SCA Arch iv Storage 1999 Yun A Study of Korean Diction for Singers by MisookYun A Lecture Document Presented to the School of Music of the University of Oregon in partial fulfillmen t of the requirements for the degree of Doctor of Musical Arts November 18, 1999 © 1999 Misook Yun ACKNOWLEDGMENTS First and foremost I would like to thank my mom, Yoonlm Lee, who has been praying for me everyday. She has been my best friend and supporter. My siblings also have been so good to me. Thank you all. For guidance and support, I am in debt to my teachers during my graduate studies. Professor Vargas, Dr. Beudert, and Dr. Miller. I appreciate your help, encouragement, and patience. Most of all I thank you Lord for being with me all the time. Table of Contents Page Acknowledgments Introduction 1 Part I: Korean Language and Music 5 A. Background 5 B. A Short History of the Korean Language and Music 11 1. The Korean Language 11 2. The Invention of the Korean Alphabet 12 3. Uniqueness of Korean Diction 13 4. A Short History of Korean Music 14 Part II: The Korean Alphabet 19 Part III: Pronunciation Guide 23 A. Vowels 24 Pure Vowels 25 Semi-Vowels (diphthongs) 29 1. Y-diphthongs 29 2. W- diphthongs 32 3. o- diphthongs 34 B. Consonants 35 1. Labial Consonants 36 2. Dental Consonants 39 3. Velar Consonants 48 4. Glottal Consonants 50 5. Final Compound Consonants 52 Part IV: Composers and Works 57 A. Composers 57 1. Byung Dong Paik 57 2. Isang Yun 59 3. YeonJoon Kim 60 4. SoonAe Kim 61 5. YoungSub Choi 61 B. Works: Texts and Music with Phonetic Transcriptions, IPA and Translations 1. Gahng Gahng Suwol Lae ( 7J 7J ½ att ) 62 2. Traditional Attire ( l 'ts- £1 --'-J ) 65 3. Song of My Hometown ( l 0J £] ::... att ) 69 4. BecauseofYou(-2.c~ ~% 0 11 ) 71 5. Missing GumGahng Mountain (2 "'l f E ~ ~ )74 6. A Misty Moon ( '¥ .!j!- "'l ) 77 7. Red Pomegranate (''"r ~ -;:!" ..._~ ~ ) 79 8. Stars ( 8J ) 81 9. An Elegy (8 17 r) 83 10. Nostalgia( ? 0~ ) 85 Appendix: The Practice of Writing Korean Bibliography INTRODUCTION An accurately written representation of Korean diction has been in my thoughts since my study at Hanyang University in Seoul, Korea. While studying Italian, English, French and German diction, I came to realize that no manual for Korean diction existed. Originally, I wanted to write a Korean diction manual for Korean singers as my master's thesis. While that was never accomplished, that idea has served as the impetus for this document. This lecture document is A Study Korean Diction for Singers. Such a manual can be useful to Western singers who wish to explore Korean art song. Western style Korean art song has a history of less than one hundred years. That period seems insignificant considering that Korea has 5,000 years of cultural history and 3,000 years of music history. There are, however, a great number of Korean art songs, choral works, and even operas composed in the Western music tradition. Even though the quality of much of this music is superior, these works are not well known outside of Korea. One reason may be that there is no manual of Korean diction. Fortunately, there are some dissertations and theses on topics related to Korean diction. Due to the uniqueness of the Korean language, there are many technical difficulties in using the International Phonetic Alphabet (IPA) . Previous studies have had to rely on the IPA and the McCune- Reischauer Romanization for Korean pronunciation. Although I appreciate these achievements, I find their work confusing. My solution has been to rely on standard symbols, IPA, with some altered symbolds for Korean sounds that are impossible to express using standard IP A. For some letters that are difficult to express in IP A, I used three additional symbols for IP A; ['] for certain 2 non-plosive consonants ' along with an explanation, ["] for stopped and not really pronounced consonants, and [u] for liaison. For a better understanding of Korean pronunciation, this manual compares Korean with English, German, French and Italian. Although learning to speak and understand Korean is not an easy task, reading Korean is easier because it is a phonetic language. There are some exceptions due to liaison, progressive assimilation of consonants and vowel gradation. Non-Korean speakers may be overwhelmed by the characters in the Korean alphabet. After learning all 40 characters and the basis for combining them, one should be able, with proper effort, to read Korean. Ideally, one should understand basic Korean grammar in order to pronounce Korean correctly, but grammar is beyond the scope of this lecture document. This study includes guides for accurate pronunciation. It also includes example songs of selected prominent Korean composers set in IP A. The lecture demonstration will provide a brief introduction to the Korean alphabet, and selected Korean songs have been chosen to demonstrate the pronunciation. 1 These consonants are usually in between consonants and used as bahtchim. ( bahtchim w ill be dissused on page 20.) Because of the next consonant, the bahtchim has a hint of pronounciation w ithout completion. 3 I also include a cassette tape in which correct Korean pronunciation is demonstrated. Korean song texts provide the basis for illustrating the correct pronunciation of the language in the paper and lecture demonstration. There is very little information available on the lives and works of most Korean composers. Isang Yun and ByungDong Paik are exceptions. Few actual dates of composition are known, consequently I have relied on those dates provided by HyonMyong Unfortunately, Korean singers also have diction problems with their own language just as all singers have with their native tongues. I hope this study can become the basis for correct Korean diction for singers. 2 O, p. 109. Hyon-Myong O (1924-): Korean singer (baritone-bass), writer, opera director, and educator. 4 PART I: KOREAN LANGUAGE AND MUSIC A. Background Achieving proper pronunciation, including correct accentuation, is among the greatest challenges in learning any foreign language. One of the main difficulties concerns the correct use of tongue and teeth. Some languages, Korean among them, require positions of the mouth and tongue that may be unfamiliar to singers who are accustomed to speaking and singing Western languages. Yet, there are some characteristics shared by Korean and 5 some Western languages. I will examine their similarities and dissimilarities by comparing and contrasting them. It is common practice to use Hoch Deutsch for German classical singing, and British English for the singing of most English classical pieces. Although there are no such "high" or "low" language distinctions applied to Korean singing, there should be some guidelines for consistent pronunciation. It is not uncommon for singers to fail to make audiences understand their mother tongue when it is sung. As in all languages, range and pitch concerns frequently make Korean sung texts difficult to understand. Korean songs may be more difficult to sing or understand because for two main reasons: 1) they contain so many final consonants, making it harder to sing with a legato line; 2) Korean consonants are generally much softer than those of Western languages, which makes it harder to sing with correct pronunciation without exaggeration. For non-Korean speakers, learning the Korean alphabet itself can be a challenge. Once this is accomplished, reading Korean is less 6 daunting. It is because Korean is a phonetic language' and the Korean alphabet system is scientific'. A word is formed with an initial consonant (single, double, or silent O '), a medial vowel, and a final consonant' (single, some 3 Some lniguistics argue that Hangul is a pictographic language which was derived from Chinese characters. (Hoyt, p. 23). 