chosen work in the citation style you need: APA, MLA, Harvard, Chicago, Vancouver, etc.
You can also download the full text of the academic publication as pdf and read online its abstract whenever available in the metadata.
Browse dissertations / theses on a wide variety of disciplines and organise your bibliography correctly.
1
Yu, Youngmin. "Musical performance of Korean identities in North Korea, South Korea, Japan and the United States." Diss., Restricted to subscribing institutions, 2007. http://proquest.umi.com/pqdweb?did=1417807691&sid=1&Fmt=2&clientId=1564&RQT=309&VName=PQD.
Full text
2
Noh, Wonil. "A Conductor's Guide to Hyo-Won Woo's Choral Music as Reflected in "Oh! KOREA"." Thesis, University of North Texas, 2018. https://digital.library.unt.edu/ark:/67531/metadc1404580/.
Full textAbstract:
The choral music of Hyo-won Woo, the composer of Oh! KOREA, is being widely performed by universities and professional choruses in Korea, as well as throughout the world. The work exhibits Woo's remarkable compositional style, which displays traditional Korean musical influences. Hyo-Won Woo's Oh! KOREA consisting of four movements, is for chorus, two pianos, and both Eastern and Western percussion instruments. Woo's Oh! KOREA employs an excellent introduction to the Korean choral repertoire for Western audiences, rooted in traditional Korean folk tunes. As today's choral conductors, singers, and audience cannot fully appreciate the value of this traditional Korean work and will likely not understand its intended context, it is therefore necessary to provide an in-depth investigation of this work for any conductor considering a performance of this piece. This study includes influences of traditional Korean elements within Oh! KOREA and rehearsal and performance consideration for Western choir directors.
3
Kim, Jeong-Ha. "Korean Primary School Music Education during Japanese Colonial Rule (1910-1945)." Thesis, Griffith University, 2013. http://hdl.handle.net/10072/367474.
Full textAbstract:
After 500 years of stability in Korea under the Joseon Dynasty (1392–1910), the Japanese colonial occupation (1910–1945) brought about major changes to Korean society and resulted in a significant decline in Korean culture including music. Some Japanese apologists claim that through colonisation the colonised territories would have received developmental aid and economic benefits. This instantly raises some important questions in regard to music education in Korea. If the claim of colonial development were true, Korean primary music education could also have benefited from Japanese colonisation. The aim of this thesis is to examine the key characteristics of, and changes to, Korean music education under Japanese colonial rule.
To analyse the effects of colonialism on Korean primary school music education, I have examined primary sources (music textbooks and education policy documents from that period) and scrutinised the intentions of colonial Korean music education through interviews with 42 eyewitnesses who attended primary school at the time, now aged between 75 and 90 years. Interview questions were also used as a basis for the analysis of school activities with musical content at primary schools. The interviews also focused on day-to-day school life, curriculum, and the impacts of colonial education on the pupils’ later life, degree of musical acculturation, and cultural identity.Thesis (PhD Doctorate)
Doctor of Philosophy (PhD)
Queensland Conservatorium
Arts, Education and Law
Full Text
4
Baek, Da Mi. "Eak Tai Ahn's Korea Fantasy: His Life, Historical Context, and Compositional Style." Thesis, University of North Texas, 2019. https://digital.library.unt.edu/ark:/67531/metadc1505250/.
Full textAbstract:
Eak Tai Ahn is not only the first generation of Korean musicians, composers and conductors to have studied Western music and given successful musical performances in Western countries, but also is among the first to introduce the music of Korea to the West utilizing the Western music system. Korea Fantasy is an important work that helped Ahn win international acclaim. Korea Fantasy is an orchestral piece that evolved along with Ahn's unique life experiences shaped by the state of his native country. The piece is programmatic, depicting the history of Korea, which utilizes musical devices, such as rhythms and quotation that are distinctive musical elements of Korea. This document discusses the political and social history of Korea during Ahn's life time, offers an overview of Ahn's education and musical footsteps, and describes the premiere and reception of Korea Fantasy. Moreover, a discussion of his compositional traits and a musical analysis of Korea Fantasy are presented.
5
Williams, Zaneh M. "American Influence on Korean Popular Music." Scholarship @ Claremont, 2014. http://scholarship.claremont.edu/scripps_theses/500.
Full textAbstract:
South Korea is internationally well known for its ethnic and cultural homogeneity, economic and technical success, and strong sense of nationalism. The peoples of South Korea have flourished economically after a series of colonizations, industrialization and political chaos. Over the past few decades, Korea has gained interest internationally for its entertainment industry through the Korean Wave (or Hallyu in Korean). Korean Wave is a term that refers to the increase in the popularity of South Korean culture since the late 1990’s due to Korean music, television shows and fashion. The Korean Wave first swept and captivated the hearts of citizens in East and Southeast Asia and now has expanded its popularity beyond Asia and has captivated millions of people all over the world. After a steady increase in cultural exports as a result of the Korean Wave since 2005, the Korean Tourism Organization (KTO) has realized the value in the exportation of Korean culture and goods and has now created programs that capitalize on this popularity and increase tourists South Korea. Korean popular music or K-Pop is a large and profitable aspect of the Korean Wave. According to CNBC in Move Over Bieber — Korean Pop Music Goes Global
“The [k-pop] industry’s revenues hit about $3.4 billion in 2011, according to the Korea Creative Content Agency (KOCCA), a government group that promotes the country’s cultural initiatives. K-pop’s exports also rose to $180 million last year — jumping 112 percent compared to 2010. Exports have been growing on an average annual rate of nearly 80 percent since 2007.” And that “for every $100 of K-Pop exports, there was an average increase of $395 worth of I.T. goods such as cell phones or electronics that were being exported” (Naidu-Ghelani).
The exportation of K-pop music and cultural can be seen as an economic success story. But in fact, for the Black American community it is the exportation of cultural appropriation and the degradation of Black American culture.
