Academic literature on the topic 'Korean Folk songs'

The purpose of this study was to reveal the effects of Westernized arrangements of traditional Korean folk music on music familiarity and preference. Two separate labs in one intact class were assigned to one of two treatment groups of either listening to traditional Korean folk songs ( n = 18) or listening to Western arrangements of the same Korean folk songs ( n = 22); a second intact class served as a control group with no listening ( n = 20). Before and after the listening treatment session, pre- and posttests were administered that included 12 music excerpts of current popular, Western classical, and traditional Korean music. Results showed that participants who listened to traditional folk songs demonstrated significant increases in both familiarity and preference ratings; however, those who listened to Westernized folk songs showed increases only in familiarity ratings but not preference ratings for the same Korean songs in traditional versions. An analysis of participants’ open-ended responses showed that affective–positive responses were used most frequently when explaining preference for traditional versions of Korean folk songs (28.1%) among the traditional Korean listening group; structural–negative reasons (47.8%) were the most frequent among the Westernized listening group.

This study examines the actual status of the transmission of folk songs in South Korea in the mid-1970s through DBS Report "Minyo-ui Gohyang (Hometown of Folk Songs)" produced and broadcast by Dong-A Broadcasting System (DBS). DBS Report "Minyo-ui Gohyang" was a radio documentary series that covered farming and fishing villages to report on folk song transmission. DBS produced and broadcast 15 episodes of DBS Report "Minyo-ui Gohyang" in 1974 and 10 episodes in 1975. Although it did not cover all regions of the country, Gyeongsangnam-do, Gyeongsangbuk-do, Jeollanam-do, Jeollabuk-do, Gangwon-do, and Chungcheongbuk-do were included and the coverage was conducted at the village level. This program was significant in that it raised the public’s awareness of folk songs by covering and reporting in-depth on native folk songs rather than popular folk songs that were often heard through modern media, such as radio, TV, and LP at the time.
 DBS Report "Minyo-ui Gohyang" not only reported what kind of folk songs remained in the farming and fishing villages but also how the villagers were passing down folk songs and what these meant to them. This program covered a total of 18 villages. In 8 villages, folk songs were actively transmitted, while in the rest 10 villages, folk songs were found but not actively transmitted. The main cause of this was the changes in living conditions. In fishing villages, the opportunities to sing fishing labor songs disappeared with the decline of traditional fishing due to the development of fishing technology and changes in fishing grounds. Similarly, in rural areas, the opportunities to sing folk songs decreased due to the mechanization of farming, the use of herbicides, and the industrialization of the region. The spread of popular songs through the radio also diminished the transmission of folk songs. However, it is noteworthy that some villages underwent the same changes while the villagers worked together to preserve their folk songs. For them, folk songs were not only a means of relieving the boredom and exhaustion of labor and increasing the efficiency of work but also a source of vitality for living, art that enriched daily life, and valuable cultural heritage to be passed on to future generations.

Respecting someone requires treating them with “dignity.” In other words, you should avoid treating them in a way that demeans, insults, or expresses contempt. This study investigated how people recognize and respond to dignity through folk songs: people enjoy folk songs based on the idea that dignity is lost when human rights are violated. Also, when communication with family members failed, they felt left out and did not receive favors; instead, when criticized and ridiculed, they felt a failure of dignity. Protecting dignity was so important to them that they showed how they would rather die through the poetic speakers of folk songs. They protested that their dignity was undermined by calling them folk songs and tried to resolve the issue by making it public.
 Next, we investigated their perceptions and attitudes toward the deceased. In folk songs, human dignity also applies to the dead, highlighting why the person died and why those were the cause must apologize. In particular, funeral songs include, “Who is the deceased?What kind of life did they live? Why did they die? What do they mean to those who remember them? What kind of words do we want to leave behind for them, and what do we want to say to them as they leave the world?”
 People who enjoyed folk songs also recognized the dignity of animals based on feelings of compassion. Meanwhile, the word “dignity” has always been associated with the word “human being,” and dignity has been recognized as “the essential value of human beings.” However, recently, dignity has been extended to non-human entities, expanding its meaning. Respect for others based on compassion attracts attention, as it is a value we need to live together in the future.
 Defending dignity is possible by realizing one’s rights and respecting the rights of others. It is emphasized that recognizing dignity based on mutual respect regardless of race, religion, gender, social status, region, or age, abandoning the instrumental perspective of non-human beings such as animals, plants, and artificial intelligence, and cooperating to respect them is needed.

