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Relevant bibliographies by topics / Korean music / Dissertations / Theses

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Dissertations / Theses on the topic 'Korean music'

Author: Grafiati

Published: 4 June 2021

Last updated: 30 July 2024

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1

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.

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2

Williams, Zaneh M. "American Influence on Korean Popular Music." Scholarship @ Claremont, 2014. http://scholarship.claremont.edu/scripps_theses/500.

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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 W

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3

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.

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4

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/.

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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,

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5

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.

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6

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.

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7

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.

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8

Kim, HaeOk N. "An Examination of Selected Contemporary Korean Piano Works." Diss., The University of Arizona, 1988. http://hdl.handle.net/10150/254512.

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9

Lamp, Sebastian. "Korean Sijo music and poetry : transmission and aesthetics." Thesis, SOAS, University of London, 2018. http://eprints.soas.ac.uk/30276/.

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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' performan

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10

Han, Ae Jin. "The aesthetics of cuteness in Korean pop music." Thesis, University of Sussex, 2016. http://sro.sussex.ac.uk/id/eprint/61472/.

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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 vi

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11

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.

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12

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.

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13

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.

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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 base

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14

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.

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Applied research project (D. Min.)--School of Theology and Missions, Oral Roberts University, 2006.<br>Includes abstract and vita. Translated from Korean. Includes bibliographical references (leaves 195-198).

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15

Park, Sam. "Korean heritage as a foundation for composition." Thesis, University of Huddersfield, 2013. http://eprints.hud.ac.uk/id/eprint/24265/.

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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

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16

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.

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17

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.

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18

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/.

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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

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19

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.

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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

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20

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.

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21

Kim, Jeong-Ha. "Korean Primary School Music Education during Japanese Colonial Rule (1910-1945)." Thesis, Griffith University, 2013. http://hdl.handle.net/10072/367474.

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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 colonisatio

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22

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.

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23

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.

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24

Chun, Min A. "The process of transmission in (P'ansori), Korean vocal music, focussing on (Hungboga)." College Park, Md. : University of Maryland, 2004. http://hdl.handle.net/1903/1822.

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Thesis (M.A.) -- University of Maryland, College Park, 2004.<br>Thesis research directed by: School of Music. Title from t.p. of PDF. Includes bibliographical references. Published by UMI Dissertation Services, Ann Arbor, Mich. Also available in paper.

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25

Paek, Inok. "Transmission processes in Korean traditional music : contemporary musical practice and national identity." Thesis, Queen's University Belfast, 1999. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.425202.

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26

Almqvist-Ingersoll, Petter. "Conceptually androgynous : The production and commodification of gender in Korean pop music." Thesis, Umeå universitet, Umeå centrum för genusstudier (UCGS), 2019. http://urn.kb.se/resolve?urn=urn:nbn:se:umu:diva-161973.

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Stemming from a recent surge in articles related to Korean masculinities, and based in afeminist and queer Marxist theoretical framework, this paper asks how gender, with a specificfocus on what is referred to as soft masculinity, is constructed through K-pop performances, aswell as what power structures are in play. By reading studies on pan-Asian masculinities andgender performativity - taking into account such factors as talnori and kkonminam, andinvestigating conceptual terms flower boy, aegyo, and girl crush - it forms a baseline for aqualitative research project. By conducting qualitativ

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27

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.

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28

Youm, Hyun Kyung Sims Wendy L. "South Korean parents' goals, knowledge, practices, and needs regarding music education for young children." Diss., Columbia, Mo. : University of Missouri--Columbia, 2008. http://hdl.handle.net/10355/6618.

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Title from PDF of title page (University of Missouri--Columbia, viewed on Feb 25, 2010). The entire thesis text is included in the research.pdf file; the official abstract appears in the short.pdf file; a non-technical public abstract appears in the public.pdf file. Dissertation advisor: Dr. Wendy Sims. Vita. Includes bibliographical references.

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29

Kim, Kunwoo. "Korean dance suite for piano by Young Jo Lee an analysis /." Muncie, Ind. : Ball State University, 2008. http://cardinalscholar.bsu.edu/748.

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30

Chang, Yoonchung. "Korean Traditional Elements and Contemporary Compositional Techniques in Hyowon Woo’s Choral Music As Reflected in Gloria." Thesis, University of North Texas, 2012. https://digital.library.unt.edu/ark:/67531/metadc149552/.