The Korean Wave is packaging, promoting and exporting a “window into Korean culture, society and language that can be as educational as a trip to Korea. South Korea is using the Korean wave to promote its traditional culture within Korea and abroad” (“Hallyu, the Korean Wave” 1). Despite South Korea’s strong sense of nationalism and cultural homogeneity, its pop music has a distinct Black American musical influence. Rap and hip-hop musical style/culture (which is distinctly affiliated with representative of Black Americans) is an integral, if not necessary, part of Korean popular music. The synchronized dance moves, attractive idols and “rap/hip hop” style draws in millions of fans from every walk of life all over the world. The “hip hop” dance moves, clothing and lyrics that dominate Korean popular music, however crosses the line of cultural appreciation and instead can be defined as cultural appropriation.
6
Hesselink, Nathan Douglas. "A tale of two drummers : percussion band music in North Cholla Province, Korea." Thesis, SOAS, University of London, 1998. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.267712.
Full text
7
Park, Hye-jung. "From World War to Cold War: Music in US-Korea Relations, 1941-1960." The Ohio State University, 2019. http://rave.ohiolink.edu/etdc/view?acc_num=osu1554818839582558.
Full text
8
Kim, Do Soo. "A Comparative Study of Junior High School General Music Programs Between Korea and the United States." Thesis, University of North Texas, 1990. https://digital.library.unt.edu/ark:/67531/metadc504491/.
Full text
9
Choi, Hwanho. "Value and value creation : popular music in the digital era : the case of the independent music industry in South Korea." Thesis, University of Manchester, 2014. https://www.research.manchester.ac.uk/portal/en/theses/value-and-value-creation--popular-music-in-the-digital-era-the-case-of-the-independent-music-industry-in-south-korea(bbf539a4-ee2f-4149-aa03-6b80ada39c7a).html.
Full textAbstract:
This thesis investigates the production and consumption of the independent music sector in South Korea in the digital age. It examines the value of music and how it is created in the digital age. Thus, it suggests the impacts of the Internet for consumers and producers. The investigation is based on the view that there has been a transition to value co-creation by consumers and producers, away from the traditional view of value being produced by firms alone, and that this value can be symbolic, emotional and experiential. The thesis shows that this transition has indeed occurred in the music industry. To investigate value and value creation in popular music in the digital age, an in-depth single case study of the independent music industry in South Korea is conducted. Qualitative data was collected, using semi-structured interviews, from independent music consumers and independent record labels. This research reveals that consumers’ music consumption is made up of both information-processing and experiential behaviours. Their desire to minimize the inappropriateness and maximize the appropriateness of independent music and its culture contributes to its sustainment and expansion. This research also reveals the online practices of consumers, categorized into three themes: acquisition, relationship and engagement. In addition, the examination of music communities in South Korea shows that consumers are resource integrators. It reveals that the consumption communities are organized and maintained through various operant resources of the participants. The data from the independent record labels reveals that they are trying hard to interact with consumers and benefit from the new media. They are found to conduct four value (co)creation strategies: contacting, bonding, spreading and managing. Finally, this research shows that difficulties in utilizing social media can be categorized into the following: adaptability, uncontrollability, representability and applicability. The key contributions of this research are as follows: Firstly, it extends our understanding of the symbolic consumption of music. Secondly, it identifies a form of consumption community, which can be termed a ‘co-creative consumption community’. Lastly, it demonstrates the value (co)creation practices used by consumers and the strategies used by producers. These findings extend the existing knowledge and suggest new evidence that contributes to an increased understanding of the concept of value co-creation, and to consumer research in general. In addition, the findings will benefit marketers and producers, especially in cultural industries such as the music industry.
10
Park, Young Jun. "In the Presbyterian worship a case study on Presbyterian Church of Korea (TongHap) /." Theological Research Exchange Network (TREN), 1998. http://www.tren.com.
Full text
11
Park, Minki. "Factors Affecting Consumers’ Intention to Use Online Music Service and Customer Satisfaction in South Korea." Thesis, KTH, Skolan för elektroteknik och datavetenskap (EECS), 2020. http://urn.kb.se/resolve?urn=urn:nbn:se:kth:diva-281953.
Full textAbstract:
This study aims to investigate factors that affect consumers’ behavioral intentions to use online music services and the extent to which users of these services are satisfied with their experience. It also seeks to clarify the relationship between customer satisfaction and repurchase intention. The research framework of this thesis is built from the extended united theory of acceptance and use of technology (UTAUT2), and the data from an online survey in South Korea was analyzed using SPSS. The study suggests that the most important factors among users of these services are usefulness, hedonic pleasure, and price value. Customers will be satisfied with the service if they believe that it provides useful functions and amusement, and satisfied customers are likely to purchase the service again. It should be possible to efficiently use the results of this research to establish consumer-centric and efficient marketing strategies within aspects of the online music business and to better understand the behavior of consumers when using these services.Denna studies syfte är att undersöka de faktorer som påverkar konsumenters beteende och avsikter till att använda musiktjänster online, samt i vilken utsträckning användarna av dessa tjänster är nöjda. Studien syftar även till att klargöra förhållandet mellan kundnöjdhet och intentionen att göra ett återköp. Det ramverk som denna uppsats är byggd på är UTAUT2 – “The extended united theory of acceptance and use of technology” och datan från en onlineundersökning i Sydkorea analyserades med hjälp av SPSS. Studien kommer fram till att de viktigaste faktorerna bland användare av dessa tjänster är användbarhet, hedoniskt nöje och prisvärde. Kunder kommer att vara nöjda med tjänsten om de tror att den ger användbara funktioner och underhållning, nöjda kunder kommer även sannolikt att köpa tjänsten igen. Det bör vara möjligt att på ett effektivt sätt använda resultaten av denna forskning för att etablera konsumentcentriska och effektiva marknadsföringsstrategier inom aspekter av onlinemusik-branschen och för att bättre förstå beteendet hos konsumenter när de använder dessa tjänster.
12
So, Hanna Na. "A compositional and stylistic analysis of selected works by Eak-Tai-Ahn / Two examination concerts." Diss., University of Pretoria, 2017. http://hdl.handle.net/2263/62657.
Full text
13
Kim, Eun Jew. "Inclusive music education in the Republic of Korea: policies and adaptive instruction for general educators of primary school students with disabilities." Diss., University of Iowa, 2009. https://ir.uiowa.edu/etd/690.