4 "Hunminjongum was unique in many respects .... First, it was based on the articulatory phonetic theory. That is to say, the shape of the basic letters was modelled [~) on the actual shape of the articulatory organs [~) involved in pronouncing the sounds represented by the letters. For instance, the letter 7 [g or k] represents the velar sound since it resembles the shape of the tongue blocking the 'throat'; the letter '- represents the lingual sound or dental/ aveolar sound in modem teminology since it resembles the tongue touching 'the upper jaw', i.e., upper teeth or teeth ridge; and the letter O represents the labial sound since it resembles the shape of the lips, etc. In this manner the five basic letters were established and the twelve remaining consonant letters were derived by adding to each of the five basic letters one or more additional stroke [~] or symbol [~] which indicated other phonologically relevant phonetic features or different manners of articulation at homorganic points of articulation. The eleven vowel letters were likewise formulated on the basis of phonetic observations, of which three letters, I ["or)], - [i or ui] and I [i] were taken as basic and the eight remaining vowel letters were derived by different combinations of the three basic letters. (The first of these three basic letters has been discarded in the modern orthography.) Secondly, Hunminjongum, although formulated on a purely phonetic basis, was a phonemic alphabet in its actual application. And there is sufficient evidence (e.g. the recognition of three positions, initial, medial and final, in the syllable and the statements concerning the distribution of sounds at the three positions of a syllable, etc.) ..... .The third characteristic of Hunminjongum is found in the spelling principle decreed by the king, according to which letters were to be combined, in accordance with the prescribed rule, into syllable blocks and not in a linear succession as in European languages. ..... For instance, syllables like / mag/ 'certain' and / nun / 'eye' would be arranged in actual writing as follows: / mag/ ma: 12) < O = m, r = a, 7 = g g /nun/ n : ~ < L = L fl, I = ll, u n (Lee, pp. 2-3) 5 0 does not have any sound value when it is used in the initial position. 6 Some words are formed without a final consonant. 7 double or compound). These final consonants are called bahtchim7• A final consonant may or may not occur. The order of writing and reading a word is from left (consonant) to right (vowel) and from top (consonant and vowel) to bottom (final consonant). There are six organizational structures' in written Korean. They are: Type I [] ~ ex: t)-c] [dari] (leg, or bridge) t + l- + [d] [a] [r] [i] c:::I=:J Type II c:::::::z:::::: ex: ~4- [usu] (a premium, rainwater, predominance) silent [s] + T [u] + T [u] 7. More information is on page 20. 8 These diagramatic ideas are from 'Korean fonts' by S. Todd Stubbs and Sol Yang Hwan via internet. (See also appendix for writing Korean Alphabet Chart) 8 c:::::::::r:J c::::::::z::::J 0 t: Type III c:::::::::s::J ex: LL [an dun] (hermit) a t: silent [d] + + ....,.. rai [u] + \.. + \.. [n] [n] BE] Type IV ::\ ex: 0J ~ [jari mall (sock(s)) a + F 0 [ja] [ml + ~ [a] e + 0 [T]] + DJ TypeV ~G ex: ]J'"r [gwe tsa] (an odd person) 7 [g] + ...L + [ts] + } [a] [we] 9 ~G Type VI c::::::::;r:::: ex: ~ ''-J [gwari 3'ari] (plaza, big open space) 7 [g] + + ~ ..L :;c [3'] + } [a] [wa] + 0 fril + Cl [ril "Although the Hangul system of writing is very simple, it is not easy to devise a consistent system of spelling out the words of the language. That is because the sounds of words depend on the words around them."9 Therefore, in order to understand this system, one needs to be aware of the grammar rules related to pronunciation. 9 Matin, p.7. 10 From among the nine main dialects in South and North Korea, I will limit this study to the "standard Korean (Pyojoonmahl)"10 spoken in schools and newscasts. The Grand Korean Dictionary published by Kumsung Publishing Co. defines Pyojoonmahl as "the language used by educated people in the Seoul area". Unlike Western languages, standard Korean has flat intonation and the accent is usually on the first syllable. While the standard Korean is monotonic, all other dialects have severe inflections. The exception would be sentences ending in the form of a question where, as in English, the pitch rises. I have consulted with singers, both native and non-native Korean speakers, for this study to compare and describe the physiology of diction. This study will be a help in a bridge of understanding between the Korean and Western culture. B. A Short History of the Korean Language and Music 1. The Korean Language The Korean language originated from the Altaic region of Eurasia. Korean is related to the Turkish, Mongolian, and Japanes 10 Kim, p. 2740. 11 languages. Even though Korea is closely related to China geographically, culturally, and politically, their languages are totally different. Koreans still use Chinese characters and terminology despite the fact that the Korean alphabet and grammar are different from Chinese. 2. The Invention of the Korean Alphabet Hangul, the Korean alphabet, was invented in 1443 by six scholars of the Royal Academy of Chiphyonjon, established by the fourth king of the Yi-dynasty, King Sejong (1418-1450). At first Hangul was called as Hunminjongum, which means, "the right sounds to teach the nation". Its name was changed to Hangul by Si.kyong Joo in 1910.11 Before Hangul was invented, Korean borrowed Chinese characters for wtitten communication. Chinese characters were not only difficult to learn, it was also impossible for them to express Korean idioms. They could not express accurately the sounds of the Korean language because Chinese writing and phonologic structures 11 Martin, p. 6. I 2 are very different from Korean. As a result many common people were illiterate. Sympathizing with the predicament of the common people, King Sejong ordered the six scholars in the Royal Academy of Chiphyonjon [RAC] to invent a new Korean alphabet that would be easy to learn and followed the sounds of the spoken language. In the preparation of this alphabet the RAC studied speaking voices as well as singing voices. The scholars were even sent to foreign countries to study the foreign sounds so that the new alphabet could transcribe any language completely. Since the King was very much interested in music and art, he included Yeon Park, the chief of the Royal Academy of Music, as one of the scholars in the RAC. The first book written in Hangul was a didactic cycle of poems, %8 I 0 1~ 7 )- [jo17 bi/\ tf/\n gal "The Songs of the Dragons Flying to Heaven", written in 1446. 3. The Uniqueness of Korean Diction There are no nasal12 sounds in Korean. There are no words 12 There is [fl] in Korean, but it is not a physical nasal sound. I 3 beginning with 'l' or 'r'. For that reason people still make mistakes pronouncing 'l' as 'r' or vice versa, although Korean people can distinguish and pronounce both 'l' and 'r'. Korean is an unaccented language. Yet, in general, native speakers put accents on the first syllables of words. There are no tone changes except for emphasis or in interrogatives. Similar to French and Italian, the Korean language frequently employs liaison and elision. When ° [idT\] appears as the initial syllable, and is appended to a syllable with a final consonant, that consonant shifts to become the onset of the second syllable" (e.g., ~ [pal], % [ell], but ~% [pa rel!]). The pronunciation of the consonant may change slightly with this shift. 4. A Short History of Korean Music Korean culture is 5,000 years old, and its folk music and dance have been practiced for 3,000 years. "The earliest literary source on Korean music is the chapter on Korea in the San-kuo (The history of 13 Martin, p. 29. 14 the Three Kingdoms) by Chen Shou (297 A. D.)."14 Culturally and politically, China had the greatest influence on Korea until the late 19th century. Chinese ritual music (A-ak) was introduced to Korea about 1116 A. D. It includes Confucian temple music and music for the shrine of royal ancestors". Since then, both native Korean music, HyahngAk, , and Chinese music co-existed and developed into a new traditional Korean music' 6 • Korean traditional art songs can be divided into four genres by the style of singing: 1) GahSah, narrative song; 2) GahGok, lyric song; 3) ShiJo, short lyric song; 4) PahnSoRi, an epic song. These later were to influence Korean music composed in Western style. The first Korean music written in Western style was for band. It was written during the end of Yi dynasty in the late 19th century. Christian hymn tunes, first introduced into Korea by missionaries around 1885, became the basis of the secular song form Chang-Gah. These secular songs gave expression to patriotic feelings and later resistance to Japanese imperialism. The first Western style Korean " Lee, Hye Gu. p. 319. " Feliciano, p. 34. 