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Among native Korean choral composers, Hyowon Woo has emerged as one of the most significant representatives of choral genre, both in Korea and internationally. She has created a new style of choral music that combines traditional Korean musical elements with contemporary Western compositional techniques, in a synthesis that generates new sonorities and effects. Her choral music falls into three basic categories: music employing direct quotation of Korean folk tunes or other elements, which produce typical Korean sonorities; music using Western practices, which produce modern and Western flavor

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31

Kim, Jin. "Exploring Aspects of Korean Traditional Music in Young Jo Lee's Piano Honza Nori." Thesis, University of North Texas, 2013. https://digital.library.unt.edu/ark:/67531/metadc283809/.

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Since the 1960s, several gifted Korean composers, including perhaps most notably Young Jo Lee (b. 1943), have been internationally acclaimed for their work. In Western countries, however, there has been a scarcity of academic studies examining the artistry of the music of these Korean composers. Nonetheless, as one of today's most recognized composers in Korea, Young Jo Lee has been invited to numerous international concerts, conferences, and festivals where his works have been played and discussed. A salient feature of his compositions is the fusion of Korean traditional music and the element

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32

Mueller, Ruth H. "Female participation in South Korean traditional music : late Chosŏn to the present day." Thesis, University of Sheffield, 2013. http://etheses.whiterose.ac.uk/4775/.

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While individual aspects of gender in South Korean traditional music have been previously explored, a general examination of the subject has yet to be undertaken. Through the analysis of fieldwork and previous research, this thesis looks at the gender shift of musicians from predominantly male in the last dynasty to predominantly female today. This shift is considered in relation to the changing function of traditional music from popular entertainment to cultural preservation during Korea’s rapid modernisation process. My fieldwork includes interviews with performers, students, teachers and sc

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33

Oh, Seykyu. "Symphony no. 1." Thesis, University of North Texas, 1991. https://digital.library.unt.edu/ark:/67531/metadc332767/.

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The Symphony has been composed using traditional Korean idioms and Western style four-movement arrangement. The Symphony requires Western instrumental forces. The discussions about Far Eastern music raised by Western and Eastern scholars, and about some Korean rhythmic aspects, articulations, and ornamentations help explain how the Symphony is constructed. The pitch materials, melodic styles, rhythm, form, and structural materials that are used in the composition are presented. Heterophony, embellishment, articulation, and mutation are also discussed.

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34

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/.

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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 tr

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35

Yoo, Jiyun. "Live music and the dilemmas of the Korean consumer experience : consumption, markets, and identities." Thesis, University of Warwick, 2014. http://wrap.warwick.ac.uk/61697/.

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This thesis examines the cultural consumption of live music events in contemporary South Korea. It explains the structure and emergence of the contemporary popular music industry, and offers a historical background to the development of South Korea’s society and culture. Live concerts, now a crucial part of music industry in Korea, are the central object of analysis, through which the current conditions of cultural consumption in South Korea are assessed. The thesis argues that music consumption experience in South Korea provides an opportunity through which a set of dilemmas and tensions in c

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36

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.

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37

Lee, Hyejin. "Traditional Korean Music in Contemporary Context: A Performance Guide to Gideon Gee Bum Kim's Kangkangsullae." Thesis, University of North Texas, 2018. https://digital.library.unt.edu/ark:/67531/metadc1157533/.

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Gideon Gee Bum Kim is an internationally-acclaimed contemporary Korean-Canadian composer. Kim has utilized traditional Korean music with Western composition techniques in some of his works. Kim created his own style by incorporating traditional Korean musical elements such as the scale, rhythmic diversity, syncopation, variation, ornamentation, and the progression of melody into a body of music that is otherwise contemporary and Western. The purpose of this study is to develop a performance guide for Gideon Gee Bum Kim's Kangkangsullae for string trio. Kangkangsullae trio is based on Korean hi

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38

Ryu, Hanpil. "A Conductor's Guide to Un-Yung La's Choral Music as Reflected in Easter Cantata." Thesis, University of North Texas, 2016. https://digital.library.unt.edu/ark:/67531/metadc862841/.

