The Romantic period, 1850s – 1920s, was a time for change and new concepts. Nationalism became an inspiration to the time of the Romantics; the artists had begun to act upon their admiration for their country. This ideology emerged from the influence of wanting to break free from the restrictions of form that was followed in the Classical era during the mid-1800s until the early 1900s. It was a time when people placed a higher value on their feelings rather than their beauty, ranging from despair to anxiety to depression, rather than the simplistic sad and happy emotions. It was thus, then, that composers were impacted by the time’s need for nationalism and resulted in folk-revolved pieces in order to seek respect and dignity of their heritage.
This new era brought about a new sensation – positive and negative feelings were portrayed in the musicality of pieces in contrast to only the technical difficulties of music in previous time periods. The past generations had strict regulations, whereas the Romantic composers had time to dedicate more thought and feeling. In the past, music was a job; in the Romantic, it was for entertainment. With the focus on inner thoughts, movements became more dissonant and chromatic.
Frederic Chopin was a Polish prodigy who began playing the piano at the age of four. Unlike many other virtuosos, however, Chopin was just a pianistic composer throughout his lifetime, strictly using his time to create piano pieces. But it was Shumann who said Chopin went further. His pieces were considered to have “neo-Romanticism” attributes, as can be portrayed in his “Nocturne Op. 9 No. 2.”
Tuesday, April 7, 2009
Brief Background of Korean Music
In the history of Korea, music was a major source of entertainment for all social classes. The elite class mostly sang difficult and musically complex songs, while the commoners would enjoy their simple folk tunes. It was soon after North and South Korea had gone under separation in 1953, due to the previous Japanese and Soviet Union invasion, when the emergence of different types of music had occurred. The Pansori is a traditional vocal performance, describing the stories of love and satires passed down from generations; Pungmul and Nongak are types of folk music sung in Korea, but the latter is more superstitiously-based.
The “Arirang” is arguably the most popular folk song in Korea. It is considered to be the representation of Korea’s history, present, and future, along with the lives and feelings of all its citizens. The lyrics within the song describe the hopes of a young maiden that her love will have sore feet, so he must return to her. The piece has varied overtime, each person changing the melody and rhythm to his or her liking; that is, to express their ideas about the country. Koreans sing the song, with or without accompaniment, in order to relieve stress or to exemplify their thoughts on life; therefore, it is believed that the song originated in the 1800s, when times were difficult to live a good life.
Eun Se-Na’s goyageum performance of the “Arirang” is an example of the folk song with her own improvisations and changes within the song, though she does not sing the lyrics of the piece.
The “Arirang” is arguably the most popular folk song in Korea. It is considered to be the representation of Korea’s history, present, and future, along with the lives and feelings of all its citizens. The lyrics within the song describe the hopes of a young maiden that her love will have sore feet, so he must return to her. The piece has varied overtime, each person changing the melody and rhythm to his or her liking; that is, to express their ideas about the country. Koreans sing the song, with or without accompaniment, in order to relieve stress or to exemplify their thoughts on life; therefore, it is believed that the song originated in the 1800s, when times were difficult to live a good life.
Eun Se-Na’s goyageum performance of the “Arirang” is an example of the folk song with her own improvisations and changes within the song, though she does not sing the lyrics of the piece.
Musical structure, function and expressive character
Both pieces “Arirang,”* and “Nocturne Op. 9 No. 2” currently almost begin with the same structure. Overall, Chopin’s piece is a rounded binary form, with its AABABAC formation. The Korean folk song, however, is not a rounded binary form since its formation is AA’BA’ and repeat. Theme A is actually traditionally played as the chorus because it has the main verse with the lyrics, “Arirang Arirang Arariyo” in measures 1 through 4. The next verse is somewhat different from the previous idea both rhythmically and melodically on the music sheet, but the same “dotted quarter-eighth-quarter” motif that is distinguished as the main theme of the folk song is played twice to help identify the part as still a part of theme A. Looking carefully, it looks as if Section A’ is almost symmetrically flipped across to mirror Section A. Throughout the song, each simplistic phrase is played four measures long, but when Se-Na repeats the tune, she ornaments the piece by adding triplets, rather than eighth notes as the background while her dominant hand plays the main tune.
Chopin’s Nocturne is also similar in that as the music progresses, the themes begin to become more technically complex and more expressive. The song begins with a pickup, and the first theme lasts four bars, as does all the other sections throughout the song, excluding C, or coda, which lasts approximately 11 measures.
The beginning motifs in the first A theme is replayed in bars 5 and six, with more ornamentation. After the song passes the B theme, which contains a bit of a resemblance to Section A’s rhythmic patterns, the next A theme does not begin with a pick-up, but rather with several grace notes, being engulfed in more sixteenth notes. Later on in the phrase, different rhythmical notes appear to fluctuate the appearance of the entire piece. Unlike the pattern given in A’s development after each time it’s played, the B theme is not developing, or rather, the Section Bs are exactly the same.
The end of A is slightly different from before as it transitions into the coda. Going into the octaves, the constant set of 32nd notes slow down to a tempo and finish with the Eb major chord, just like how the beginning had started.