Full textAbstract:
The purposes of this study were to research the current inclusive practices in primary school music education in the Republic of Korea (ROK), identify issues that hamper optimal inclusion, and develop instructional strategies and recommendations to assist general educators in the accommodation of students with disabilities in their music classes.
Analyses of public documents from the government of the ROK reveal that since the enactment of the Special Education Promotion Law (1977), there has been an increase in the number of students with disabilities educated inclusively. The current curricular requirements of the universities of education regarding general educators' music instruction and special education are limited. Furthermore, the government-mandated "Seventh Music Curriculum" (used in every ROK primary school) indicated no accommodation for use with students who have disabilities. Consequently, primary school general educators, while often expected to provide inclusive music instruction, have little preparation or resources available to assist them in making appropriate instructional modifications.
Because of the limited pedagogical or research information available within the ROK, additional information regarding the accommodation of students with disabilities was obtained from special education and music education resources in the United States. These resources provided the basis for pedagogical strategies developed for adapted lesson plans for grades three through six.
As these findings suggest, initiatives such as improved pre-service and in-service training are needed to prepare general educators in effective instructional methods and accommodations for inclusive music education. In-service training for such teachers could possibly be provided by music therapists if the therapists are fully conversant with the instructional difficulties faced by the teachers.
The current development of the Eighth Curriculum by the South Korean government provides an excellent opportunity to include information on students with disabilities within the teacher's manuals. Additional resource materials for the teachers would also be beneficial. Future studies are needed regarding teacher competencies, pre-service preparation, in-service training, and needs assessment regarding inclusive music education.
14
Kim, Soo-Jin. "Diasporic P’ungmul in the United States: A Journey between Korea and the United States." The Ohio State University, 2011. http://rave.ohiolink.edu/etdc/view?acc_num=osu1306808044.
Full text
15
Shin, Eun Young. "A Study of Selected Compositional Techniques Found in Young Ja Lee's Variations Pour Piano "Umma ya, Nuna ya" (1996)." Thesis, University of North Texas, 2017. https://digital.library.unt.edu/ark:/67531/metadc1062878/.
Full textAbstract:
Young Ja Lee (b. 1931) is regarded as one of the most important living female composers in Korea. She leads and contributes to the Korean classical music society as a gifted composer and a dedicated educator. This study focuses on how she has combined Western compositional techniques with elements of Eastern traditional music in some of her compositions, in particular, her Variations pour piano "Umma ya, Nuna ya." An interpretation of her Variations pour piano "Umma ya, Nuna ya" reveals that the composition features many of the particular and sublime aspects of Western compositional techniques in conjunction with traditional Korean music style. This study is an investigation of the interaction and assimilation of these disparate elements. The results of this study may inspire further research into traditional Korean music and bring recognition to important Korean composers, as well as encourage music educators to teach Korean composers' compositions.
16
Paik-Maier, Sumi. "An exploratory study of the processes of Supportive Music and Imagery therapy conducted in South Korea." Thesis, Tavistock and Portman NHS Foundation Trust, 2017. https://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.754077.
Full textAbstract:
This thesis is a qualitative study of Supportive Music and Imagery (SMI) cases that I supervised in South Korea between 2007 and 2011 with the aim of exploring the SMI process and the impact of supervision on it. SMI is a brief music psychotherapy with a prescriptive structure that works with a client’s supportive resources (the supportive imagery) and uses one simple recorded piece of music, arts and verbal dialogue. The investigation applies grounded theory to analyse data, i.e. session verbatim, reports, expressive media, supervision content etc. and uses case studies to present the findings. There are two sets of cases analysed. The first consists of cases conducted by SMI trainees, the second of cases conducted by SMI graduates, both supervised by me. Through a matrix of eight grounded theory categories and the interactions between the categories: supportive imagery, difficulty, intervention, relationship, expressive media, affect, learning, change, an interaction model of the SMI process has been generated. The study finds that the process of SMI is an ego enhancing process facilitated through expressive media. In SMI, the whole process of focusing and enhancing the experience of the supportive imagery can be understood as a reparative process of ‘symbol formation’ of the good part of the self. Overall changes were brought about by the way the supportive imagery was facilitated by use of expressive media and intervention; by how difficulties were taken care of, i.e. resistance was addressed and anxieties were contained; how affect was promoted and nurtured; how much insight the client gained and how much learning the therapist integrated and by the level of therapeutic/supervisory alliance (relationship). Learning from supervision and clinical skills as well as understanding the countertransference though reflexivity has a considerable impact on the SMI therapy process. Cultural differences need to be taken into account; here therapeutic relationships resembled hierarchical Korean parent-child relationships. SMI is a new method and, to date, no research on SMI has been published. This thesis contributes a critically evaluative analysis of SMI, with special attention to the role of the supervisor, and identifies directions for future research, including a potentially wider applicability of brief SMI therapy. The thesis concludes that SMI justifies further research and development.
17
Yi, Chung-han. "A Performance Guide to Heejo Kim's Choral Arrangements Based on Traditional Korean Folk Tunes and Rhythmic Patterns." Thesis, University of North Texas, 2009. https://digital.library.unt.edu/ark:/67531/metadc9818/.
Full textAbstract:
Heejo Kim (1920-2001) is one of the most prominent Korean composers of the twentieth century. He is primarily known for his works that incorporate aspects of traditional Korean music. However, at the same time, his efforts in choral arrangements, especially of Korean folk tunes are highly acclaimed by professional choirs and conductors. The purpose of this study is to provide performance guidance on Heejo Kim's choral work, Bat-no-rae, by presenting his biographical background, discussing the use of traditional Korean rhythmic patterns (Jangdan) and modes, and the appropriate application of traditional ornamentations.
18
Joo, Hwajoon. "Yoon-Seong Cho's Jazz Korea a cross-cultural musical excursion /." Thesis, connect to online resource, 2008. http://digital.library.unt.edu/permalink/meta-dc-6089.
Full text
19
Vohradská, Zuzana. "Analýza aktivit jihokorejských firem z hudebního průmyslu na evropských trzích." Master's thesis, Vysoká škola ekonomická v Praze, 2013. http://www.nusl.cz/ntk/nusl-196536.