16 "While the main elements of music in Western music are melody, rhythm, and harmony, melody, rhythm, form, and improvisation are the four main elements of Korean traditional music. As in Western music, one octave in Korean music is divided into twelve half steps. However, the pentatonic scale is mainly used for Korean music while the heptatonic scale is used for Chinese music." (Song, p. 634). I 5 art song, BongSunHwa, "Balsam Flower", was written in 1919 by Nahn-Pah Hong. Two main types of classical music exist in Korea' 7 : Korean National Music" , GugAk, and Western Style Music, YahngAk. After Korea started adopting Western culture in the late 19th century, Korea did not have much opportunity to develop music expressing its own style. Therefore, compositional styles in the early 20th century still show a mixture of Classical and Romantic music. Changes in society and the political climate were also reflected in changes of compositional styles. Stylistic changes also can be seen in poetic choices. The first period extends from the first Western style music (around 1890) to the time of Korea's independence (1945). In this period, song texts tended to be patriotic, showing resistance against Japanese Imperialism. These songs expressed the sorrow of the people who had lost their country. The second period directly follows the Korean independence (1945) until the Korean War (1950-53) . During this short period, musicians tried to write music that showed 17 Limited to South Korea in this paper. 1s Korean National Music can be divided into two categories: court music and folk music. Both can be instrumental or vocal. 1 6 no involvement in politics. After the Korean War post-Romanticism became the main compositional style. The term 'Modern' was first used by UnY oung Nah in his song, "Ninety-nine Sheep" written in 1952. From this point on atonality was increasingly used in composition. 19 Even after independence and the end of the Korean War, there were many poems and songs dealing with social and political issues. Their texts increasingly expressed frustration toward the military government and the bourgeois. A Korean musicologist, Dr. GahngSuk Lee, has done extensive research on this subject. GahngSuk Lee observes three generations20 of composers during this time, each with their own style characteristics. The fisrt generation (1890-1945) wrote music in simple major and minor scales. Composers practiced writing in Western musical style of the 18'" and 19th centuries. The main composers are NahnPa Hong, SungTae Kim, DongJin Kim, HungRyul Lee, et al. The second generation (1945-1950s) composers attempted to escape the old style, and create new and advanced techniques. Their 19 GahngSuk Lee, p . 306. 20 Ibid., p. 293-314. 17 music is more modern, and 20th century style atonality was introduced and practiced. The composers are ByungDong Paik, SukHee Gahng, YongJin Kim, JeongGhil Kim, JaeYeol Park, HaeJoong Yun, In Yong Nah, In Chan Choi, JeonMook Kim, JoonSahng Park, DongSun Choi, Mahn Bahng Lee, OoSahng Im, JongGoo Lee, ... et al. The third generation (1960-1980s) of the composers mainly tried to combine the modality and music ethics. It was partialy a Nationalistic movement. The composers are GunY ong Lee, ByungEun Yu, SungHo Whang, Joonll Gahng, TaeYong Jeong, YoungHan Huh,. .. et al. Korean Art songs with Korean traditional rhythms in compound meters were often written, usually 6/8, 9 /8, or 12/8, written in the 50s and 60s (e.g., Isang Yun's early five songs,ByungDong Paik's 'GahngGahng Suwol Lae,' DooNahm Cho's 'Seh Tah Ryung', .... et al.). However, some songs are written with mixed meters, or entirely unmetered, as well as introduced atonality (e.g., ByungDong Paik's 'Swamp', YoungSuh Choi's 'Choo Uk' , .. ... et al.). I 8 PART II : THE KOREAN ALPHABET The Korean alphabet has 21 vowels and 19 consonants: 8 single vowels and 13 semi-vowels, and 14 single consonants and 5 double consonants. Korean words are formed with a consonant plus a vowel, but sometimes there is an extra final consonant included to form a word (bahtchim)" . All 14 single and 2 of the 5 double(" and "') consonants can function as a bahtchim, and additionally 11 more possible final compound consonants exist. 2 1 balttchim: a final (consonant or consonant cluster) on the end of a Korean orthographic syllable. (Kim, p. 714.) 19 A The Vowels PurevQw~l:, Hang ul IPA 1. [a] 2. [A] 3 . [o] 4. T [u] 5. [aJ 6. I [i] 7. 11 [e] 8. » [e] Semi-Vow~ls 1. r [ja] 2 . 1 [jA] 3 . [jo] 4. 7T [ju] 5. ~ [je l 6. 11 [je] 7. -1 [cli] 8. ~1 [wa] 9. ,I [wi] 10. ~~ [wa] 11. -rll [wre] 12. ~I (we] 13. ~H [we] 20 B. The Consonants Single Consonants Hangul Transliteration Name IPA 1. 7 ghiyuk [gijAg"l [gl 2. \.. niun [nimil [nl 3 . t digut [digclt"l [d] 4. " riul [riclll [ll or [rl 5. 0 rniwn [rniclml [ml 6. el biup [biclp"] [b] .,_ 7. shiot [fiot"l [sl 8. 0 eeung [i017l [TJl final/ no sound as initial 9. " jiut [3'iclt"] [3'l 10. " tigut [tficlt"l [tfl 11. :a khiyuk [kijAk"l [kl 12. 6 tigut [tigclt"l [tl 13. li piup [piclp"l [pl 14. 0 hiut [hiclt"] [hl Double Consonants .,., 1. ssahng ghiyuk [s'aTJ gijAg"l [k'l 2. u: ssahng digut [s'aTJ digclt"] [t'] 3 . l¼l ssahngbiup [s'aTJ biclp"l [pl -Y 4. ssahng shiot [s'aTJ fiot"l [s'l 5. "" ssahng jiut [s'aTJ 3'iclt"l [ts] 2 1 Compound consonants These consonants are only used as bahtchim, final consonants, and cannot be used as either initial or median positions. Since the pronunciation of these bahtchim are determined by the surrounding words, no single pronunciation on written IP A can be used. Koreans simply refer as reading names of Hangul from left to right (e.g., ghiyuk- shiot, niun-jiut, ... et al.). 1. ,,. ghiyuk shiot [gij/\k fiot"] 2. v< niunjiut [ nion ~'iot"] 3. ce niunhiut [ nion hiot"] 4. e:1 riulghiyuk [riol gijAg"] 5. 2□ riulrnium [riillrniclm] 6. 2\l riul biup [riolbiilp"] 7. 2;. riul shiot [riol fiot"] 8. 2E riul tigut [riill ti gilt"] 9. an riul piup [ riol piilp"] 10. "" riul hiut [ riol hiot"] 11. >U biup shiot [biop" Jiot"] 22 PART III: PRONUNCIATION GUIDE In Korean there are many nuances or gradations of plosive consonants in addition to the plosive and non-plosive sounds of Western languages. Most Korean consonants are softer than those of European languages, and many of them are almost dropped without actually being pronounced. For example, my name, Misook, is pronounced as [misug] not [misuk] with an aspirated [kl" . The final consonant from my name is closer to [g] than [k]. One of the most common mistakes made by Westerners is pronouncing Korean consonants too strongly. Although it is important to enunciate clearly, one should not overly pronounce Korean. Hyon-Myong 0, the author of Understanding and Performing Korean Lieder. 22 see also explanation of ghiyuk in consonants part for details. 23 indicates in his book that even some Korean singers who studied abroad make the mistake of pronouncing Korean consonants too strongly due to Western language influence. A. The Vowels There are two types of vowels in Korean; eight pure vowels and thirteen semi-vowels (diphthongs). "The position of the tongue is higher, and the shape of the lips is a little less rounded for Korean vowels than those of English in general"" . Some vowels are not clearly differentiated" by Korean native speakers, and some are pronounced as totally different" vowels. Vowel Chart: Park, F. Y.T. (p. 22) / Illustration of the relative tongue position Front Central Back D ..L 0 D }a D 23 Park, F.Y.T. p. 22. 24 .] & ......H are sometimes not differenciated. "ij & I\ are sometimes mis-pronounced (e.g., ,,.1\ 7 ij [se ge] (three), ,.1\ 7 1\ [ [se gs] (world) ... etc.), -1 is pronounced as II (examples see 'vowels especially, -\ ). 24 Pure Vowels: r, 1, ~ , T, - , I, 11 , ~ [a] is similar to the English word 'father', but Korean r is less frontal and less bright than that of 'father'. ex: 0 r" "r [a p'a] (daddy) 0 r ~ [a tfim] (morning, breakfast) 'r "'J [ga 3'ari] (a head of family, disguise, most) ~f tr [ma! t'a] (clear, clean, limpid) [A] is similar to 'up', 'cut', and 'such' in English, but more open than those words. Korean i is pronounced between[::::,] and [A]. Yet, the majority of Korean words with this vowel are pronounced as short. The jaw needs to be relaxed and dropped naturally while pronouncing this vowel. ex: 0 1° 1 '--1 [A IDA nil (mother) --'-i "1 % [SA rA um] (sorrow, grief) 0 1'- -r ~ [mA na mAn] (far and far) ~ \.. r° 'r [mAn na raj (far away country) 25 [o] is close to [o] in 'omit' in English. There is only one kind of closed [o] in Korean. The lips should be rounded, and care should be taken not to open the mouth too widely. ex: :;... w)- [o p'a] (brother) .:.. "l [ so ri) (sound) E [gom) (a bear) f ~J ~ [on wha han] (warm, mild, gentle) , [u] is similar to [u] in the English word 'soon'. This back vowel is pronounced while rounding the lips. Yet, usually [u ] in Korean is not as lengthy as that of English, and not as short and dark as [U] like 'muss' in German. There are some words that need to be differentiated in length, because duration changes their meanings (e.g., ~ [nun] (eye), ~ : [nu:n] (snow)). ex: ~ ~ [u san](umbrella) -=I-~ [gu du] (shoes, boots) -!j!.