*http://www.youtube.com/watch?v=IWLjIIv6PoY&feature=related
Chopin’s Nocturne is also similar in that as the music progresses, the themes begin to become more technically complex and more expressive. The song begins with a pickup, and the first theme lasts four bars, as does all the other sections throughout the song, excluding C, or coda, which lasts approximately 11 measures.
The beginning motifs in the first A theme is replayed in bars 5 and six, with more ornamentation. After the song passes the B theme, which contains a bit of a resemblance to Section A’s rhythmic patterns, the next A theme does not begin with a pick-up, but rather with several grace notes, being engulfed in more sixteenth notes. Later on in the phrase, different rhythmical notes appear to fluctuate the appearance of the entire piece. Unlike the pattern given in A’s development after each time it’s played, the B theme is not developing, or rather, the Section Bs are exactly the same.
The end of A is slightly different from before as it transitions into the coda. Going into the octaves, the constant set of 32nd notes slow down to a tempo and finish with the Eb major chord, just like how the beginning had started.
*http://www.youtube.com/watch?v=IWLjIIv6PoY&feature=related
Melody and Harmony
In the “Arirang,” the rhythmical motif is constantly repeated throughout the entire piece, even within the B section. Because the traditional folk song is such a simplistic tune, Se-Na, rather than plucking chords from her goyageum, improvises them into arpeggios of eighth and quarter notes. To even enhance the development of the themes further, as she repeats the song, she continues to beautify the base line with constant triplets.
Chopin is pretty much the same with his “Nocturne Op. 9 No.2.” His motifs are also simplistic, at first; that is, until he ornaments notes around them, with trills and extra eighth notes attached to the key. Chopin continues to use that technique until the end of the piece, finishing it off with a quick compilation of Cb, Bb, C, A.
In this way, I believe it is formidable to say the two performers are musically similar.
Chopin is pretty much the same with his “Nocturne Op. 9 No.2.” His motifs are also simplistic, at first; that is, until he ornaments notes around them, with trills and extra eighth notes attached to the key. Chopin continues to use that technique until the end of the piece, finishing it off with a quick compilation of Cb, Bb, C, A.
In this way, I believe it is formidable to say the two performers are musically similar.
Instrumentation
The gayageum is a Korean instrument, traditionally composed of 12 strings (in modern times, it can contain up to 25) placed across a box, resulting in sound. The strings are plucked with either fingers or a plectrum; occasionally, they are struck with beaters. There are different types of gayageum used in Korea, varying in size, shape, construction, etc. The popkum made of silk is a larger gayageum, used for court songs and ensembles. The sanjo, played for folksongs, uses wood thick enough to facilitate the techniques used to play the instrument. It is not essential to use this instrument to perform “Arirang,” but Se-Na had done a wonderful job doing so. In this Korean tune, instrumentation is not even needed; one could sing it a capella.
The piano used to play Chopin’s Nocturne comes from the percussion family since the hammers within the body of the piano are technically hitting the strings in order to produce sound. In the Romantic era, during the composer’s lifetime, the piano became an enormous prosperity. The instrument began to have a significant impact on the musical life of everyone in society around the world. The popularity of the piano had been a result of its ability to dominate all types of composition, whether it is opera, vocal, or symphony. It had become the most prominent instrument of the concert hall and home display.
The piano used to play Chopin’s Nocturne comes from the percussion family since the hammers within the body of the piano are technically hitting the strings in order to produce sound. In the Romantic era, during the composer’s lifetime, the piano became an enormous prosperity. The instrument began to have a significant impact on the musical life of everyone in society around the world. The popularity of the piano had been a result of its ability to dominate all types of composition, whether it is opera, vocal, or symphony. It had become the most prominent instrument of the concert hall and home display.
Tone Color
The tone color refers to the sound quality heard within the music. Since the gayageum is a plucked instrument, consisting of 12 to 25 strings, the nasal-like sounds emitted from the instrument differs from the piano noises when the hammer strikes upon the strings inside it. It is also possible to vibrato extravagantly on the gayageum, while it is not possible on a piano.
However, there was one performance* where the plucking was so gentle that the sounds played from the gayageum sounded more like a piano than Se-Na’s instrument. Later, however, it began to sound like a harp. The woman who had played “Snowflake” used a 12-string gayageum, unlike Se-Na’s; thus, I think the more strings on a gayageum, the less of a softer tone color and more nasally it may sound.
*http://www.youtube.com/watch?v=1x6uc0um8k8
However, there was one performance* where the plucking was so gentle that the sounds played from the gayageum sounded more like a piano than Se-Na’s instrument. Later, however, it began to sound like a harp. The woman who had played “Snowflake” used a 12-string gayageum, unlike Se-Na’s; thus, I think the more strings on a gayageum, the less of a softer tone color and more nasally it may sound.
*http://www.youtube.com/watch?v=1x6uc0um8k8
Rhythm
The “Arirang” has no specific tempo, as it is an older, traditional folk song. That is why different regions play the song in different tempos and interpret the duration of each note unlikely, as seen by Se-Na’s interpretation of the notes. There are no ritardandos or accelerandos in the piece, in contrast to Chopin’s Nocturne.
