Now, it is time for a new generation, including myself, to assist with the development of this genre. Young composers must create and expand their own styles without being tied to old conventions. We need to be able to go beyond our forebears in terms of our preparation in and knowledge of Western music and awareness of the distinctiveness of Korean society, which must nevertheless be reflected in our music. In this way, the genre can achieve a broader scope of expression, which will increase its accessibility.
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Acknowledgements
CHAPTER 1 INTRODUCTION
CHAPTER 2 WESTERN INFLUENCE ON KOREAN MUSIC
CHAPTER 3 THE RISE OF CHANGJAK KUGAK－KIM KISU
CHAPTER 4 THE SIGNIFICANCE OF YI SUNG‐CHUN’S MUSICAL WORKS
－his kayagŭm solo pieces
CHAPTER 5 THE MUSICAL WORLD OF YI HAESHIK
CHAPTER 6 CONCLUSION
Notes
Bibliography
Glossary
Index
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Dr. Byeon Gyewon is not only active in the academia of musicology but also deeply involved in musical composition and performance of traditional Korean music. She studied traditional Korean music and musical composition as an undergraduate at SNU, and received her M.A. in traditional Korean music composition from SNU and her Ph.D. in ethnomusicology from SOAS, University of London. She is currently a lecturer at Korea Advanced Institute of Science and Technology (KAIST) and Research Fellow and lecturer at the Seoul National University of Education (SNUE). She has written various academic articles, in English and Korean, for publication in academic journals, and has published books. Among them, “Multicultural music education and Intercultural music education”, “To Formulate Globalization of Korean Traditional Children’s songs for Multicultural Music Education”, “The Terminological Investigation of ‘World Music’”, “The Present State and Prospects of the Ethnomusicology in the U.K.”, “Western Influence and Changes in Korean Music”, “The Improvement of the kayagum and a piece for the 21?string”, “ The Concept of Composition in Korean music” and so on are included. She was Secretary of the Korean Society for Music Research and member of Korean Society for Traditional Music, the Society for Korean History Musicology, Korean Society for Women Composers, International Council for Traditional Music, and British Forum for Ethnomusicology. Furthermore, she has composed various musical pieces using different traditional musical instruments of Korea, and these have been performed in Korea as well as Japan, USA and Great Britain. Several her pieces were commissioned by such renowned institutions and orchestras as KBS (Korean Broadcasting System), Kyunggi and Chonbuk Korean Traditional Music Orchestras, the Center for Korean Traditional Performing Arts, the Department of Korean Music at Seoul National University, and Arts and Humanities Research Board of England etc. Especially, her composition concerts, held in Edinburgh Fringe Festival for several days in 2006, were the big achievement. She also published her own composition CD and the score book of her music in 2006. With these accomplishments, she was awarded the biggest KBS Great Prize for composer in the Korean traditional music world in 2006. About eleven CDs with her music are sold in Korea.
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