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The first book-length account of North Korean music and dance in any language other than Korean, Songs for "Great Leaders" pulls back the curtain for the first time on this famously reclusive and secretive regime.
The third edition of this popular book has been extensively revised to reflect the changes that have affected student research in higher education in recent years. The ability to carry out research successfully has come to be seen as a 'key transferable skill' required of all higher education students - and The Management of a Student Research Project addresses directly the skill element of this. Furthermore the research process, at all levels, is far more systematized than in the past. The single largest change since the second edition came out in 1996 has been the impact of the World Wide Web on student research. The third edition has been thoroughly rewritten and developed in response to this. In particular, Chapter 4, 'Literature Searching', has been structured around a sample online search. Throughout, the comments and thoughts of readers of previous editions have been taken into account in framing this third edition. Its aims remain the same - to provide a clear, comprehensive and useful guide to students undertaking research projects in order to improve their chances of a successful outcome.
Focussing on music traditions, these essays explore the policy, ideology and practice of preservation and promotion of East Asian intangible cultural heritage. For the first time, Japan, Korea, China and Taiwan - states that were amongst the first to establish legislation and systems for indigenous traditions - are considered together. Calls to preserve the intangible heritage have recently become louder, not least with increasing UNESCO attention. The imperative to preserve is, throughout the region, cast as a way to counter the perceived loss of cultural diversity caused by globalization, modernization, urbanization and the spread of the mass media. Four chapters - one each on China, Korea...
Famously reclusive and secretive, North Korea can be seen as a theatre that projects itself through music and performance. The first book-length account of North Korean music and dance in any language other than Korean, Songs for "Great Leaders" pulls back the curtain on this theatre for the first time. Renowned ethnomusicologist Keith Howard moves from the first songs written in the northern part of the divided Korean peninsula in 1946 to the performances in February 2018 by a North Korean troupe visiting South Korea for the Pyeongchang Winter Olympic Games. Through an exceptionally wide range of sources and a perspective of deep cultural competence, Howard explores old revolutionary songs ...
The Korean genre of sanjo is one of the most popular genres of traditional music taught in schools and universities within Korea, and a staple of national and international performance tours. Sanjo comprises a set of related pieces for solo melodic instruments and drum. A number of 'schools' (ryu) are recognized, each based on the performance style of a master musician, usually a musician from an earlier generation. Sanjo was first devised for the kayagum 12-stringed plucked long zither and is now played on all major Korean instruments. This volume explores, records, notates, and documents the Kim Chukp'a school of kayagum sanjo. Two audio CDs accompany the book, one featuring Lee playing Kim's complete sanjo, and the second, a 'bonus' CD of a second sanjo for the six-stringed zither, komun'go, played by Kim Sunok.
Korean popular music has in the last decade become a significant model for youth culture throughout Asia. Yet, although the Korean music industry is both vibrant and massive, this is the first book-length work devoted to the subject to appear in English. The book offers a comprehensive account, written by thirteen scholars of Korean Studies, enthnomusicology and popular culture, charting Korean pop from the 1930s to the present day, from genres imitative of early twentieth-century European and Japanese styles (‘trot’ and ‘yuhaengga’) to contemporary punk clubs, rap bands and music television shows. Consideration is given to South Korean singers who catered for US troops in the afterm...
Historical ethnomusicology is increasingly acknowledged as a significant emerging subfield of ethnomusicology due to the fact that historical research requires a different set of theories and methods than studies of contemporary practices and many historiographic techniques are rapidly transforming as a result of new technologies. In 2005, Bruno Nettl observed that “the term ‘historical ethnomusicology’ has begun to appear in programs of conferences and in publications” (Nettl 2005, 274), and as recently as 2012 scholars similarly noted “an increasing concern with the writing of musical histories in ethnomusicology” (Ruskin and Rice 2012, 318). Relevant positions recently advance...
"Passionate, cantankerous, and fascinating. Rather like Korea itself."--Nicholas D. Kristof, New York Times Book Review Korea has endured a "fractured, shattered twentieth century," and this updated edition brings Bruce Cumings's leading history of the modern era into the present. The small country, overshadowed in the imperial era, crammed against great powers during the Cold War, and divided and decimated by the Korean War, has recently seen the first real hints of reunification. But positive movements forward are tempered by frustrating steps backward. In the late 1990s South Korea survived its most severe economic crisis since the Korean War, forcing a successful restructuring of its political economy. Suffering through floods, droughts, and a famine that cost the lives of millions of people, North Korea has been labeled part of an "axis of evil" by the George W. Bush administration and has renewed its nuclear threats. On both sides Korea seems poised to continue its fractured existence on into the new century, with potential ramifications for the rest of the world.
SamulNori is a percussion quartet which has given rise to a genre, of the same name, that is arguably Korea’s most successful ’traditional’ music of recent times. Today, there are dozens of amateur and professional samulnori groups. There is a canon of samulnori pieces, closely associated with the first founding quartet but played by all, and many creative evolutions on the basic themes, made by the rapidly growing number of virtuosic percussionists. And the genre is the focus of an abundance of workshops, festivals and contests. Samulnori is taught in primary and middle schools; it is part of Korea’s national education curriculum. It has dedicated institutes, and there are a number ...