Music Theses and Dissertations
Permanent URI for this collectionhttp://hdl.handle.net/1903/2796
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Item VOICING THE UNHEARD: GENDERED PRACTICES, DISCOURSES, AND STRUGGLES OF GUGAK MUSICIANS IN SOUTH KOREA(2018) Yeo, Hyunjin; Witzleben, John L.; Music; Digital Repository at the University of Maryland; University of Maryland (College Park, Md.)This dissertation investigates how individual musicians’ experiences and gender identity are shaped by interacting with cultural ideals of gender roles in different levels of South Korean society and the ways in which they interact with gendered performances of music. In the last few years, gender has been a popular topic not only in academia but also in everyday conversations in South Korea. Traditional gender norms have been challenged, and various types of masculinities and femininities have emerged. As different ideas of gender roles coexist in society, gugak (literally “national music”) musicians, too, face challenges in the middle of social transition. This study aims to deliver the often unheard voices of two groups of musicians: male gayageum (Korean zither) players playing a “women’s instrument” and female fusion gugak musicians playing “cheap” music. Based on in-depth interviews and my eighteen years’ involvement in the gugak field, I examine how both groups of musicians negotiate conflicts as they face contrasting gender norms and values between the gugak community and South Korean society at large. In this process, their performance becomes the prime site where their ideas of masculinity and femininity are put on display. By playing particular instruments and styles of music, defying negative discourses on them, and demonstrating their competence, I argue that performances and narratives of the musicians ultimately complicate the hegemonic views of masculinity and femininity. By revealing untold stories of the often unheard groups of musicians, this dissertation sheds light on studies concerning what has been excluded from scholarly discussions, which will provide a more comprehensive picture of individual actors and communities in society. This work also contributes to studies on the complex interplay between individual actors, diverse ideas of gender, and performance.Item FROM POST-CLASSICISM TO ROMANTICISM IN SELECTED CELLO REPERTOIRE OF FELIX MENDELSSOHN AND ROBERT SCHUMANN(2006) Choi, Young Ji; Eising, EvelynThe early 19th century was a transitional period of Western European music history between the Classical and Romantic styles: new ideas and styles of music writing and performances were infused with a spirit of independence and personal freedom that arose all across Europe. Emphasis shifted from the restraint and formal discipline of the Classical point of view to the emotionalism and individualism of the Romantic. Many composers in that period had various styles and differing philosophies of their own music writings. I chose two representative Romantic composers, Felix Mendelssohn (1 809-1 847) and Robert Schumann (1 8 10-1 856), to compare the characteristics of their music and also to show how differently they approached their music in the environment of post-Classical and Romantic style. Mendelssohn was significant among many other contemporaries during the early 19Ih century because his music was somewhat distinct from the high Romantic style. He had a certain conservatism, an emotional inhibition. His music is certainly Romantic in its treatment of the orchestra and the quality of its imagination, but they were always skillful and controlled with polite gestures and never allow extra musical inspiration to disturb the musical balance. In contrast, Schumann, the leading exponent of musical Romanticism, was the first of the completely anti-Classic composers and forms as they previously existed. Mood, color, suggestion, allusion - these were important to Schumann, much more than writing correct fugues, rondos, or sonatas. I gave two recitals of each composer: Mendelssohn and Schumann. The first recital comprised of two works by Mendelssohn: Sonata No. 2 in D Major, opus 58 and Piano Trio No. 2 in c minor. opus 66. Both of these pieces are good examples of typical classical form such as sonata form and rondo. The second recital, I performed the highly romantic late works of Schumann: Five Pieces in Folk Style, opus 102, Adagio and Allegro, opus 70 and Concerto in a minor, opus 129.