Full textAbstract:
This master thesis analyzes activities of South Korean companies from music industry in the markets in Europe and this analysis is based on a questionnaire survey. The first part focuses on the theory and describes the Korean popular music, cross its history, major companies in the sector and their activity in foreign markets. In following theoretical chapters there is the definition of basic marketing terms, the theory of marketing research, its methods and evaluation and use of marketing research in culture, a summary of the economic situation in South Korea and differences in business negotiations between Koreans and Europeans. The practical part of the thesis describes in detail the selected companies, their products and activities in Europe. Furthermore there is an introduction to research and information about the survey. The final part deals with the evaluation and interpretation of the findings, conclusions drawn from the information obtained and the proposed solutions.
20
Han, Sang-Eun. "Symphonic Fantasia Han-Kook Oui Ja-Yeon (Nature in Korea): Score and Critical Commentary." Thesis, connect to online resource, 2004. http://www.unt.edu/etd/all/Aug2004/han%5Fsang-eun/index.htm.
Full text
21
Kim, Seongkyul. ""Mich dürstet" (I Thirst) by Younghi Pagh-Paan and the Jeju 4.3 Incident: Images and Piano Textures." Thesis, University of North Texas, 2019. https://digital.library.unt.edu/ark:/67531/metadc1538662/.
Full textAbstract:
Younghi Pagh-Paan is a female Korean-German composer. Although being a prolific composer, she has only twice composed for piano solo. Pagh-Paan's Mich Drüstet (I Thirst) is a piano solo work and based on the tragedy in Korea, the Jeju 4.3 Incident in 1948. Even though the Jeju 4.3 incident triggered mora than 30,000 casualties, I Thirst is the only music to commemorate the incident, as commissioned by the pianist Kaya Han. This study of I Thirst highlights her musical textures for the piano and elements she employs to express her thoughts about the event; for instance, Korean musical element, 12-tone techniques, and counterpoint. In addition, it addresses the need for the pianist to have background information about Jeju Island and the Incident by matching images with musical sections in order to achieve a deeper interpretation of Pagh-Paan's piano composition.
22
Lee, Katherine In-Young. "Encounters with Samulnori: The Cultural Politics of South Korea's Dynamic Percussion Genre." Thesis, Harvard University, 2012. http://dissertations.umi.com/gsas.harvard:10493.
Full textAbstract:
This dissertation interrogates how diverse actors ascribe semantic, affective, and political meanings to instrumental music under changing historical circumstances and in different performance contexts. In what I call an “ethnographic reception study,” I employ historical and ethnographic methods to assess the ways in which the popular samulnori percussion genre from South Korea has been imbued with associations as divergent as a sonic symbol of Korea to narratives of resistance against the state. Through five chapters, I track some of the contested and multiple meanings as they interact, both in historical moments in South Korea and vis-à-vis transnational circulations that led to the genre’s transmission outside Korea. As a genre of percussion music that was first created in South Korea in 1978, samulnori has had a complex reception during three dramatic decades in modern Korean history—leading to life-changing encounters from its fans while also eliciting scorn from its detractors. As a dynamic musical genre that is now notated and largely nonverbal, samulnori has served as a user-friendly sonic canvas upon which identities and affinities have been easily grafted by non-Korean fans, leading to the development of amateur samulnori ensembles and musical communities around the world. By considering the ways in which the samulnori genre has been evaluated, interpreted, and practiced by different actors, I show how the genre’s complex reception exhibits a relational and imbricated set of meanings over time. Last, by considering the cultural politics of samulnori from diachronic and synchronic perspectives, I offer a working methodology for contemporary studies of music reception.Music
23
Kim, Hyo Jung. "Combining of Korean Traditional Performance and Recent German Techniques in Isang Yun's Kontraste: Zwei Stücke für Violine Solo (1987)." Thesis, University of North Texas, 2010. https://digital.library.unt.edu/ark:/67531/metadc33175/.
Full textAbstract:
Isang Yun (1917-1995) embraced a masterful combination of two elements derived from his life: his Korean cultural upbringing and Western musical traditions. This dissertation explores Yun's distinctive style through an analysis of his Kontraste: Zwei Stücke für Violine Solo. Following the introduction (Chapter 1), Chapter 2 contains a brief biography of Isang Yun, and explores the compositions of his Korean period (1917-1955) and his European period (1956-1995). It also discusses how Yun's musical styles changed during these two periods as a result of important life events and due to cultural and political influences. Chapter 3 examines Korean instruments such as Kayakem, Hae-Kem, and Pak; discusses Nonghyun (traditional string techniques of ornamentation in Korean music); and introduces Korean performance techniques. This chapter also provides explanations of these concepts, illustrated through various examples. A subsequent discussion illuminates Yin-Yang theory and Jeong-Jung-Dong, both elements of Taoist philosophy that influenced Yun's compositional style. This is followed by explanations of Hauptton and Umspielung, two compositional techniques that Yun developed and employed in Kontraste. Yun created the idea of Hauptton to reflect the Korean traditional concept of a single note. He used the term Umspielung ("playing around" in German) to describe his interpretation of the four traditional techniques of Nonghyun within a Western notational framework. In Chapter 5, analysis of Kontraste reveals how the piece's contrasting elements represent the concepts of Yin-Yang and Jeong-Jung-Dong, and shows how the violin imitates the sounds of Korean traditional instruments and instrumental technique. Yun's adaption of Korean traditional performance techniques to the violin in Kontraste is aimed at combining East and West and producing a new aesthetic.
24
Barclay, Leah. "Sonic Ecologies: Environmental Electroacoustic Music Composition in Cultural Immersion." Thesis, Griffith University, 2014. http://hdl.handle.net/10072/366418.