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Un-Yung La was one of the first Korean composers of Western style choral music who used Korean folk elements in his composers. According to Un-Yung La's musical theory, which he demonstrated in Easter Cantata. Korean-style melody and rhythm were created based on Korean traditional scales and he also used Western-style harmonization. He attempted a new Korean style of expression through Sikimsae technique in Korean traditional vocal music genres: Pansori and Sijo. The purpose of this paepr is to discuss traditional Korean performance elements related to melody, harmony, and rhythm as employed i

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39

Byun, Eun-Jung. "Music and Oppression: Korean art song based on poetry from the Japanese Occupation Period (1910-1945)." Thesis, The University of Sydney, 2022. https://hdl.handle.net/2123/27991.

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The first Korean art song was composed in 1922 during the period of Korean history that has now come to be known as the Japanese Occupation Period (1910-1945). This project focuses on art songs which were based on poetry written during the Japanese Occupation Period, and on the compositions of various Korean composers who integrated both western music and Korean poetry into a European-established genre that has existed for hundreds of years. Three poets: Jeong Ji-Yong (1902-1950?), Kim Sowol (1902-1934) and Yun Dong-Ju (1917-1945) who were all active during this period have been selected.

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40

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.

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41

Kim, Hae Sun. "The effect of auditory-motor mapping training in Korean on the speech output of children with autism." Thesis, Colorado State University, 2014. http://pqdtopen.proquest.com/#viewpdf?dispub=1558238.

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<p> Given the lower verbal output in many children with autism spectrum disorders (ASD), a number of interventions in English are available for them. However, currently there are no interventions specifically researched with children with ASD who come from different language backgrounds other than English. The present study examined the effect of an intonation-based treatment called auditory-motor mapping training (AMMT) to facilitate verbal output in two children with a diagnosis of ASD from Korean-speaking households. Both participated in a total of nine AMMT sessions in addition to four ass

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42

Choi, Yujin. "A Study of Selected Pedagogical Aspects of Two Intercultural Pieces for Late Intermediate and Early Advanced Students: "Variations sur un thème populaire coréen" by Sung-Ki Kim and "Six Pieces for Piano ‘Nori'" by Chung-Sock Kim." Thesis, University of North Texas, 2019. https://digital.library.unt.edu/ark:/67531/metadc1609156/.

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I contend that young students should be introduced to intercultural contemporary music, as this exposure brings benefits to their artistic development and fosters appreciation of other cultures. Variations sur un thème populaire coréen by Sung-Ki Kim (b. 1954) and Six Pieces for Piano ‘Nori' by Chung-Sock Kim (b. 1940) are effective pedagogical works that fit perfectly into the intercultural mold mentioned above, and both are suitable for late intermediate or early advanced level students. A detailed comparison of these two works can help instructors understand the ways by which these composer

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43

Lee, YongWoo. "Embedded voices in-between empires: the cultural formation of Korean popular music in modern times." Thesis, McGill University, 2010. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=95009.

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This dissertation examines the historical trajectory of colonial mentality and the genealogy of cultural modernity and Americanization in South Korea by recontextualizing popular music as a narrative of collective memories and mass trauma. By mapping out two continual colonial histories, those represented by the periods of the Japanese Empire and of the American military government, I develop a narrative of Korean popular music that echoes this submission experienced by Koreans, a movement empowered by modern western technology such as the gramophone, radio and phonograph records as well as by

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44

Hwang, Mirae. "The Blue Bird." University of Cincinnati / OhioLINK, 2018. http://rave.ohiolink.edu/etdc/view?acc_num=ucin1522319891865069.

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Yi, Chung-han. "A performance guide to Heejo Kim's choral arrangements based on traditional Korean folk tune and rhythmic patterns." connect to online resource, 2009. http://digital.library.unt.edu/permalink/meta-dc-9818.

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46

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/.

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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,

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47

Yoon, Hye Jung. "Birds, Birds, Bluebirds." University of Cincinnati / OhioLINK, 2017. http://rave.ohiolink.edu/etdc/view?acc_num=ucin1504802573765048.

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48

Lee, Wonseok. "Diversity of K-Pop: A Focus on Race, Language, and Musical Genre." Bowling Green State University / OhioLINK, 2018. http://rave.ohiolink.edu/etdc/view?acc_num=bgsu1526067307402648.

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49

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/.

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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

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50

Mastovaara, Teemu. "Mit Inniger Empfindung : In-between stylistic pluralism." Thesis, Kungl. Musikhögskolan, Institutionen för komposition, dirigering och musikteori, 2018. http://urn.kb.se/resolve?urn=urn:nbn:se:kmh:diva-2883.

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