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Relevant bibliographies by topics / Moranbong

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Journal articles
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Books
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Academic literature on the topic 'Moranbong'

Author: Grafiati

Published: 4 June 2021

Last updated: 17 February 2022

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Journal articles on the topic "Moranbong"

1

강동완 and 문다혜. "Implication of Moranbong band’s “New Music Concert”." Journal of Northeast Asia Research 30, no. 1 (August 2015): 273–304. http://dx.doi.org/10.18013/jnar.2015.30.1.009.

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2

Coppola, Antoine. "Moranbong, un film français en Corée du Nord." Modern & Contemporary France 19, no. 3 (August 2011): 329–43. http://dx.doi.org/10.1080/09639489.2011.588795.

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3

Huh, Jungsun, and Awon Kim. "Style Characteristics and Symbolism of the Moranbong Band’s Stage Costumes." Journal of the Korean Society of Costume 68, no. 4 (June 30, 2018): 23–35. http://dx.doi.org/10.7233/jksc.2018.68.4.023.

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4

Pekka Korhonen and Adam Cathcart. "Tradition and Legitimation in North Korea: The Role of the Moranbong Band." Review of Korean Studies 20, no. 2 (December 2017): 7–32. http://dx.doi.org/10.25024/review.2017.20.2.001.

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5

Zeglen, David. "Rockin’ in the unfree world: North Korea’s Moranbong Band and the celebrity dictator." Celebrity Studies 8, no. 1 (January 2, 2017): 142–50. http://dx.doi.org/10.1080/19392397.2016.1272861.

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6

Lim, Tai Wei. "State-Endorsed Popular Culture: A Case Study of the North Korean Girl Band Moranbong." Asia & the Pacific Policy Studies 4, no. 3 (August 18, 2017): 602–12. http://dx.doi.org/10.1002/app5.195.

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7

Kang, DongWan. "A Study on the Meanings and Prospects of the "Commemorative Performance for the Participants of the Fifth Training Workers' Convention" by the Moranbong Band." JOURNAL OF INTERNATIONAL RELATIONS 18, no. 2 (December 31, 2015): 45. http://dx.doi.org/10.15235/jir.2015.12.18.2.45.

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8

Kwon, Hae-In. "Research on the Current Status and Meaning of North Korean Dance through Talk Show for North Korean Defectors: Focusing on 〈Moranbong Club〉 and 〈Lee Mangap〉." Korean Journal of Sports Science 29, no. 6 (December 31, 2020): 789–810. http://dx.doi.org/10.35159/kjss.2020.12.29.6.789.

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9

Kang, Dong Wan. "The Characteristics and Meanings of the Joint Performance among the Moranbong Band, Cheongbong Band and Gonghun National Choir in Celebration of North Korea’s Seventh Party Convention." Journal of Political Science & Communication 23, no. 2 (June 30, 2020): 1–28. http://dx.doi.org/10.15617/psc.2020.6.30.2.1.

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Dissertations / Theses on the topic "Moranbong"

1

Cho, Kisoo. "Characteristics of North Korean Music under Juche philosophy with reference to the Revolutionary Opera Sea of Blood and the Moranbong band / Two examination concerts." Diss., University of Pretoria, 2016. http://hdl.handle.net/2263/60438.

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Juche philosophy, the reigning ideology of North Korea, has governed the country for over half a century. All realms, including politics, economy, society and culture, in North Korea are ruled by Juche philosophy. North Korean music has also been strongly influenced by the philosophy. It is regarded as a perfect tool to indoctrinate the philosophy to the public. This study aims to interrogate how North Korean music has been transformed under Juche philosophy and the perception of the North Korean governors about music, by examining the political platforms and rules set by the North Korean government for musicians and music associations and the specific features in the music that can be identified as being influenced by the Juche philosophy. Although the dissertation restates much of the existing research on the topic, it is one of the first academic works that provides with the detailed analysis on North Korean music (specifically the Moranbong band) of the current Kim regime. The Revolutionary Opera Sea of Blood and the Moranbong band embody Juche philosophy. Sea of Blood is one of the most representative musical pieces created during the Il-Sung Kim and Jung-Il Kim regimes. The opera contains an anti-Japanese plot and emphasises the autonomous (Juche) spirit and socialism. The Moranbong band has played the role of spokesman for the Jung-Eun Kim regime. All the reaction of the North Korean government against internal and external political issues is shown in concerts of the band. It is no exaggeration to say that all the arias and songs performed in the opera and the band concerts contain political messages. In this dissertation, the musical structure and characteristics of the opera and the band are thoroughly analysed to illustrate the relationship between North Korean music and Juche philosophy.
Dissertation (MMus)--University of Pretoria, 2016.
Music
MMus
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Books on the topic "Moranbong"

1

Moranbong kisŭk: Han Ch'an-bo sijip. [P'yŏngyang]: Munhak Yesul Chonghap Ch'ulp'ansa, 1993.

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2

Coppola, Antoine. Ciné-voyage en Corée du Nord: L'expérience du film Moranbong. Paris: Atelier des cahiers, 2012.

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Book chapters on the topic "Moranbong"

1

Howard, Keith. "Songs for New Leaders." In Songs for "Great Leaders", 241–68. Oxford University Press, 2020. http://dx.doi.org/10.1093/oso/9780190077518.003.0010.

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This chapter first turns the spotlight on how fascist and socialist states approach popular music, both in respect to control and censorship and in attempts to create authorized pop repertories, arguing for a redefinition of “popular.” It then introduces the two North Korean pop bands established in the mid-1980s, Pochonbo and Wangjaesan. Two vignettes explore how pop songs functioned as a “state telegraph” during the 1994–1997 transition period to Kim Jong Il that began with Kim Il Sung’s death, and during 2009–2011 as the third leader, Kim Jong Un, was eased into power, following the death of Kim Jong Il. Featuring Moranbong as the major group, it next discusses the revival in pop culture that began around 2010, finding evidence for this revival stretching back to the beginning of the new millennium. An epilogue briefly considers 2018, when North Korea sent an expanded Samjiyŏn troupe with 130 musicians to the Pyeongchang Winter Olympic Games and South Korea reciprocated, sending K-pop stars to Pyongyang. From 2015, with the second incarnation of Moranbong, and then in 2018 with the Samjiyŏn troupe, the clock was turned back, and songs once again became the primary musical tool of the northern regime, reinforcing ideology, and signaling changes both within North Korea and in North Korea’s relations with the outside world.

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