~ [mu u] (Asian radish) t ~ [sun gug) (patriotic martydom) 26 [o] might be one of the most foreign and difficult vowels for foreigners. By the same token, Koreans have much difficulty of learning Western [o] and [i] as well. [o] in Korean is like the Schwa sound in German. However, while [o] in German is unaccented and short in length, [o] in Korean has longer in length. Also,[o] in the final e of the German word Liebe and e of the French word je are pronounced with more space between the upper and lower teeth than one would allow in Korean. In order to practice this sound correctly, one needs to have almost no space between the teeth while opening the lips slightly and make a sound as if disgusted. ex: 2 '--11 [go ne] (swing) ~ ~ 0 rtr [on an ha da] (sonorous, reverberating) ½ ~ [sol porn] (sadness, sorrow) f f 'c!- [ton ton han] (healthy, strong) [i] is between [I] and [i] in Western languages. It is not too bright, nor too dark. Yet, there are some Korean words slightly more forward than the others (e.g., Sf-- 8 1 [u bi]= rain coat). In general, the tongue position of this vowel is further back than in English (e.g., 27 ~ "'l [gim s'i] =Mr. or Ms. Kim). There is less space between teeth the for Korean than English. One can almost pronounce it without even opening one's mouth. ex: •l "-1 •tt [gi , 'i gt] (stretching) "'l ~ [s'i at] (seed(s)) :t] 0a "-_.j [tfi mjAT13' Ag"] (fatal) ~ % [mi dom] (trust, confidence, credit) ~ [t] is similar to [t] in the English words 'guest', 'well'. Relax the lips and jaw while pronouncing it. Sometimes, it is mis- pronounced like [je] in Korean colloquial conversation. ex: ~ott [u t](friendship) --'-tt "-J [st 3'aT1](bird cage) 0 tt ~ 'r (t gug" k'a](Korean National Anthem) •tt T a], 6 [gt gu ri] (a frog) 11 [el is close to the French word 'et€'. ex: --'-11-'-J [se saT1](world) 26 it is often pronounced as [gje gu ri\ by Korean native speakers 28 "11 °--! [tfe mjAn] (dignity, reputation, appearance) 7 11 [ge] (crab) 8 17 ~ [be gE] (pillow) Semi-Vowels {diphthongs): r, 1, ~ , i-r , 11 , ~' - 1,,l, ,1 ,~~ , ,11,~I, ~H There are three types of diphthongs in Korean: W-diphthong, Y- diphthong, and a-diphthong. In practice, Korean diphthongs are similar to Italian paired vowels. In normal words other than pronouns, pronounce the first vowel and move to the second part of the vowels as quickly as possible (e.g., pieta [pjEta] in Italian). Especially, when a word starts with consonantal initial, the 'w' and 'y' parts are almost inaudible, but the second part of the diphthongs are longer. 1. Y-diphthongs r, 1, ~, i-r , 11, ~ [ja] is pronounced as in the German 'ja' . After pronouncing the semi-vowel [j], quickly move to [a]. Start with [i] mouth position, then open the mouth quickly and pronounce [a]. 29 ex: 0 r4- [ja su] (beast) 7 f ~ ~ [gja ram han] (thin, slender, delicate) ~ ~ [dal gjal] (egg) 0 fT [ja gu] (baseball) [jA] is created with a position of the mouth almost like the open [::>]. After pronouncing the semi-vowel [j], open the mouth like[::>] or [A]. ex: 0 1~ [jA ram] (summer) 7 1% [gjA ul] (winter) 0cl ,,._l [mjAl s'i] (disdain) ~ ~ ,,._)- [bjATI ho sa] (lawyer) 1] (je] sounds similar to the first part of the English word 'Yale', and 'jeder' in German. ex: 0 11 ½ [je sul) (arts) n:j] 8S (pje p'jA11] (a lung disease) 7 1I "al (gje 3' Al] (season) 30 1 7 1\ [gAfl gje] (border, caution, precaution, watch) ~ [jE) is close to the first part of the English word 'yell', 'yellow', 'yen', 'yet'. ex: 0 ~ 0 r [jE ja) (idiom for calling a child) 0 ~ 7 1 [jE gi) (story, a reduced word form of 0 1° r 7 1 [i jagi]) "-~ [ n] (that child) [jo] is close to the initial syllable in the German word 'Joseph' . The shape of the mouth is round, and small. ex : R ~ [jo ran] (loud) R ½ [jo sul) (magic) ~ .';!.. ~ [gjo mjo han] (skillful, ingenuous, clever ... ) -'-j 2 [sAn gjo] (mission) -rr [ju) is close to the English word 'you' . The shape of the mouth is again rounded and small. ex: ~ a\ [ju ri) (glass (es)) 3 I ~ 7 r [hju ga] (vacation, holiday) ~ ~ [gju mo] (scale) i [gjul] (mandarin) Exceptions occur contractions from [i]+ vowel, and words of foreign origin. 2. W-diphthongs: ~l,~l,~~,A~l,~ij The three W-diphthongs, T1] , ~J ,~ij, are difficult to distinguish even among Koreans. They are often pronounced too similarly, and even cross pronounced by native Koreans . .J [wa] combines the vowels of ...._ [o] and r (a]. The shape of the mouth opens to [o] and quickly opens [a] ex: :::'J ~ [gwa ii] (fruit) ~ :::'J [ii gwa] (daily schedule) :::'J4- 't: [gwa su WAn] (an orchard, a fruit garden) ~ ;,:.c.! [wan 3'An] (perfection) ~l [we] combines consecutively the vowels is of -'- [o] and l [i]. However, it is pronounced [o + e] with the stress on the second vowel. 32 Pronouncing [w] and the first part of the diphthong in an English word 'way' would be one of the closest sound to ~l. ex: S'.l .;', [we gug](foreign country) ~l ~ [3'we in] (criminal) 11 i [gwe mull (a monster) :il ~ [swe p'ul] (a cow's horn) ~~ [we] combines consecutively the vowels of ~ [o] and n( E]. It is similar to the English word 'wed'. ex: <;:.b.l [dwE 3'1] (pig) 1.~ .;', [swE gug"] (national isolation) lijl 1.~ [pje swE] (closing, closure, a lock out) ~11 [wee] combines consecutively the vowels of , [u] and il [e]. However, the initial sound is pronounced similarly to the German 6 in 'miichte', but one needs to change the shape of the mouth slightly in order to complete ~11 in Korean whereas one should not change the shape of the mouth for the German '6'. ex: ::;:11 8J [gwce bjAn] (deceptive talk, a paradox) 33 ~ ~ [wcen"nil] (what matter) -r1 [wi]combinesthevowelsof , [u]and 1 [i]. Itissirnilarto the French word 'oui'. Begin by pronouncing [u], and quickly move to [i]. ex: ~\ ~ [wi an] (consolation) ~l "l [tJwi 3'i] (the meaning, the point) ..,,1 [wA] combines vowels of , [u] and 1[ A). It is similar to the English 'worry'. To pronounce it, move quickly from [u] to [A]. ex: ~ a~ [wAl" le] (originally) ~ 0 } r:} [hwAn ha da] (be broad and wide) 3. a-diphthong -1 [ai] combines vowels of - [al and l [i]. Start pronouncing [a) as if pronouncing 'good' in English, then change to [i] as quickly as possible. ex: ':.\ -'-} [ai sa] (doctor) ':.\ "-r [ai 3'a] (chair) However, when -l [ai] is used as the possessive particle (of), ordinarily pronounced as 11 [e]. 34 ex: 'i-T ::I [nu gu e] (whose) 1..U .£ ,,_~ 01 I . . 11 c c - m: dori SET\ e] (my younger sibling) When -1 is used in the position of median, it is pronounced as [i]. ex: ~I cl \'.:1 [hi di hin] (very very white) The tongue moves forward when pronouncing it, where as the pure [i] does not require tongue movement. B. Consonants Korean consonants are softer than those found in Western languages. Therefore, as I have said before one should not exaggerate articulation. All the consonants can be used as bahtchim (final consonants), except three double consonants: u: , ll>l , "" . Bahtchim are used frequently in many Korean words, and it is easy to sing without legato lines because of the frequent consonantal stops. For beautiful legato singing with good Korean diction, one should delay enunciating bahtchim until immediately before the succeding consonant or vowel. 35 Musical example 1: from ~ 7}~1 ~ [han ga wi dal] by YongHa Yun Illustrating bahtchim in [ ] - . I '"· r-: ~r---, "' •J ~ 9- ~ .:<.I- -gi 01 -e •I ~ • I ~ ~ '!!, ~ , C 'So.."' Su K'o..t: t')o.cloj· c ~-, su ~-. ~o\ dr-.l'I JHj [p'jA] (bone) ~ [p'ul] (a horn) ir , [piop J, [pl or [b"J This consonant is always pronounced as a plosive [p] when it is used as an initial position. ex: ir} [pa] (green onion) rr}5- [pa do] (wave) When it is used as a bahtchim, and ends with this consonant or followed by a consonant, it is pronounced as 8 ex: i'-i [mu rob"] (knee) ~ [nob"] (swamp) But, when it is used as a bahtchim, and followed by O [iOT)], it is pronounced as [p]. ex: i'-l % [mu rop ol] (knee (used as object in a sentence)) 0 , [miomJ, [ml This consonant is always pronounced as [m] 38 ex: 0 1° 11...1 [A IDA ni] (mother) O_j t:r [mAg"t'a] (eat) There is no [f ] and [v ] in Korean diction except for borrowed words from foreign languages. This is one of the reasons that Korean students have difficulty differentiating [f] and [p], and [v] and [b]. 2. Dental Consonants c, [di gclt"],[d] or[t') This consonant changes the sound by the position as well. An initial c: is pronounced as between [t) and [d], but more close to [d] with feeling of [t] . It is also softer than Italian [d] as 'Dia ' or 'due'. ex: 'c!- % [dan puri] (autumn tints) '¥ 2 I 7 1 [dal Ii gi)(running) When [d igclt") is used in median position in a word, [d igclt"] either becomes sound of [t'] or it affects following consonant. (e.g., f 'c!- 8 ~ [dot" t'an be] (a sailing boat)). 