Full textAbstract:
This thesis comprises of a body of creative work and an exegesis that articulates the intentions and findings from each project. The creative portfolio is specifically focused on the development and dissemination of original electroacoustic music compositions that draw on environmental field recordings from various parts of the world. The central research question of this thesis investigates the possibilities of electroacoustic music composition in contributing towards environmental awareness and engagement. This research adopts a practice-led methodology, resulting in 24 original creative works presented as the major component of this study. The research question was addressed from a personal perspective, through a detailed autoethnographic commentary on the development of each project. The research has been conducted in cultural immersion, ranging from the centre of the Amazon rainforest to exploring significant rivers in India, Korea, China, and Australia. The findings and observations from each project led to preliminary results that highlighted the value of creating electroacoustic music in community engagement and using multi-platform dissemination of the resulting experiences. These results gradually led to the development of the Sonic Ecologies framework, a production model that the author introduces in this dissertation that underpins the creative portfolio and articulates the practice-led outcomesThesis (PhD Doctorate)
Doctor of Philosophy (PhD)
Queensland Conservatorium of Music
Arts, Education and Law
Full Text
25
Williams, Jolin Johan. "The South Korean Music Industry: The Rise and Success of ‘K-Pop’ By: Johan." Thesis, Stockholms universitet, Avdelningen för koreanska, 2017. http://urn.kb.se/resolve?urn=urn:nbn:se:su:diva-148696.
Full text
26
Shin, Hae Eun. "The development of a teachers' pedagogical guidebook based on Dalcroze Eurhythmics for teaching multicultural music lessons in the elementary schools of South Korea." Doctoral thesis, Université Laval, 2021. http://hdl.handle.net/20.500.11794/69708.
Full textAbstract:
En Corée du sud, l'éducation musicale multiculturelle fait partie des programmes d'études de l'école primaire et les manuels scolaires comportent des répertoires d'exemples musicaux provenant de diverses régions du monde. Pourtant, malgré la place accordée à l'éducation multiculturelle dans les programmes scolaires, un certain nombre d'études ont soulevé la nécessité de méthodes d'enseignement favorisant chez l'élève une réelle compréhension de la musique en tant que culture. Ces recherches soulignent que les activités musicales proposées aux élèves doivent leur permettre de vivre des expériences musicales qui ne dissocient pas les musiques du monde de leur contexte culturel. Elles considèrent également que ces expériences musicales doivent être incarnées, vécues corporellement - à l'image des pratiques musicales du monde - et faire appel à la participation active de l'élève. La présente recherche, qui vise l'élaboration d'un guide pédagogique pour l'enseignement multiculturel de la musique dans les écoles primaires de la Corée du sud, s'appuie sur la rythmique Jaques-Dalcroze. Jaques-Dalcroze considère que le lien puissant qui existe entre la musique et les êtres humains est ancré dans la nature même du rythme qui est intrinsèquement lié au mouvement corporel. Cette approche pédagogique musicale, centrée sur l'expérience de l'élève et son interaction avec les autres, contribue à la découverte de soi et de l'autre; elle s'avère propice à l'appropriation de sa propre culture musicale et des diverses cultures musicales du monde. Le modèle de Van der Maren (2003), rattaché à la recherche de développement, nous a servi de cadre méthodologique pour l'élaboration et la conceptualisation de notre outil pédagogique. Le contenu de ce dernier a été déterminé en tenant compte des besoins du milieu scolaire et des recommandations découlant d'une recension de la littérature scientifique sur l'éducation musicale multiculturelle. Y sont abordés, les fondements théoriques du multiculturalisme et leurs applications pratiques en éducation musicale; les caractéristiques de la rythmique Jaques-Dalcroze et ses principes pédagogiques. Notre guide pédagogique, qui prend la forme d'un livre électronique E-book, présente une série d'activités et de stratégies pédagogiques illustrées par soixante-huit clips vidéographiques réalisés avec des élèves coréens de la première à la sixième année du primaire. Il a été testé par la chercheuse et évalué par trois enseignants de l'école primaire en Corée du sud. Les données générées par les essais in situ, les captations vidéographiques et les entretiens réalisés auprès des enseignants nous ont permis d'améliorer le contenu et la forme de notre prototype.Multicultural music education in Korea is part of national curricula, and diverse music repertoires from different regions of the world have been introduced in elementary music textbooks. Yet, a number of studies have raised the necessity of teaching methods that integrate cultural context through a variety of musical experiences and allow students to understand music as culture. These studies emphasize that actual, direct, and comprehensive musical experiences are essential for understanding music and its cultural characteristics, and that bodily experience is a significant part of such music practices. This study draws upon the powerful connection that Jaques-Dalcroze found between music and human beings in the spontaneous nature of rhythm and its relationship with body movement, which inspires students to discover themselves as well as others through exploring music and cultural context in the process of multicultural music learning. The goal of the present study was to create a pedagogical guide grounded in Dalcroze Eurhythmics for teachers incorporating multicultural education into their music lessons, particularly at elementary-school levels in Korea. Following a methodological approach specific to the development of pedagogical tools based on Van der Maren's (2003) model, the topics of the tool were determined according to the needs revealed through review of the existing multicultural music education research literature. Theoretical analyses linked to these topics were carefully selected from literature addressing the implications of multiculturalism and the fundamental purpose of multicultural music education, the characteristics of embodied teaching and learning approaches, and the pedagogical principles of Dalcroze Eurhythmics. A series of practical pedagogical activities and strategies, exemplified by video clips, was developed to support teachers. Following its elaboration, the prototype tool-a text e-book with 68 accompanying video clips-was tested and evaluated by the researcher and three Korean elementary-school music teachers. Evaluation data generated through in situ teaching, video-recordings, and semi-structured interviews were used to improve the prototype.
27
Lee, Jeong-Suk. "A Performance Guide for Young Jo Lee's Dodri for Cello and Janggo (1995): Bulgogi Burger on the Stage." Thesis, University of North Texas, 2018. https://digital.library.unt.edu/ark:/67531/metadc1157589/.
Full textAbstract:
Korean composer Young Jo Lee (b.1943) is considered a precursor of Korean fusion music. In his works, he interlaces elements of traditional Korean music with compositional styles and performances techniques from western musical traditions. This dissertation provides an analysis of Lee's Dodri for Cello and Janggo (1995), one of his most representative works of fusion music. As indicated by the title Dodri (which in Korean means a "movement back and forth"), Lee intended to showcase a friendly interplay of the janggo and the cello, with each instrument playing a leading role that helps bring out the essence of traditional Korean traditional music. In this piece, Lee writes a number of melodies and uses traditional Korean performance techniques for the cello intended to imitate the sound and sentiments of traditional Korean instruments, all while preserving its inherent nature. This kind of fusion, where different musical elements are merged with each other but remain separate enough to maintain their own uniqueness, is significant to Lee's philosophy. This dissertation also describes Lee's efforts to preserve the integrity of traditional Korean music within fusion music and lend new insights regarding traditional Korean musical practice to musicologists, composers, and audiences. Furthermore, this study is intended to serve as a performer's guide for professional cellists new to Lee's music so they may approach Dodri with a greater understanding of the composer's original intentions when first learning the work.
