Articulating han: An Exploration of the Distinctions between Western and Korean Vocal Music

Abstract

ABSTRACT

Three vocal recitals were performed in lieu of a written dissertation.

The repertoire for the three vocal recitals aimed to explore connections and distinctions between Western and Korean vocal music. The first recital explored Italian, German, and Korean art songs, covering the human experiences of love, grief, loss, life and death, and eternal love. The second recital focused on romantic love in two German song cycles, accompanied either by string quartet or small orchestra, and art songs for voice and piano. The third recital featured works from Korean composers Young-Jo Lee and Woon-Young Na that draw upon Western vocal technique, Korean traditional music, and the uniquely Korean sentiment, han. Although the Korean art song repertoire takes elements of Western compositional and vocal techniques (as seen in the overlaps of style, subject and form in the first recital), what distinguishes Korean vocal music from that of the Western classical tradition are the elements of Korean national heritage that are included in their music (highlighted here in the juxtaposition between my second and third recitals). My secondary intent in these recitals is to present Korean vocal music as a relevant and important niche to fill in today’s vocal recitals and bring about better understanding of Korean culture in today’s evermore global society by including and articulating the distinct human experience of Korean people in song.

April 4, 2015, 5:30 PM; Moore Building, Britton Recital Hall, The University of Michigan. Accompanied by Joshua Marzan, piano. George Frideric Händel, “Ombra mai fu” from Xerxes HWV 40; Christoph Willibald Gluck, “O del mio dolce ardor” from Paride ed Elena; Gioachino Rossini, “La promessa,” “L’esule” from Vol 3. Morceaux réservés of Péchés de vieillesse; Paolo Tosti, “Ideale,” “L’ultima canzone,” “Non t’amo più,” “L’alba sepàra dalla luce l’ombra”; Johannes Brahms, Vier ernster Gesänge, Op 121, “Denn es gehet dem Menschen wie dem Vieh,” “Ich wandte mich und sahe,” “O Tod, wie bitter bist du,” “Wenn ich mit Menschen und mit Engelszungen redete”; Joowon Kim, “연꽃 만나고 가는 바람같이”; Hansol Chang, “눈은 나리네”; Dunam Cho, “산촌”.

November 13, 2015, 7:30 PM; Moore Building, Britton Recital Hall, The University of Michigan. Haerim Lee and Grace Kawamura, violins; Emma Dansak, viola; Alexansder Berry, cello; Kohei Yamaguchi, bass; Merryl Monard, flute; Curtis Noborikawa III, clarinet; Christophe Floyd, percussion; Rafael Austin Godillo Maza, piano; Roberto Kalb, conductor. Richard Wagner, Fünf Gedichte von Mathilde Wesendonck, WWV91, “In der Kindheit frühen Tagen,” “Stehe still,” “Im Treibhaus,” “Schmerzen,” “Träume”; Gustav Mahler, Lieder eines fahrenden Gesellen, “Wenn mein Schatz Hochzeit macht,” “Ging heut’ Morgen über’s Feld,” “Ich hab’ ein glühend Messer,” “Die zwei blauen Augen”; Richard Strauss, “Ach Lieb, ich muss nun scheiden” from Schlichte Weisen, Op. 21, “Zueignung,” “Allerseelen” from Letzte Blätter Op. 10.

April 13, 2016 at 8 PM; Walgreen Drama Center, Stamps Auditorium, The University of Michigan. Rafael Austin Godillo Maza, piano. Young-Jo Lee, “엄마야 누나야,” “다듬이,” “서시,” “무서운 시간,” “새로운 길,” “별 헤는 밤,” “문경세재 아리랑,” “경상도 아리랑,” “그가 찔림은,” “시편 23편”; Woon-Young Na, “시편 23편”.