39 --------------------------- , ex 1: When [digat"] is used as a bahtchim, it is pronounced closer to [t] with stopping instead of too much of plosive sound. ex 2 : when [d igat"] is used as a bahtchim and preceded by a consonant, the next consonant becomes a hard sound. for ex 1 & 2, '2- J.. [dat" k'o] (to close) f _l,l_ 7 1 [dot" p'o gi] (magnifying glasses) 'E ~ [got" ts"ari] (immediately) ex 3: when preceded by some bahtchim, " [tfi at"], 5 [ti gat"], and 7 [gi jAg"], [digat"] is pronounced as [t'] (e.g., i ct [mut"t'a] (bury), 0--1 ct [mAg" t'a] (eat)). u:, [s 'ari di gat''], [t'] This double consonant is always pronounced as [t'], but it is a non-plosive consonant. Just like Italian [t]s (i.e., tuo). It is much more dentalized than [digat"]. The sound is something between a triple 't' and triple 'd', then push the gum line between upper teeth and the frontal part of the hard palate. ex: c~ 7 1 [t'al gi] (strawberry) 40 cc~ [t'c] (time, occasion, opportunity, dirt) cct '7 ~ [t'a tat" tan] (warm) 6 , [ti gat"J, [tJ It is always pronounced as a plosive [t] when used as an initial consonant. In order to differentiate with cc [t'], I will use [t] for IP A symbol. ex: ~ ~ 'iJ [to jo il] (Saturday) "J 6 1[ J'ari tA] (marketplace) However, when 6 is used as a bahtchim and followed by a consonant c: , it is pronounced as [t']. ex: ~ ~ [ga tan] (equal), but ~ tr [gat" t'a] ((is) equal) :;<. [3'i at"], [3'] 1. When [ 3'iat"] consonant is used in an initial position, it is pronounced as between [tf] and [3], but closer to [3]. Yet, when it is used in median position, [ 3'iat"] is pronounced as [ 3'] ex: ~ "r 2 I [3'am 3'a ri] (dragonfly) "-1 ':.-l [3'/\ njAg] (evening) 41 2. When [3'iclt"] is used as a bahtchim, there are two possiblilities: (1) When it is preceded by a consonant, "- (3'i clt''] is pronounced as stopped [t"], and next consonant becomes hard sound. ex; ';1- [3'at"] tr [da], but ';)- tr [3'at" t'a] (often, frequent: verb.) (2) When it is preceded by a vowel, "- [ 3'i clt''] is pronounced as [3'] and becomes the initial consonant of next word. ex: ';)- ~ [3'a3'cln] (often, frequent: adj .) "", [s'ari 3'i clt"], [ts'] This double consonant is always pronounced as [ts']. Similar to 'pizza' in Italian. However, it does not include much of [t] sound in Korean. While one has to touch the gum line with the tongue to pronounce 'pizza', the tongue position is further back for the Korean "" . Also, the space between the teeth is smaller, and the position of the lower jaw is less forward. ex: ""r ~ [tsa 3'dTJ] (irritation) 42 " [tfi ilt"], [tf] This consonant is always pronounced as [tf] when used in an initial position. ex: ? 4- [tfu su] (harvest) ? 0~ [tfu Ag"] (recollection, nostalgia, remembrance) When [tfiilt"] is used as a bahtchim, there are three possibilities depending upon the initial consonant of the following letters: " [tfiilt"], \... [ni iln], and c: [di gilt"] (1) it is pronounced as " [tfiilt"] when followed by O [i dTJ]. (2) [tfiilt] is pronounced as \... [ni on] when [tfiot] is followed by \... . (3) it is pronounced as c: [ di gilt"] when followed by other consonants. [tfi ot"] bahtchim becomes the initial consonant of the next word when followed by O • ex: ';l\...rtr [bin"nada](shines), # \... r "'r [k'on" na ra] (flower world) but ';l 0 1q tr [bitf i na da] (shines) 43 ~ ~ 011 [k'ot"p'at E] (in a flower garden), ~ 0 1i rJ er [k'otf i pi da) (flower is blooming) And one should elongate the vowel in words with the ~ bahtchim: Music Example 2: from ~ ~ 2l- [san ju hwa] by Sung Tae Kim Illustrating "' bahtchim in [ ]. -"-, [Ji ot"], [s ] or [J] It is pronounced [s] or[/]. When [Ji ot"] is preceded by the semi- vowel [w ] or [y ], it is pronounced as [/], and everything else is pronounced as [s]. However, [J] in Korean is different from that of Western languages. [J] in Korean has just very little aspiration while still pronouncing [s]. 44 i ~ 0 11 [k'ot"p'at E] (in a flower garden), i 0 1r r1 tr [k'otf i pi da] (flower is blooming) And one should elongate the vowel in words with the " bahtchim: Music Example 2: from ~ i ~.} [san ju hwa] by Sung Tae Kim Illustrating " bahtchim in [ ] . A ..., ~-oJ.-;1-l - \>ll !7-] \-· (~ ,.. pp mf =-- 'PP mf pp "' ·"-, [Ji ot"], [s] or[fl It is pronounced [s] or[/]. When [Ji ot"] is preceded by the semi- vowel [w ] or [y ], it is pronounced as [fl, and everything else is pronounced as [s]. However, [fl in Korean is different from that of Western languages. [fl in Korean has just very little aspiration while still pronouncing [s]. 44 ex: --'-I~ 'c> [Ji won han] (cool) 4-1 ct [Jwi da] (to rest) When single [Ji ot"],, not combined with other consonants, is used as the final consonant, it becomes a stopped consonant [t"]. I describe it as a stopped consonant because [t] should almost not be pronounced. Pretend that you are about to pronounce [t], but do not pronounce it. However, when [Ji ot"] bahtchim is used within a sentence preceded by a consonant or vowel, the [Ji ot"] bahtchim is pronounced either '-- [nic1n], C [di gat"] or A [Ji ot"] ex: ct~ [da S/\d"] = five, -'-,,JI [sed"]= three but ct-'-) 0 ~ [ da S/\n" mj/\TJ] (five people)]= five people -'-,,JI 0 1- -'-1 [se si S/\]= three people together It is pronounced [s']. Its sound is similar to Italian ' rossa' or English 'someday', but there is no stopping between two ss as sometimes occurs in Italian. Although it is a non-plosive 45 consonant, sometimes there is some airiness in its pronunciation. ex: "'I ~ [s'i at"]= seeds "'i 8 1a 1 t:r [s'A bl\ ri da]= used up When [s'anri Ji ot"] is used as a bahtchim and preceded by a consonant, it is pronounced as [d"]. It also affects to the next consonant by making it hard. In this case [d "] is very short and dentalized. ex: ~ t:r 7 r J.l: t:r [wad" t'a ga gad" t'a] (s/he came and left) 1.- , [ni iln], [n] It is pronounced as [n]. Exception: when [nian] is followed by letter a [rial], 1.- [nian] is pronounced as [rial]. There is no double [nian] in Korean. ex: 'cf "r [nam 3'a] (male) ~ "I [ban 3'i] (a ring) ~ s__ [jAn do] (a year, period) ~ 0 r [jAn ma] (grinding, abrasion, polishing) 46 but '(! ~ [j,-.J tu] (involvement, implication) '(! ~ [jAI lo] (o ld age) ", [ricll], [r] or [I] This is pronounced [I], [r], or between [I] and [r]. There are no Korean words starting with [ricll] except those borrowed from foreign languages. These are pronounced either laterally [I] or as flipped [r]. For of this reason foreigners often find that many Koreans pronounce 'Ribbon' as 'Libbon'. Words are pronounced with a lateral [ricll]: (1) the lateral [I] occurs as a final consonant. To pronounce it, the tip of the tongue touches behind of the gum line as in the English words 'love', 'clear', or 'live'. ex: ~ ct [ dal da] (sweet) ~ 0J 0 1 [al mET] i] (core) (2) when [ricll] is preceded by O [i clT]], [ricll] is pronounced between [I] and [d]. The tongue position almost touches the hard palate as in pronouncing the English words of 'real' or 'hill' . 47 ex: 0J ~ -a- [jAl il gop"] Words are pronounced with a flipped [r]: (1) when it is intervocalic. It is close to the lightly and rapidly pronounced 't' sound in the English words 'city', or 'water'. ex: ~ c} _s_ [ar a jo] (know it) ~c}'--}t} [noranada](cheat,play) (2) borrowed words from foreign languages which originally were spelled with 'r' or 'I'. ex: "'I~ [ri bon] (ribbon) ~ 0al 6 1 [lo jAl ti] (loyalty) 3. Velar Consonants 7 , [gi jAg"], [g] Initial and final Ghiyuk is pronounced between [k]and [g]. One should still think of pronouncing [g] with a little bit of plosive [k] feeling. ex: 7 } ~ [ga nan] (poverty) 7 ] "-.j (gi 3'Ag"] (miracle) Middle Ghiyuk is pronounced as [g] or [TJ] 48 ex.. ,j "1 21 [ . " 7 7 gtATJ rAg ] (memory power) It is mostly pronounced as a hard [k'] without plosives. It is similar to [k'] in Italian words such as 'cara', 'che', 'cosa', ..., et al. I find that some American singers have trouble pronouncing hard [k'], [p'],and [t']. In order to practice non-plosive [k'], think of pronouncing in between threeGs (ggg) and two Ks (kk) without plosives. That is the [k'] in Korean as well. When double '', used as a bahtchim, is preceded by O or 7 C and 7 are pronounced as " . ex: ':2); "r"-]~t:r [k'ak'a 3'irada] (rise steeply) ':2l; 7 ~ [k'a k'E] (a sharpener) This consonant is always pronounced as a voiceless aspirated [k]. ex: "1 t:r ~ [kA da ran] (big, huge) -'-I "1 ~ [fi kA mAn] (dirty black) 49 "'af-§- ~ [dal kom han) ( sweet) 0 , [i d11), [o] When ° is used in the initial position, it has no sound value. ex: 0 r0 1 [a i) (child) ~ ~ [jAn in) (lovers) ~ 0 1[ in A) (mermaid) However, when it is used as a bahtchim, it is a voiced and nasal sound. ex: 0J "J ~ °'i ,e: [all ''ill sa rA un] (cute, lovable} i- 0 1[ sull A] (a gray mullet) -'-J 'o' [sall njall ] (nice, kind) f "J [an he11) (a bank, a gingko) 4. Glottal Consonant 0 , [hi at"), [h) It is one of the consonants that changes its pronunciation depending on its neighbor consonant(s). When it is used in an initial position, it is a voiceless glottal consonant. 