28
Strohschein, Heather Anne. "Between Modern Dance and Intercultural Performance: The Multiple Truths of the Bird Belly Princess." Bowling Green State University / OhioLINK, 2007. http://rave.ohiolink.edu/etdc/view?acc_num=bgsu1182295842.
Full text
29
Park, Jeongmin English Media & Performing Arts Faculty of Arts & Social Sciences UNSW. "Talent development in music: a comparative study between Sydney (Australia) and Seoul (Korea) on the emergence of talent, especially the interface between giftedness and talent." Publisher:University of New South Wales. English, Media, & Performing Arts, 2009. http://handle.unsw.edu.au/1959.4/43522.
Full textAbstract:
The purpose of this study is to investigate factors which can influence the emergence of high musical ability during the developmental process of musical talent achievement, comparing students in Seoul (Korea) and those in Sydney (Australia). The main focuses of the investigation concern the comparison of musical giftedness demonstrated in early childhood, the developmental process, and various factors, such as the environmental and intrapersonal, which can affect the emergence of talent, especially in those of different cultural backgrounds. For this purpose, Gagn????s Differentiated Model of Giftedness and Talent (DMGT, Gagn??, 2003) was adopted as an analytical tool for the present study, in particular for empirical research. A total number of 137 students and 88 parents participated in this research. Student participants consisted of two groups: young musicians aged below 10 who show high musical achievements; and teenage students who are musically superior. All students completed a questionnaire, and their parents also completed a questionnaire. Data showed some significant differences between students in the two countries. Three research instruments are employed based on Harnischmacher (1997). SCI (the Self-Concept Scale of Instrumental Abilities), GOP (Goal Orientation of Practice) and EAD (External Action Distraction) were included in the student questionnaire in order to examine intrapersonal catalysts (motivation) which can affect the developmental process of musical talent. A significant difference was found in SCI between countries. Self-concept of student groups in Sydney was significantly higher than that of students in Seoul among all age groups concerning musical abilities. However, there were no significant differences in GOP and EAD between students in Seoul and Sydney. Other differences emerged concerning the role of parents, expenditure on music lessons, time spent on practice, and environmental factors. In particular, cultural milieu was revealed as one of important environmental factors in the present study.
30
Hwang, M. H. "Health practitioners' understanding and use of Relaxation Techniques (RTs), Mindfulness Meditation (MM) and Relaxation Music (RM) in the UK and South Korea : a qualitative case study approach." Thesis, University of the West of England, Bristol, 2017. http://eprints.uwe.ac.uk/30893/.
Full textAbstract:
Background: The information exchange between healthcare practitioners in South Korea and the UK has so far been limited and cross-cultural comparisons of Relaxation techniques (RTs) and Mindfulness meditation (MM) and Relaxation music (RM) within the healthcare context of Korea and the UK have previously been unexplored. This has been the inspiration for this qualitative case study focussing on understanding and use of RTs/MM and RM within the respective healthcare contexts. Methods: Data were collected through qualitative semi-structured interviews with six Korean and six UK healthcare practitioners in three professional areas: medical practice, meditation, and music therapy. The interviews were transcribed and a thematic analysis was undertaken. The topics explored include: a) the value and use of RTs/MM and RM; b) approaches and methods; c) practitioners’ concerns; d) responses of interventions; e) cultural similarities and differences; and f) the integration of RTs/MM and RM within healthcare. Underlying cultural factors have been considered, including education systems and approaches, practitioner-client relationships and religious influences alongside the background of cultural change and changing perspectives within healthcare in the UK and Korea. Findings: A great variety of approaches to RTs/MM and RM were discussed among the sample group. Across a wide client spectrum common therapeutic purposes included stress reduction, emotional support and regulation, rehabilitation, personal transformation and spiritual development. The participants were both discerning and creative in terms of mind-body interventions they use. Practitioners’ training, personal experience and insights gained through practice inform their professional work and they were keen to share knowledge among colleagues. Nevertheless, practitioners’ level of competency and abilities with respect to the use of RTs/MM and RM were a common concern; training opportunities exist to varying degrees in both countries, however, and growth in the use of mind-body interventions is a significant trend. Nation-specific and cultural factors can affect the use of interventions, settings and client group. Similarities (focus on individual and subjective factors, client acceptance and practical concerns) and differences (related to historical background, educational culture, prevailing religious outlooks and the respective health services) were found between Korea and the UK. Conclusion: The value of cross-cultural and multidisciplinary research and integrated health is increasingly recognised and the use of RTs/MM and RM as mind-body interventions considered to be useful integrated treatment within healthcare context. This study shows the difference in range of RTs/MM and RM resources and the approaches in integrating practice and these may lead to cross-fertilisation within therapeutic practice. The value of knowledge sharing and integrated medicine is increasingly recognised across the globe and this study opens up a number of themes that might be taken up again and built on by future researchers. More generally, the study contributes to cross-cultural qualitative research between Korea and UK and integrating theory and practice with respect to RTs/MM and RM.
31
Park, In-Ryang. "Encouraging motivation using songs and cooperative learning to improve intercultural understanding." CSUSB ScholarWorks, 2000. https://scholarworks.lib.csusb.edu/etd-project/1754.
Full textAbstract:
The purpose of this study is to explore the students' motivation using songs and cooperative learning to improve intercultural understanding and to achieve communicative competence. The target level is the English as a Foreign Language (EFL) intermediate level students in South Korea.
32
Lee, Wha-Byong. "Studien zur Pansori-Musik in Korea /." Frankfurt am Main ; Bern ; Paris : P. Lang, 1991. http://catalogue.bnf.fr/ark:/12148/cb36650696s.
Full text
33
Cha, Yeong Hoi. "An analytical study of Korean-based sacred choral music : Korean traditional music and its relation to fourteen selected Korean sacred choral works /." Thesis, Connect to this title online; UW restricted, 2002. http://hdl.handle.net/1773/11379.
