Modernizing Korean Folk Song: Popularization through New Folk Song and Artistic Transformation through Choral Compositions A Case Study of Byunghee Oh’s Sae-ya Sae-ya as Choral Art Music

Abstract

Korean folk music has been transformed into many different forms under the influence of Western music that was introduced to Korea in the late nineteenth century. This altered folk music has often been criticized as Westernized music that has lost its Korean essence. However, the question of whether this type of music can be viewed as merely Westernized music became the starting point of this dissertation. This musical progress coincided with the introduction of Western civilization into Korea, and is often used in conjunction with the concept of “modernization.” This study offers a deeper understanding of how Korean folk songs have been modernized, both through their popularization via mass media and their transformation into art music. It focuses on two key areas: first, the role of New Folk Song of the 1930s in the popularization and transformation of traditional Korean folk songs under Japanese colonial rule (Chapter 2); and second, the contribution of contemporary choral compositions based on folk material to the artistic legacy of Korean traditional music, with a particular focus on the analysis of Byunghee Oh’s choral work Sae-ya Sae-ya (Chapter 3). In addition to analyzing the lyrics and music, examining the historical and social aspects in Chapters 2 and 3 reveals that Koreanness is expressed through several aspects: 1) the pronunciation and nuances of the Korean language, 2) the historical context underlying the lyrics, 3) the instruments and singing style, 4) musical characteristics such as the pentatonic scale, sigimsae, and 5) Korean sentiments such as han (한). This study shows that while traditional Korean folk songs have been transformed to keep pace with society and culture through the introduction of Western civilization and music, their essence has not been erased. Rather, their ‘Koreanness’ has been preserved, allowing them to appeal to a wide and diverse audience. By providing a comprehensive understanding of the historical, musical, and cultural contexts surrounding the modernization of Korean folk songs, this study contributes to fostering greater appreciation and respect among Western singers for Korean folk music and Korean culture more broadly, while also supporting more informed and authentic musical performances. I hope that tradition, embracing its essence in various forms, will continue to be loved by Koreans and people around the world.