0 also affects 50 Q II pronunciation of a consonant of the next word depending on the surrounding consonants. When used in a final word as a bahtchim, it becomes [t"] sound: ex: "'1 % [hiclt"] When ° used as a bahtchim and is followed by 7 , it becomes [k] ex: "r 0d' •11 [ha jat" ke] (to be white) When "' is followed by c , it becomes [t] ex: ,,f 0d- cf [k'a mat" ta] ((it is) blak) When ° bahtchim is followed by ''-, it becomes [tf] ex: ½ "-1 ~ [3'o tfi jo] ((it is) good, (I) agree .. .) When ° is preceded by 8 , it becomes [p] ex: -2r 0 1c } [gu pi da] (to bend) When ° is used as a bahtchim that is followed by a vowel, "' loses its sound value. ex: ½ 0 } ~ [3'o a jo] but ½ c} [3'o ta] as seen above. 5 1 5. The final compound consonants (only used as bahtchim) When compound consonants, which are used as bahtchim, are preceded by a vowel, the second part of the compound consonant has the sound value of the next phonetic syllable. Yet, if the final compound consonants are preceded by a consonant, the first part of the compound consonant has the sound value for the next phonetic syllable. 7-< ~l ~"I~ tr [ag" s'otfi roda] (make payment), but -;} "r .'::_ ;,:al [sag ba no~'il] (sewing charges) "' & "r-'-1 [an a SI\] (by sitting), but & t:f [an t'a] (to sit) '-~ 1 ~A-~ [gat" tsan on] (insignificant), but 1 ~A- "r [gat" ts'an ta] (be insignificant) 21 ~~ 0 1~ [ii g/\ jo] (read), but ~~ "r [ii t'a] (to read)*27 ca :J ':'.] [sal moi](life's), but :J 2 f [sam gwa] (life and, or with life), and : J[sam] (life) "" ~ ~ [jal bon] (thin), but ~ J. [jal k'o] (thin and ... ) 26. root of verb form; ends with .. .. ccf [da] or [t'a] 5 2 2,. 3: [ol] (a compensation, indemnity, recompense) 2,s ~J-t)- [hal t'a] (to lick, to taste), but ~J- 0 )- 0~ t)- [hal ta II1Ag" t'a] (eat by licking) al ~ 0 1c tt t )- [ell pr- dE da] (recite), but ~ .'.E. "'1 t)- [clp 3'0 ri da] (recite) ~ ~ 0 1- ~ t)- [a ra nup" t'a] (in bed with sickness), ~ c)- [al ta] (being sick) .u ~1 °1 ~ [r-b" s'r - jo](is lacking), but ~ t)- [r-b" t'a] (do not have) *Bahtchim that change the pronunciation: 1) 8 , c , 7 , "- , A are pronounced as "", t:t: A When preceded by plosive consonants ex : ~ ~ [ag"p'o] (musical note) '2- J_ [dat" k'o] (to close) B. When preceded by a 'l' final word ex: ~ 4- [sil s'u] (mistake) 8..!l "-a! 7 I [bE g" s' r-1 gi] (white rice cake) ..,, 2} t , 7 , "-, A are pronounced as t:t: "' when preceded by a verb stem ending in °, '-- or al , 2n , 20 , .u , '-" 53 ex: ~J er [dam t'a] (resemble) & "I~ [an tsi jo] (let's sit) 3) :u , iu become 8 when they are used as bahtchim in a single word, or are preceded by a consonant. ex: ;;'; [gab"] (price) 7:u1 ~7 7:r1r 2L . Ig 1" b" k' o g1. po" n] (d eep and d eeper ) 4) 6 , A , "', " , "' become e when preceded by a consonant ex: 1;! er [mAd" t'a] (stops) ~ :1... [wad" k'o] (came) 5) "' , -,, , 1, , 21 become 7 when used as a final bahtchim, or preceded b a consonant ex: ~-} [dag"] (chicken) ~~er [dal bog" t'a] (annoy, harass) 6)20 , 2,s , '-" become O , a, 1- when 20, 2n, '-" are used as a bahtchim and followed by a consonant or no word. ex: & "r [an tsa] (let's sit) 54 ~J [sam] (life) ~ tr [dam t'a] (resemble) 7) ai , an become " or 8 when followed by a consonant ex: a% tr 1a1 t'a] (to recite) 8) 8 t, "- become a, s, d when followed by a ors ex: 0 1; l, [mi gug"] (America), but 0 1; l, 'cf "-r [mi gu11nam n] (American man) 9) '-- become " when followed by of preceded by " ex: ~ "] [tJAl li] (a thousand miles) 10) t 5 become "-, "' when followed by O or 0 ex: ~ 0 1t r [gatJ i da] (be locked, jailed) 1 °1 [gatJ i] (together) 11) le or ~ is pronounced "', " 5 when they are followed by "- , 7 and t ex: ~ l '--r" -1 [al ko na SA] (after being sick) %" -l ~.} tr [3'0 th an ta] (it is not good) 55 12) 0 loses the sound value: When a!I is followed by 1.. , " ex: ~ .'::_ 1.. r [al ncl nja] (is ...... ill?) When ° is followed by 1.. , " ex: ~J 1..j] ~ [man" ne jo] (it is a lot) 13) c , 0 become " when followed by " ex: ~I t::r [mid"t'a] (to believe), but ~~ 1..Jc:r [mis'clmni da] (I believe .. .) 14) " become 1.. when followed by c, ex: "J ~ [k'm" nip] (sesame leaves) 56 Part IV: Composers and Works A. Composers 1. Byung Dong Paik (1936-) The Korean composer Byung Dong Paik was born in Manchuria, China on January 26, 1936. When he was seven years old, his family returned to Korea. He studied piano as a child. He was very sensitive and had a good ear. Even though it was very difficult to find recordings and scores of Western style classical music at his time, he was able to purchase some of them in a flea market. Those are the Beethoven's Sixth & Ninth symphonies and Schubert'Winterreise, which increased his awareness of harmony and eventually led him to study composition.28 In 1955 he entered Seoul National University (SNU) where he studied composition with HoeKap Chung. After he graduated from SNU he became a music teacher at Kyong-Dong High School and 28 Aekyung Park, p. 1. 57 .. Seoul Girl's Technical High School. In 1969, he studied abroad at the Staatliche Hochschule fiir Musik in Hannover, Germany where he studied contemporary music theory as a German government scholarship recipient. During his Germany residency he met lsang Yun, another important Korean composer. After returning to Korea, he taught at EWha Women's University. Since then, he has been teaching at his old school, Seoul National University. Although the majority of his compositions are instrumental music, art songs are where his heart is" . Paik finds the "true Korean sound" to be "unlike the Western sound, which pursues outer beauty." He goes on to say that "the Korean sound expresses emotion that is dissolved inside, or exposed emotion with finely and delicately resonated feeling which started from lingering effect."30 His works, numbering over 100, include orchestral works, chamber ensembles, instrumental music, songs, choral works, ballets, opera, and some other dramatic pieces. The awards and the recognition he has earned are the Annual Korean New Composer's Prize, the Wolgan Eumak Prize, the first Korean National Composer's Prize, and the Cultural Prize of Seoul. " 0 , p. 246. 29 Ibid. 58 2. Isang Yun (1917-1995) This Korean-German31 composer and educator was born in 1917 in Tong Yong (now called ChoongMoo), South Korea. He studied Western music in Korea as well as in foreign countries such as Japan, France, and Germany. At the Osaka conservatory as well as in Korea he studied music theory and violincello. His teachers were Tony Aubin, at the Paris Conservatory, and Boris Blacher, Josef Rufer, and Reinhard Schwarz-Schilling, at the Berlin Hochschule fiir Musik. !sang Yun's compositions are considered to be a fusion of Western and Eastern music. H. Kunz says in the New Grove Dictionary of Music and Musician that "Yun's fundamental aim is the development of Korean music through the means of Western music, a combination of Far Eastern performing practice with European instruments, and an expression of Asian imagination in terms of contemporary Western techniques."" 3 1 He became a German citizen. " New Grove vol. XX p. 607. 59 Chang also indicates in his dissertation that "!sang Yun had successfully combined certain dissonance and melodic ornaments of peculiar Korean traditional music to Western music"33 (Chang, p. 7.) As an educator he taught music in Tong Yong and Pusan, and Seoul National University. He also taught at the Hannover Hochschule fiir Musik. He received various awards and recognition, among them the Seoul City Award, and the Kiel Kulturpreis. The composer withdrew his earlier works from circulation. 3. YeonJoon Kirn (1914-) YeonJoon Kirn, composer and founder of the Hanyang University in Seoul, Korea, studied violin from the age of 8. He entered YonHee College, now called Yonsei University, where he majored in literature, and studied music privately. In 1939, when he graduated from Yonsei Univeristy, he gave the first solo vocal recital in Korea. While working as an administrator, he also has been an active composer. He gave his first composition recital in 1972, he has continued to have music performed internationally in Japan, 33 Chang, p. 7. 60 Germany, United States of America, and Taiwan. Among his 3,000 compositions, about 1,500 songs have been published. 4. SoonAe Kim (1919-) The first Korean woman to compose in the Western style, SoonAe Kim was born in AnAk, WhangHae. She studied music at EWha Women's University, and at the Eastman School of Music in Rochester, New York. While teaching at EWha Women's University, she traveled in France, Germany, the Netherlands, and in the United States of America with a UNESCO Scholarship. She has composed about 130 songs. 