Full text
34
KANG, YOO-SUN. "TOWARD THE NEW KOREAN MUSICAL LANGUAGE: THE MERGING OF KOREAN TRADITIONAL MUSIC AND WESTERN MUSIC IN PIANO WORKS BY CONTEMPORARY KOREAN COMPOSERS." University of Cincinnati / OhioLINK, 2002. http://rave.ohiolink.edu/etdc/view?acc_num=ucin1021469270.
Full text
35
Lamp, Sebastian. "Korean Sijo music and poetry : transmission and aesthetics." Thesis, SOAS, University of London, 2018. http://eprints.soas.ac.uk/30276/.
Full textAbstract:
This thesis explores Korean 'sijo', as both poetry and music. It surveys the different bodies of research on the topic that are the result of 'sijo' long being treated from one or other of the perspectives of literary and musicological scholarship by both Western (e.g. Rutt 1971, McCann 1988, O'Rourke 2002) and Korean scholars (e.g. Chang Sa-hun 1986, Kim Tae-Haeng 1986, Cho Kyu-Ick 1994). Placing both literary and musicological aspects together, this thesis discusses the form, origins and content of 'sijo'. The synthesis of the two aspects forms the basis of my exploration of 'sijo' performance during the 20th century. My focus is on the transmission of 'chongga' - 'sijo', along with 'kagok' and 'kasa', that together form Korea's classical vocal music tradition - during the turbulent times from the late 19th century through the colonial period to the post-liberation era. The important actors, that is, the singers, scholars and relevant institutions - governmental and private - have been discussed at least partially in various publications (e.g. Hahn Man-young 1990, Yi Pohyong 2004, Song Bang-Song 2007, Kim Minjong 2015, Moon Hyun 2015), but this thesis provides the first thorough account of 'chongga' in the 20th century, its teaching genealogies, institutions, aspects of its preservation, and its regional variants. This thesis demonstrates that the subtle aesthetic of 'chongak' literati music lies at the heart of what constitutes 'sijo' as a genre; reference to Confucian and sometimes Daoist influence on the aesthetic of literati music is frequent, but the nature of such influence has not been adequately discussed. I survey academic writings by Korean and Western scholars (e.g. Donna Kwon 1995, Lee Byong Won 1997, Byung-ki Hwang 2001) to address terminology and concepts relevant in the context of 'chongga' and then, based on my personal fieldwork, and in order to provide a comprehensive account of 'chongga' aesthetics, I complement previous writing by incorporating the views of contemporary 'chongga' singers.
36
Han, Ae Jin. "The aesthetics of cuteness in Korean pop music." Thesis, University of Sussex, 2016. http://sro.sussex.ac.uk/id/eprint/61472/.
Full textAbstract:
The aesthetic of ‘cuteness' in South Korean popular music (known as K-pop) is a pivotal concept in Korean media and culture and is frequently used to describe performances by both male and female K-pop groups. Aegyo is a fundamental part of this aesthetic, also called ‘K-cute', and it refers to the behaviour of ‘acting cute' that denotes a particular coquettish style not only in K-pop but also in South Korean society in a broader sense. This thesis explores K-pop performance from the mid-2000s to the 2010s through an examination of K-pop artists' training process, an analysis of K-pop music videos' lyrical and visual codes and a study of notable live performances. The aesthetic of ‘cuteness' in K-pop is contextualised through a historical and cultural review of South Korea and the forms through which aegyo has been represented. Thus, we see how aegyo has evolved in response to gender stereotyping in both traditional and contemporary South Korean society and how it has come to represent a unique idea of Korean-ness expressed in a cultural form that also fulfils its potential for flexibility. Furthermore, this thesis investigates how the K-pop industry influences aegyo through issues of gender and sexuality, primarily examining Richard Schechner's performance theory and Erving Goffman's notion of self-presentation. A significant aspect of this investigation is the sexualisation of K-pop idol boy and girl groups through the deliberate adoption of the aegyo aesthetic, a process that forms a key part of the marketing strategy behind their ‘Korean wave' global success. Finally, I explore mediatised performances of aegyo and the possibility that remediation, as outlined by Bolter and Grusin, provides a potent vehicle for the repetition and reinforcement of ‘cuteness' via holographic and digitalised K-pop performances.
37
Solomon, Mary Joanna. "Multivariate Analysis of Korean Pop Music Audio Features." Bowling Green State University / OhioLINK, 2021. http://rave.ohiolink.edu/etdc/view?acc_num=bgsu1617105874719868.
Full text
38
Kim, Bong-Ho. "Seo-Kwang (A Ray of Hope): Inspiration in Korean Crisis and the Influence of Korean Traditional Music." The Ohio State University, 1998. http://rave.ohiolink.edu/etdc/view?acc_num=osu1392814935.
Full text
39
Kim, Bong-ho. "Seo-kwang (a ray of hope) : inspiration in Korean crisis and the influence of Korean traditional music /." The Ohio State University, 1998. http://rave.ohiolink.edu/etdc/view?acc_num=osu1487952208108052.
Full text
40
Kim, HaeOk N. "An Examination of Selected Contemporary Korean Piano Works." Diss., The University of Arizona, 1988. http://hdl.handle.net/10150/254512.
Full text
41
Byeon, Gyewon. "Ch'angjak Kugak : writing new music for Korean traditional instruments." Thesis, SOAS, University of London, 2002. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.251959.
