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.
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