5. YoungSub Choi (1929-) YoungSub Choi was born in 1929 in GahngWha, KyungGhi. He studied piano first, but changed to composition due to his short fingers. After he entered the Korean National University, he studied composition with SungTae Kim. His works include songs, symphonies, cantatas, instrumental music, and instrumental ensemble. 6 I SEKWA NG MUSIC PUBLISHING CO. 232-32 Seogye- dong Yongsan-gu Seoul 140-140 Korea Tel. 82 2 714 0049 Fax 82 2 719 2656 Misook Yun 173 Maple Drive Boardman, OH 44512 U.S.A. Dear Misook Yun, Permission to quote the following material s from our publication is hereby granted for Misook Yun in her lecture document on Korean diction. (1) DAL MOO RI (2) GO POONG EUJ SAi-iNG (3) GU DAE ITSUMAE (4) GURIUN GUMGANG SAi-iN (5) CHOOK UK (6) GAi-iNG GAi-iNG SOOL LAE (7) PPAHL GAi-iN SUK RYU (8) GO 1-IY ANG UI NO RAE (9) BYUNL (10) BEEGAH Signed by Date W.tfi', /29? B. Works: Texts and Music with Phonetic Transcriptions, IP A and Translations34 1. Gahng-gahng Suwol Lae" Song by ByungDong Paik, Poem by Tong)u Yi clj clj £. "',\ "'J ~ "'" ""l O 0 gahng gahng sul leh [gari gari sul" IE] Q 2) 2 \... yuh oo reh mol Jin un uh tteh [jA ur_,e mol"lin ilnv" t'e] A shoal of fishes, rushing in a swirl w\••H t~ o\ ~ "1\-re "'r~ ppi ppi kkot son du ri dool leh rul Isa meon [p'ip' i k'ot" son dilr i dul"le rill Isa mjAn] Flower hands make a circle ~ 1¥-"l·r "1°,l ",l ft:f dahl moo ri gah bee ing being dohn dah [dal mu ri ga bi iT) biT) don da] the moon-ring" turns round. ·r 0 r% 4-9-l "tt 0 ll gah ah ung soo wol leh eh [ga ajnl SU w,J" 1sel "Giling-gahng suwol lae" ~~ ~~~ A~%0l fl_ mogul ppeh meon suh rumi sot kko [mogjl p'E mjAn sArymJ sot"k'o] sentiment in high tone. 34 To aid in better understanding, 1 put Korean texts, transliterations, IP A, and tranlastions in order. JS Nonsense word used in a Korean folk dance 62 "JJ ";,I 0 1 'tt 0 1I i "--t 0 1 ?I ".1 tf back tsang mi ba teh gohng jahghi chee hetta [bEg tsa11 mi bats go'tl 5'ag) tfi het" t'a] A peacock got drunk in the white rose garden. 'fl "-t 'fl "t 'fl Oj '-t "I.. "t ttwe jah ttwe jah ttwe uh nah boh jah [t'wi 5'a t'wi 5'a t'wi Ana bo 5'a] Jump. Jump. Let us jump. -;}-;}½"'tt gahng gahng sool leh [ga'tl ga'tl sul" IE] Gahng-gahng suwol lae. +I +"'1°1I "J "i't J~cf nwe noo ri eh dehng ghi gah gahm gin dah [nwi nu ri e dE'tl gi ga gam gin da] Fathoms long hat-feathers whirl, 0J ~~ AJS'- 1} 0}T ecr yeol ttoo bah! sahng mo gah mah goo dohn da [jAI t'u bal sa'tl mo ga ma gu don da] tapes twist around the grain stack. ~ ';I oj "! oj ~ dahl pee chee beh i meon [dal p ' it/i bE i mjAfl] Once permeate, the moonlight ½"Ltf 1<;-~J sool boh dah do kahn gut [sul bo da dog" kan gAt"] is stronger than drink. "I¥; o1 ';I oJ ':.1 cf ghi po ghi tsee juh jin dah [gi pogJ tsi 5-'.f' 5'in da] Banners are torn, 63 ~ "' ·r ~ "i ~ "r gahl tteh gah ssu ruh jin dah [gal l'E ga s'cl u nn da] reeds fall down. 11½"1 gahng gahng soot leh [gall gall sul" IE] Gahng-gahng suwol lae, oj i oJI %' ;: f oj "11 A shoal of fishes rushing in a swirl '"'1'"'1¥ ti 0 1 i"H "'f~ Flower hands make a circle, ~ !j'- a1 ""Jr t::!J OJ l::IJ e t:f the moon-ring turns round. ,f of% 4- ~ aij oJI "Gahng-gahng suwol lae" -!?; i '"'ij ~ A_,J ~ 01 1- 2 sentiment in high tone. "-'/ "J 0 1 ~ 0 11 i ~ 0 1 4-1 "l t:f A peacock got drunk in the white rose garden. 'f-1 "f 'f-1 "f 'f-1 °1 cf !:I_ "-f Jump. Jump. Let us jump. ii ii ½ "ij Gahng-gahng suwol lae. -'rl -'r "I 0 11 cJ •I •f ?} ~ t:f Fathoms long hat-feathers whirl, 0-J + ~ AJ ~ ,r 0 fT f t:f tapes twist around the grain stack. '¥ ';1 °1 "ij 0 1~ Once permeate, the moonlight ½! :I_ t:f le;- ~ ~ is stronger than drink. •I!!,- 0 1 ";I 0 1 ~ t:f Banners are torn, ~ t:ij •r ~"I~ t:f reeds fall down. ii ii½ aij Gahng-gahng suwol lae. (trans. by Won Ko, p. 121). 64 33 o] ·'6· "r" :.,t,_. J. . • J. ~~ •::!-t- '!.t, -:!f-i! ;,,11 7J.~¼ ~o-1..c-1 f ., oj -t-o11 A ,,-. J' '.l' - '3' r-;t ·3- ., f*~• ·1 - - ~· -.-.-..--- ~ ... I .. I I . -;. - . A ~ . ., - ......... ~ .i ~ <>l-- ~1 ~- ' ' ~ -- ., ... --------..... "-J - U-J I I I - I - I :.:: ..._ ___,, 4 .,f ......, I l&PJ r 2 ~ J Id JU id' F F If f' ~1 34 r ,.,-. ~ ., - ,f of ¼ - --~= ., ,.;. N!. , ~~ ~----::-- ., •-:__- "'--------"" --:r ~ ' I I - .. :'1:· t . ,,--,--_ - --== :., ,f of ,' ' ¾ ;- - ~l -~ ~, -f-:- ~ '{I_ - ,_, ~ ol , ,-.---...... l .... !· , ..'::z. - ---I ~ r------== -, ,,.. go, --------~ - t m-: ~ . - . -.t- : i.!. ~, ,. ., ~ --~- ~- "''P .,.----/L /L ~ .,.....----~ , f, - ~ ...... --- ·~ol ->I ~ • I s l ·•f t . ~ -=---- - - : !· .... _____...-, ~ ~ ·- T I I I -- ~ -"- , r-4.. , , ' ~ -__:_.-- ,...~ 35 ' > - --,.-.._ -..!, ~ =1 '1 • f "1 <>l ... .... _ •f ' I / · ~ ~ I [> I · .; . --"· ~ ..t ~ ,,1- ,, r ===i ., / r [; ~ ~ _--,_ I., ~- ~ --------I - I I - I - ~ ------ -~ ' \ ~ ~ ~ r -p . , ., _:.,. • I • I ~, - - - , • I ~ I l· '' -p~ - - II I) 30 r II ., •! - , 1 , 1. ,:,1. -:! ,-f- --·- '\! -¥- 'lt -'J .Y. ,1 Q , l. - -u .__/ .___. - - - -I -= I I I I I I I I I I I I t, ,......, - ' uf - 'r -~- - • I r. __, __, -· ~. -= ~ )· - - - - - ·-' I I I . I I I I I I I I ' f - - ., ,1 ·!ot· •I ~~.,.-1~ ~ -- n ,--t: ~: i ~--------!_ ' i· - ,.,. ~ - f ,,--,,.,,. e: ===-- I I ' .. c:.,J ~--~_:.-., 37 'f mf ,; y 2. Traditional Attire Song by !sang Yun, Poem by JeeHoon Cho ::!. Ii ~l "'-J goh poong ui sahng [go pu11 ili sa11] or~~ ~~~oJ hah nul loh nah rul ttuh shee [ha nil!" lo narill t'il Ji] As if about to 'fiy up to the skies ~ 71] ~ ~ !,!- ~ '& ~ "'J oJ ~ cf ghee geh ppoh bun boo yeon kkut ppuhng gyong ee oon dah [gil ge p'o biln bu jAn k'iJd" pu11 gjA11i un da] Long, stretches out wind chime tinkles ~1 °fi iP1\ '.:.. "] ~ chuh mah kkut gobkkeh nuhreeuhn [t)A ma k'iJd gob" k'e nbriun] Hanging gently down from the roof 4- 2d oj\ ;'_I~ o\ %o j jooryeomeh bahnwohree soomuh [5'u rjAmy banJV"U sumJ:l On the edge of the eaves, the half moon is hidden, 0 ft 0 ft ~ ~ 0 1 ahrun ahrun bohm bahmee [a riJn a riln born bamJ] ~ ~ o] :i. "] ~1 "d ~ oj 7f e: ~ doogyeonee soh ree chuh rum gheepuh gahnun bahm [du gjAn i so ri t)A rAm gi ~ ga niln barn] Like the ~ uckoo' s singing, spring night grows deeper ::!.2}"f l2}"f ~"'cl 0 f~cf~"-]l goh wah rah goh wah rah jeen juhng ah ruhm dah uhn jee goh [go wa ra go wa ra 5'in 5'" 11 a rilm da un 5'i go] It is fine, so fine, truly beautiful 65 _g_ "'J "'il "\ "f ~ % "a o\ ho jahng juh goh ree ha yahn dongjuhngee [ho 5'al] 5'" go ri ha jan dol] 5' AT\ i] White collar of the grand jacket ~ ~ "\ ~ 5-:i. o\ tf wha ahn hee bal ttoh soh ee dah [hwa an hi bal t'o soi da] is exquisitely bright 0.l -'t-~ ~ ~\ 0 f•f jeol ttoo pohg gheen cheemahgah [jAI t'u pog" gin t/i ma ga] A twelve-fold long skirt -'-L~-~~ i 1l ~ ~ cf sah ruh ruh ruh mool kkyeorul cheen dah [sa rel rel rel mul k'j" r@l t/in da] Makes smooth waves 2 c~ t: 0 1.' :.. '-f "f ~\ guh deh nun uhnuh nah rah eh [gi) de niln" nil na ra e] You are from some As if about to fly up to the skies ]_A~% ~or~ ~oral ~AJ~OJ goh jean uhl mahl hah nun hahn mah ree hoh juhb een yahng [go 5'" njH mal ha ncln han ma ri ho 5'Ab in jal]] as if a butterfly who speaks classic tale -'-f~"\ %?"f sahppoonhee choomchoorah [sa p'un hi t/um t/u ra] Dance with light steps of □\~ 4,oJ.2 '-ft o\ ~o1] ahmeeruhl soogeegoh nah nun i bahmeh [a mi t@l su &J go na ncln i barn e] Tonight, lowering my eyebrows, I 66 II n OJ ~Oil ~0} e ~]_ g yenahreh sahrah noon gahrn kkoh [jen" nai;y sarJI nun gam k'o] shall live in the past, while closing my eyes Q 7 J~1. ½ i"r ~"l'-l guh moon goh jool gohllah bohreenee [g" mun go 5'ul go!" la bo ri ni] Shall pick on the GuhMoonGoh 36 7ft" -'J!~~Oc/ 'f~Oj\ ~;.l gah nun buh d uhl in yahng gah rageh ma chuh [ga ncln bA dcl tjn jaT] garage ma t/wA] As if a thin willow, following the rhythm ~ t % ~ i 0 1" -I 0 1t :f wheen sohnul hun dul tsee uh dah [whin so njll hiln dell tsi" da] shall wave my pale hand. o~~ ~ ~i- :i oJ ~ 'il ~ t: ~ ~ i ~ ~ oJ ~ er •1°f'& iPll ~"If ? 2d ol) ~ ",l o\ %o j 0 l-t 0 te * ~0 1 ~~ 0 1 :ic!l~i2d ~ 0 i•t~ ~ ::_~pf l!:lt"f ':_! "d 0 ft;t=ff-'\l !'1."J "ll"I 0 f~ %" > nif ., :i;~ nt- ~"' - * ?ll h ~ ~ ., if r ~: 123 p ,---== aJ morendo ----------,;-------- A = <) •l - 'J of ii- ~~ -;1: - ,, "- r-: ';" Jr-A I I I I =i ,.., '--:I I ,._ "'P -------- ~~ 1;;: =-- -- I 1'-'· 124 oj t) 1Z5 u ..,~ 'a."" -01 .:r, ~ e~ "I' I u if p pp ------------- ,;; ,tempo IU ..._, --1- -lo of ".r - o,f o!_! "tl' ~I 1f" - o~ "' ""' y •luop,> "' I ~ -N: ..z. ~~ it ,!.