Full textAbstract:
The advent of Western influence has brought about many changes to Korean music. The most significant were the division of Korean musical culture into kugak (traditional Korean music) and yangak (Western music) and the rise of a new genre, ch'angjak kugak, "new compositions for traditional music". Kim Kisu, who was trained as a traditional court music performer in the early 20th century, was the first modem composer of music for traditional instruments. His music was written in staff notation incorporating various Western elements, including harmony, diatonic scales, and playing techniques based on Western instrument practices. Though he was trained as a court musician, his works demonstrated a desire to embrace Western culture and music in his compositions. Since Kim Kisu's innovations, many composers have been influential in the development of the genre. I focus on two of the most representative, Yi Sung-Chun and Yi Haeshik. Yi Sung-Chun, who is also a highly respectable educator, has sacrificed his musical life to expand the quantity and the quality of this genre. In the 1980s, he designed the improved 21-string kayagüm and has written significant and successful pieces for this instrument. His search for new sounds led him to break many of the old conventions surrounding traditional instruments, and to write more contemporary and modern music. Yi Haeshik, who is known for his use of the folk idiom in his works, has composed many pieces that borrow elements from traditional shamanistic music, sanjo, folksongs and more. His approach reflects a movement to find "Korean contemporary identity" within the folk tradition in Korea and other countries, and within the world of dance. The ch'angjak kugak genre has seen significant development in the years since its inception and the three composers I focus on - Kim Kisu, Yi Sung-Chun and Yi Haeshik - best demonstrate the progress of the genre
42
Kim, Baeksok. "A survey of Korean pastors' awareness of worship music /." Free full text is available to ORU patrons only; click to view:, 2006. http://proquest.umi.com/pqdweb?did=1268599541&sid=1&Fmt=2&clientId=456&RQT=309&VName=PQD.
Full textAbstract:
Applied research project (D. Min.)--School of Theology and Missions, Oral Roberts University, 2006.Includes abstract and vita. Translated from Korean. Includes bibliographical references (leaves 195-198).
43
CHOI, YOUNG JU. "SURVEY OF CHORAL MUSIC BY SELECTED TWENTIETH-CENTURY KOREAN COMPOSERS." University of Cincinnati / OhioLINK, 2005. http://rave.ohiolink.edu/etdc/view?acc_num=ucin1116369655.
Full text
44
Ha, Jarryn. "My Song is My Power: Postcolonial South Korean Popular Music." Case Western Reserve University School of Graduate Studies / OhioLINK, 2018. http://rave.ohiolink.edu/etdc/view?acc_num=case1522941303946503.
Full text
45
Park, Sam. "Korean heritage as a foundation for composition." Thesis, University of Huddersfield, 2013. http://eprints.hud.ac.uk/id/eprint/24265/.
Full textAbstract:
This dissertation provides the conceptual and aesthetic background of the compositions composed throughout the course of my doctoral studies. I will introduce Korean philosophies and aesthetics and then expand upon these elements to demonstrate how they have influenced my approach to music composition. Furthermore, I will demonstrate how I intertwine the use of colour and Korean philosophies. Chapter 1 delineates the elements of Korean philosophies and aesthetics that have influenced my musical language. The chapter focuses on how the Korean handcraft art Jogakbo and the Korean philosophies of Yin-Yang, Ohang and Meak are related to each other. Additionally, I examine the origin and structure of Jogakbo, with a particular focus upon the key variables of shape and colour. The examination of Jogakbo causes me to establish how form and structure are linked in Jogakbo, and then how I apply this form and structure to my composition. Furthermore, I will describe how the aesthetics of Yin-yang, Ohang and Jogakbo form the core of my musical language by examining the function and unplanned approach to the different coloured scraps of material in Jogakbo. Drawing upon this examination, I describe how I have taken the colours from these scraps to form the colours in my music. In relation to this, I investigate the musical techniques of spectral composers, with an emphasis on musical colour, looking at specific composers’ techniques and establishing how they have influenced my own compositional techniques. Finally, I will discuss the role of the philosophy of Maek generating linearity on the horizontal structure of music. Chapter 2 discusses individual portfolio pieces composed throughout the doctoral course chronologically. I will demonstrate how selected Korean philosophies, aesthetics, and the techniques of Jogakbo have gradually evolved to play a larger role in the composition of my pieces. In particular, the colours used in Jogakbo and the philosophy of Ohang play a more direct role in creating the structure and form of the pieces composed in late course. In the conclusion, the research throughout my doctoral course has been summarised, and limitations and other challenges reached while applying the research to my compositional process are examined. Finally, the conclusion ends with a discussion of potential directions to further this research.
46
Lee, Soo Eun Handel George Frideric. "Handel's Messiah : a Korean version /." Thesis, Connect to this title online; UW restricted, 2005. http://hdl.handle.net/1773/11212.
Full text
47
Howard, Keith David. "Bands, songs, and Shamanistic rituals : traditional music on a Korean island." Thesis, Queen's University Belfast, 1985. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.297303.
Full text
48
Lee, In-suk. "Aspects of the Korean traditional vocal genre, kagok : female kagok and the call for a new integrative kagok notation : a thesis submitted in fulfilment of the requirements for the degree of Doctor of Philosophy in Music in the University of Canterbury /." Thesis, University of Canterbury. School of Music, 2007. http://hdl.handle.net/10092/994.
Full textAbstract:
Kagok is a genre of highly refined, traditional, Korean, vocal music, which is now endangered and marginalized in contemporary Korean culture. Female kagok signers (kisaeng) have also been ignored in Korean music society. The aim of this study is to preserve and revitalize kagok, in order to conserve its true nature in a contemporary context, and for the future. This thesis is twofold. The first part shows how the aesthetics of the Chosŏn dynasty are fundamental to kagok's history, and female kagok singers' education. Furthermore, existing kagok scores, written in traditional chŏngganbo notation or in Western staff notation, are examined in this part, and they reveal the need for the creation of a new kagok notation. The second part of the thesis concerns the creation and testing of the New Integrative Kagok Notation (NIKN), which combines the essentials of chŏngganbo and Western staff notation, and provides a more effective vehicle for the transmission, transcription and recording of this art form, particularly for inexperienced, contemporary students.
49
LEE, HAISUN. "A STUDY OF A MODERN CLARINET WORK, SONG IN THE DUSK I FOR SOLO CLARINET BY GEONYOUNG LEE: FOCUSED ON THE COMPARISON WITH SANGRYUNGSAN (KOREAN TRADITIONAL SOLO PIRI PIECE) THROUGH MUSICAL STYLE AND PERFORMANCE PRACTICE." University of Cincinnati / OhioLINK, 2006. http://rave.ohiolink.edu/etdc/view?acc_num=ucin1138726227.
Full text
50
Kim, Joo Won. "The Development of Contemporary Korean Music with Emphasis on Works of Isang Yun." The Ohio State University, 2011. http://rave.ohiolink.edu/etdc/view?acc_num=osu1306857577.
Full text