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Soas Studies in Music Ser.: Perspectives on Korean Music Vol. 2 : Volume 2: Creating Korean Music: Tradition, Innovation and the Discourse of Identity by Keith Howard (2006, Hardcover)
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About this product
Product Identifiers
PublisherRoutledge
ISBN-100754657299
ISBN-139780754657293
eBay Product ID (ePID)52192673
Product Key Features
Number of Pages260 Pages
Publication NamePerspectives on Korean Music Vol. 2 : Volume 2: Creating Korean Music: Tradition, Innovation and the Discourse of Identity
LanguageEnglish
SubjectPhilosophy & Social Aspects, Genres & Styles / Folk & Traditional, General, Ethnic
Publication Year2006
TypeTextbook
Subject AreaMusic
AuthorKeith Howard
SeriesSoas Studies in Music Ser.
FormatHardcover
Dimensions
Item Height0.9 in
Item Weight16 Oz
Item Length9.5 in
Item Width6.3 in
Additional Product Features
Intended AudienceCollege Audience
LCCN2006-000622
Dewey Edition22
Number of Volumes2 vols.
IllustratedYes
Dewey Decimal780.9519
Table Of ContentContents: CD contents; Introduction; SamulNori rhythm 'N' Seoul; Securing the canon; Moving ahead; Shared resonances: updating old songs; Ch'angjak kugak: blending the wine and stretching the wineskins; Towards a new Korean music; Rebranding Korean music; The old in the new; References; Discography; Index.
SynopsisWith the rise of nationalism in the Republic of Korea, music has come to play a central role in the discourse of identity. This volume asks what Koreans consider makes music Korean, and how meaning is ascribed to musical creation. Keith Howard explores specific aspects of creativity that are designed to appeal to a new audience that is increasingly westernized yet proud of its indigenous heritage - updates of tradition, compositions, and collaborative fusions. He charts the development of the Korean music scene over the last 25 years and interprets the debates, claims and statistics by incorporating the voices of musicians, composers, scholars and critics. Koreanness is a brand identity with a discourse founded on heritage, hence Howard focuses on music that is claimed to link to tradition, and on music compositions where indigenous identity is consciously incorporated. The volume opens with SamulNori, a percussion quartet known throughout the world that was formed in 1978 but is rooted in local and itinerant bands stretching back many centuries. Parallel developments in vocal genres, folksongs and p'ansori ('epic storytelling through song') are considered, then three chapters explore compositions written both for western instruments and for Korean instruments, and designed both for Korean and international audiences. Over time, Howard shows how the two musical worlds - kugak, traditional music, and yangak, western music - have collided, and how fusions have emerged. This volume documents how identity has been negotiated by musicians, composers and audiences. Until recently, references to tradition were common and, by critics and musicologists, required. Western music increasingly encroached on the market for Korean music and doubts were raised about the future of any music identifiably Korean. Today, Korean musical production exudes a resurgent confidence as it amalgamates Korean and western elements, as it arranges and incorporates the old in the new, and as it creates a music suitable for the contemporary world., With the rise of nationalism in the Republic of Korea, music has come to play a central role in the discourse of identity. This volume asks what Koreans consider makes music Korean, and how meaning is ascribed to musical creation. Keith Howard explores specific aspects of creativity that are designed to appeal to a new audience that is increasingly westernized yet proud of its indigenous heritage - updates of tradition, compositions, and collaborative fusions. He charts the development of the Korean music scene over the last 25 years and interprets the debates, claims and statistics by incorporating the voices of musicians, composers, scholars and critics.Koreanness is a brand identity with a discourse founded on heritage, hence Howard focuses on music that is claimed to link to tradition, and on music compositions where indigenous identity is consciously incorporated. The volume opens with SamulNori, a percussion quartet known throughout the world that was formed in 1978 but is rooted in local and itinerant bands stretching back many centuries. Parallel developments in vocal genres, folksongs and p'ansori ('epic storytelling through song') are considered, then three chapters explore compositions written both for western instruments and for Korean instruments, and designed both for Korean and international audiences. Over time, Howard shows how the two musical worlds - kugak, traditional music, and yangak, western music - have collided, and how fusions have emerged.This volume documents how identity has been negotiated by musicians, composers and audiences. Until recently, references to tradition were common and, by critics and musicologists, required. Western music increasingly encroached on the market for Korean music and doubts were raised about the future of any music identifiably Korean. Today, Korean musical production exudes a resurgent confidence as it amalgamates Korean and western elements, as it arranges and incorporates the old in the new, and as it creates a music suitable for the contemporary world., This volume asks what Koreans consider makes music Korean, and how meaning is ascribed to musical creation. Keith Howard explores specific aspects of creativity that are designed to appeal to a new audience that is increasingly westernized yet proud of its indigenous heritage-updates of tradition, compositions, and collaborative fusions. He charts the development of the Korean music scene over the last 25 years and interprets the debates, claims and statistics by incorporating the voices of musicians, composers, scholars and critics.
LC Classification NumberML3752
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