His piece is pretty much Adante for the entire piece. All of the ritardandos, rubatos, and rallentandos are “poco,” as can be seen in measure 10 (poco ritard.), 12 (poco rall.), 18 (poco ritard.), etc.
Rhythmically, the two songs are not very similar: one is more structured, while the other song has no fixed form.
The time signatures on both songs are entirely different, too. There are no changes in time in both songs, however. Chopin’s piece is in 12/8, while the Korean folk song is in ¾. Both songs were played in triplets at some points within the pieces, though.
His piece is pretty much Adante for the entire piece. All of the ritardandos, rubatos, and rallentandos are “poco,” as can be seen in measure 10 (poco ritard.), 12 (poco rall.), 18 (poco ritard.), etc.
Rhythmically, the two songs are not very similar: one is more structured, while the other song has no fixed form.
The time signatures on both songs are entirely different, too. There are no changes in time in both songs, however. Chopin’s piece is in 12/8, while the Korean folk song is in ¾. Both songs were played in triplets at some points within the pieces, though.
Texture
In the “Arirang,” the performance by Se-Na made the song seem homophonic, since she played the main melody while accompanying it with harmony using chords and arpeggios. However, it is not also the case; the song can also be monophonic, having a single melodic line played or sung without any accompaniment, or polyphonic, varied like a canon, as some regions do sing in different textures.
In “Nocturne Op. 9 No. 2,” however, the piece will forever be played with a homophonic texture. The base line continues to be triplet chords accompanying the main themes and motifs played in the melody of the piece. The only time the piece could technically be monophonic would be in measures 32 and 33, when the melody line plays the keys without an accompaniment.
In “Nocturne Op. 9 No. 2,” however, the piece will forever be played with a homophonic texture. The base line continues to be triplet chords accompanying the main themes and motifs played in the melody of the piece. The only time the piece could technically be monophonic would be in measures 32 and 33, when the melody line plays the keys without an accompaniment.
Style
The different styles that are implied by the composers are seen through the different circumstances and backgrounds of them. The “Arirang” has not much style since, as a folk song, its sole purpose is to provide enjoyment and pride to one’s country. The song is very simplistic – to the point that everyone changes the rhythm, style, texture, etc. to the piece.
The purpose of the Nocturne, on the other hand, was a short romantic piece, as is the definition of a Nocturne. Opus 9 indicates that the piece was composed several pieces later; a song created after experience. With the knowledge and emotions he carried (the passion of his nation), Chopin created a piece with the style that is evoked as indefinitely romantic. Composed in a major key, it can also be inferred that it was a positive style; a joyous song, yet with a tinge of grief. The slowness of the composition and the amount of accidentals may indicate such an outcome.
The purpose of the Nocturne, on the other hand, was a short romantic piece, as is the definition of a Nocturne. Opus 9 indicates that the piece was composed several pieces later; a song created after experience. With the knowledge and emotions he carried (the passion of his nation), Chopin created a piece with the style that is evoked as indefinitely romantic. Composed in a major key, it can also be inferred that it was a positive style; a joyous song, yet with a tinge of grief. The slowness of the composition and the amount of accidentals may indicate such an outcome.
Conclusion
Between the two culturally diverse musical genres, there were several similarities and differences in the Korean folk song and the Romantic’s Nocturne. The textures are different, as the “Arirang” could be played in any texture, while the Nocturne cannot, and rhythmically, one song is more stabilized than the other. The instruments, genuinely, do not sound similar, as can be proven by their instrumentation family. However, structurally, they both had a somewhat binary form, constantly going back to the main theme, and the pieces were played with ornamentation around each of the motifs and phrases within the pieces; even the instrumentation may sound the same under different circumstances.
WORD COUNT: 1,999
Works Cited
"Arirang." Sowega is Southwest Georgia on the Internet Albany,Georgia. 03 Apr. 2009
"CJO - Abstract - The Dual Career of “Arirangâ€: The Korean Resistance Anthem That Became a Japanese Pop Hit." Cambridge Journals Online. 2007. 03 Apr. 2009
Einstein, Alfred. Music in the Romantic Era. New York: W W Norton & Company Inc, 1947.
Kennedy, Michael. The Concise Oxford Dictionary of Music. 3rd ed. Oxford UP, 1980.
"The Music of the Romantic Era." Connexions - Sharing Knowledge and Building Communities. 19 Sept. 2008. 07 Apr. 2009
Musical Investigation. 8 Jan. 2009. 03 Apr. 2009
Room, Adrian. A Dictionary of Music Titles. Jefferson, North Carolina: McFarland & Company, Inc.,, 2000.
"Two Traditional Korean Songs." Connexions - Sharing Knowledge and Building Communities. 1 Nov. 2005. 03 Apr. 2009
"YouTube - Korean Music: Gayageum piece - Arirang." YouTube - Broadcast Yourself. 17 Apr. 2008. 03 Apr. 2009
"YouTube - Snowflake by gayageum." YouTube - Broadcast Yourself. 21 Nov. 2007. 03 Apr. 2009
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