This article introduces a pedagogical approach to teaching one of the renowned Korean folk songs ( Arirang) based on the comprehensive musicianship approach and the 2014 Music Standards (competencies in performing, creating, and responding to music). The authors provide in-depth information for music educators to help their students achieve learning outcomes for the skill, knowledge, and affect domains of the Korean folk song ( Arirang). Furthermore, the authors offer music lessons for Arirang in a variety of ways that are appropriate for upper elementary and secondary general music classrooms, including performing, creating, and responding to the music. An educational website that includes exemplary lesson plans, videos, and worksheets is also provided to help music teachers obtain content and pedagogical knowledge of Arirang.

Objectives The purpose of this study is to find an effective guidance plan for Korean traditional music education by utilizing the children's songs of Eumseong-gun among local folk songs in Chungbuk. Methods To this end, the theoretical background of the integrated subject-oriented curriculum and the music- oriented curriculum were theoretically examined, and the traditional nursery rhymes of Chungbuk were examined. Based on this, the traditional children's song “kiwa palkki Song” in Eumseong, Chungcheongbuk-do, was selected as a research song, and a total of 7 teaching and learning plans were integrated for 5th and 6th graders. Results It could be seen that it would be a guidance plan that meets the cultivation of creative and convergent talents aimed at the 2015 revised music curriculum, and the necessity of research on integrated education between subjects could be recognized. Conclusions Through this study, it is hoped that it will serve as an important foundation for learning our traditional music and understanding the essence, and furthermore, it was suggested that various follow-up studies on local folk songs in Chungbuk are continuously needed.

Javanese Language is learnt and studied by many people throughout the world as it has a complex system of language covering the letters (Javanese Language Orthography), the politeness level, and also the history and the culture behind the language. However, there is a concern on Javanese Language shift by its young speakers because they tend to use Indonesian Language as Indonesia’s Official Language, English as the world’s international language, or another popular language in the world like Korean with its K-Pop phenomenon. Javanese Language maintenance is then needed to keep these young generation as the language users who will pass it to the next generation. One of the ways to do it is embracing their world so that the language is considered good and beneficial for them as the young generation. Since music and song is very close to the young generation as they are very up to date with the latest trend of it, the language maintenance can be done through exposing Javanese kinds of music and songs. Recently, a kind of Javanese music called Campursari along with its songs are gaining popularity with the fame of The Godfather of The Brokenheart, Didi Kempot, who creates thousands of Campursari songs full of love stories in the lyric, particularly the brokenheart storied. Out of nowhere, the young generation, who are Javanese, who are Javanese but do not understand Javanese Language or even who are not Javanese and not understand Javanese Language are joining the crowd and becoming his fans that previously filled with the old generation. This research shows how Junior Highschool Students maintain the Javanese Language usage by liking the music, singing the songs and understanding the Javanese Language in the lyric. This research also observes whether they still know or able to sing traditional Javanese songs they exposed from their family, environment (neighbourhood) or Javanese Language class at school that shows their Javanese Language maintenance. Keywords: language maintenance, Javanese Language, students, Junior Highschool, Campursari, Javanese music and song

AbstractDuring South Korea's authoritarian period (1961–87), student activists employed songs to express their anti-government and pro-democratic views. Known as minjung kayo (people's songs), these protest songs can be traced to the modern American folk music embraced by South Korean youth in the 1960s. By the late 1980s, however, minjung kayo carried emphatically anti-American, nationalistic, and socialist tones, echoing the minjung ideals that strove to achieve authentic ‘Koreanness’. This article unravels the complexities underlying the process of minjung kayo's development into an emblem of the pro-democratic movement, which entailed a shift away from its initial reflective and poetic style inspired by American folk music (exemplified in the songs of Kim Min-ki) and a move towards the militant style influenced by the Marxist composer Hanns Eisler. It argues that minjung kayo embodied the complex relationship South Korean activists held with their colonial past and autocratic present, as well as visions of their democratic future.