~ _y_ ~1 ~ - j!: 126 I I 127 3. Song of My Hometown Song by Sooln Yi, Poem by JaeHo Kim l"J-ii\:- ~ "-1 ~ ~ i oJI Aj_•Pf 1."J-;,! l:-joft:f ¥~~1 %•j!pJ 1of.' ,~oJ >-ll 4\:-~e-, ~g_ o f E: % ~ £. af ~~E:~ ~~~ In a winter garden where all chrysanthemums are gone When opening the windows, white frost forms Wild young geese fly to the north Ah, now stand in the middle of a quiet field Flower lights must be flaming in a road, which is covered with snow, in my hometown When moon and sun are gone, stars are far away A small town in the deep mountain In the springtime, all the flowers will blossom like a feast Ah, now close your eyes and hold your hands together Bush fancies in your hometown are covered with large flakes of snow. (trans. by the author of this document) 70 88 mp 1 . ~ ~- j~ -'.( "<~ ,1j J-..tli :- •H·"i•H - "..!-: ;:oil -< I _v_ 4 01,11..: :--1:-.!,'.0~ --:,:- -:1----::J- ··- 4 :l. ·!. ,t ."!,. :t ---.r-:r-, ":}-, .1 ..--:,-,,..-,-, .., mf - ril. W-P I .., _,,_ <>.,"' ;,~'- -;.,:-4- Oil "j_ -,_,,.;- -:~ •I ,, _, !. oJ' 1/ .... ,- .:1 ·8: ~, ~~ "l· :,,_ <') I ♦- 4. Because of You Song by SoonAe Kim, Poem by NahmJo Kim 2_c~ oJ_%;oll guh deh it ssu meh [go de i s'cln.:,e] 2_cj9.] -2: ~ ';,)_ ~ 3-oll guh deh jeh gun shim in nun goh seh [go de e gon sim in" non go se] Where your apprehension is, L.f~ ~ "i t j 711 "r"r nah rul boo! luh sohn jahb kkeh hah rah [na riJI bul" IA son 3'ab k'e ha raj Call me so that I can be there. ~ ']~2} 3-%~ ~ cJoJ kun ghi ppum gwah joh yong hahn gahl mahng ee [kcln gi p'om gwa 3'o jori han gal mari i] Great joy and quiet desire .=c_cj .2_cj ';,l_%olJ guh deh guh deh it sum eh [gel de go de i s'cl~e] you, because of you. \..i ~ 0 11 "r"f 7 J~ neh nahm eh jah rah guh nul [ ne m~mJ 3'a rag" nol] grows in me 9-, .2. "I% o1 oj oh, guh ree oom ee yeo [ o gilriumijA] Oh! longing, .2_cj ':,)_ %o ll L-fl 7f':,)_ L-l] guh deh ii sum eh neh gah it neh [ ga de i s'alllY n_e ga utiel Because of you, I exist. 7 I '-r~ ~ "i t :I •ll 0 1 nah rul boo! !uh sohn jahb kkeh heh [na rill bul" L" son ' 'ab k'e hE] Call me so that I can hold your hand. 2_tj<:>_] -'-r "J 't% OJ "'1 guh deh jeh sah rahng moon ul yeol tteh [ go dE E sa raT] mun,}l jAI t'E] When your love opens the gate '-1 ·r ':J. 0 1 2. ld,l 0 11 -'J •ll "1 neh gah it suh guh bee cheh sahl geh heh [nE ga id" s'A gel bit) e sal ge hE] I exist to dwell in the lig'hts -'-r l'.: J 0 1I 2.1 ~ i i ~ ~ sah nun guh she weh rohp kkoh goh dahn hahm [sa nil gAs ewe rob" k'o go dan ham] life's loneliness and exhaustion 2.c1 2.c:1 ';,l%oJJ guh deh guh deh it sum eh [gel dE go dE i s'clm e] you, because of you ".A' Qe . sah rahm eh ttuh sul beh oo nee [sa ram E t'clt,cll bE uni] I learn the mearung of human El_ , 2 "I% o1 oj oh, guh ree oom ee yeo [ o gel ri um i jA] Oh! yearning '-' II 2.c1 ';,l %0 1I '-1 •r ';,1 '-ll guh deh it sum eh neh gah it neh Q [ gel dE i s'clm e nE ga in~-e] Because of you, I exist Q 72 IIJ '-f~ ~"'i 2 "~ 0 l\ ~•l\ "~ nah rul bool luh guh bee cheh sahl geh heh [na rcll bu!" IA gil bi t)e sal ge he] Call me to dwell in the' lights q 2t:tt£1 -2: ~ ~ ~ ¾0 il Where your apprehension is, '-f~ ~ "i t ~ 7 i] "f"f Call me so that I can be there. .q. ~ • j ~2}- 3_%~ ~OJO] Great joy and quiet desire .::C cj 2 cj '1 %o j] because of you. '-1 ~ 0 11 "Ft ·r~ grows in me EL , 2"\% 0 \ 0 1 Oh! longing, 2 t:ij '1 %0 11 '-ij 7f '1 '-ii Because of you, I exist. '- f~ ~"i t~ 7 i\ "' Call me so that I can hold your hand .2_c:tt~1 A}2J ~~ OJ cctt When your love opens the gate '-l•f ~ 0 1 2 ",I 0 1I ~,11 "I I exist to dwell in the lights A}~ ~ oij 9.] ~ l ]. ~ ~ life's loneliness and exhaustion 2cij 2cij '1%oi\ because of you A} 2J Q.j ~ ~ l::!ij ~ t.j I learn the meaning of human EL, 2"\% oJoj Oh! yearning 2 t:ij '1 %0 1\ '-ij 7f '1 '-i\ Because of you, I exist 0 q '-f~ ~ "i 2 ",I 1\ -'J •i\ oij Cal1 me to dwel1 in the lights (trans. by the author of this document) q q n u q 73 I) .. 114 .q. , p ., I. .::,_ --== > p q --;-:z_ qj -~ ~-OIi .:z. qj ~ -&oil d d q q 1/5 q q ,_______, .1 -e l -6- 0 1 oj - .:,_ ..:i ~1 ..g- 01 oj ril. f.'.- - -g. off - •It ✓t 'U •ii ·~} oil - •~ 7\. 'l! ,11 mf Q r I;'\----- - - -t: ";)· - J!I - 611 q - : ,. •',) c-11 ~,-,11 i,lj 0 q II 5. Missing GumGahng Mountain Song by YungSub Choi, Poem by SahngUk Hahn 2.aJ ~ ~ 'J .J.J guh ree oon guhm gahng sahn [gel ri un gclm gal] san] ~~£1 ~AiJ~ 1r ~f]_ 1--~~ noo goo yeh joo jeh reon gah mahl kko goh oon sahn [nu gu e 3'u 3'e rj /\11 ga ma l k'o go un san] Whose crea tion would it be clear and beautiful mountain. 2 a]~ ~ o] ~ ~ ~ ~ ~ oi ~ guh ree oon mahn ee cheon bong mah run up ssuh doh [gel ri unman i tf= bol] mar cln /\b"s'/ \ do] We miss the twelve thousand tops even though we would not say it. o] "-1] Of "-f-1\- ~ ~ *' )! oj c] cj ee jeh yah jah you mahn min ot kkit yeo mee meo [i 3'e ja 3'a ju man min ot"k'in j/\ mi mj/\] Fina lly now is the time for us to dress up .2. 0 ]f; t:f-'-];,'-~ '/-"] i,-;,1-~ guh ee rum dah see boo rul oo ree guhm gahng sahn [gel i rclm da si bu rill u ri gclm gal] san] and ca ll the name, Gum-Gahng Mountain, again. 4-4-~~ o}~e}~ ~ soo soo mahn nyeon ah rum dah oon sahn [su su man njAn a rclm da un san] Forever beautiful mountain ~•ft"-] c,l c,l <>ij mod gah bon jee myeon myeo teh [mot" k'a bon 3' i mj/\n mj/\ t_J] how long has it been that we could not visit. ~~ oj]or ,~ 'ii ~'-f oh nu reh yah cha ju! nahl wad nah [o nclr e ja tfa 3'cll nal wan" na] Finally has the day come we can visit? 74 "Ei~~~ ~ft:} guhm gahng sahn un boo run dah [gclm gall san cln bu rcln da] q Gum-Ganhng is calling us. "'J :;,_ .ig. 2 .ig. £/- "I 1 ~ ~ ,.f "I q bee roh bong guh bong oo ree jeet bal pin jah ree [bi ro boll go boll u ri 3' it" p'a lpin 3'a ri] BeeRoBohng, the top destroyed ~,...fl t"'r'3~ -'¥-~"I •r'-r u heen goo rum sohl bah rahm doh moo sim hee gah nah [hin gu rilm sol ba ram do mu sim hi ga na] White cloud and gently breeze are passing by q ~of"ij ~"ij ~"I ~oJ,.I "r"r q ba raJeh sahn heh mali boh ee jee mah rah [ barJIJE san hE mal" Li bo i 3'i ma ra] Do not look at the sight below the mountain, below your feet u Pl t:f 0,1! ~ ~ ~ If; ';el ccp•f :,,I oo ree dah meh cheen won ha hn pul Iii tteh kka h jee [ u ri da mE tJin WAn han pul Iii t'E k'a 31] Until we resolve our hates and anger 4-4- ~ ~ o}~ c}~ ~ soo soo mahn myeon ah rum dah oon sahn [su SU man njAn a ram da un san] Forever beautiful mountain t:j "J ~ "-I c,i c,i oij duh reo pin jee myeon myeo the u [dA rA,yin 3'i mjAn mjAtJ ] how long has it been being polluted (by the communists) u ~1. 0 M ;Ii 'er Y'-r oh nu reh yah cha jul nahl wad nah [o nors ja tfa 3'ol nal wan" na] II Finally we can visit it today d 75 Q E 'J~~ ~E-ct. guhm gahng sahn un boo run dah [gom gall san on bu ron da] Gum-Ganhng is calling us. -'rTQJ +Ai]~7} ~-l-~ ~~~ _2c!]~ ~ 01 ~~ ~f: ~ or~- OJ'-1l or '-}~';':';': ~) ojoJoj 2 oJ~ c}Aj,¥-~ ~c!] '57J~ 4-4-~ ~ o}~c}~ ~ ~7}~A] o~ □JOfl .::_%"01Jor 1~ 'a[ ~q E7J~f: ,¥-fct. "'i~-'t 2-'g-E/-"I ';)';\I~ '"r"I tlT~ i8}~~ ~~O] 7}'-} ~ O} "' -::: "' ';': "I :L oJ '-1 o} "r ~ c!] C} □i ~ ~ ~ • i ~ t.efl ~r A] A A □i q TTL L O}~t::}~ ~ t:J~ ~'-I □~ o~ ott .::_%" 01Jor ~i Q. L► ,S 2 2 ~'-f .:J.. 7iA ► .Q.. D O LL ,¥-ft:}, Whose creation would it be clear and beautiful mountain. We miss the twelve thousand tops even though we would not say it. Finally now is the time for us to dress up and call the name, Gum-Gahng Mountain, again. Forever beautiful mountain how long has it been that we could not visit. Finally the day has come we can visit Gum-Ganhng is calling us. BeeRoBohng, the top destroyed White cloud and gently breeze are passing by Do not look at the sight below the mountain, below your feet until we resolve our hates and anger Forever beautiful mountain how long has it been being polluted (by the communists) Finally the day has cine we can visit Gum-Ganhng is calling us. (trans. by the author of this document) 76 l/9 .u. D 120 =-- f> "l - ... 1.- ·~ 11~-.;!•-~;_ J mp ,,,.--=== =====-- -4 r--:J-, II t) ) '."': ~:! - oJ - - .-. 1 - •II ,'-1----IQ •I·-·· ,1 -- cf •~ t - oJ ••~ J ., > II l" mp ■I ~ ,,. •:1_ ,1 II l· I) I) I I II II 11 121 mp t.f.l;,~ • .., " mp I I > I , 11. ~h- - =-'PP ,:\ I .., "' cf - r, I ,,. ':. * ,:\ 12-1 ,:\ I -=- !· . ,-: ,_ l'1'.jJ .J.J -L---=:1= •~' ~ ~ ·rrj ct ~ -·p p I ,:\ : -::a. f: .!., •'9· "' 6. A Misty moon Song by !sang Yun, Poem by Mogwol Pak c:J "l-"'l dahl moo ree [dal mu ri] t=J!}-al ~t '¥ ? al ~t dahl moo ree ttuh nun dahl moo ree ttuh nun [dal mu ri t'cl ncln dal mu ri t'cl ncln] A misty moon is floating, a misty moon is floating '.ll~ 7 l -;i~ '-r is. 7 r~"'r weh jool ghee ghee rul nah hol loh gah noh rah [we 5'ul gi girJI na ho!" lo ga no raj a single path where I walked alone 0 .,l! ';} 0 1]5_ O]~ ~O~ is. "}l~c!r yen nah reh doh ee run bahm en hol loh gahn noh rah [jen" narve do i rAn barn en hol" lo gan" no raj even long ago, I walked alone when the night was such as this er% 01] ~ t: ~ '¥-'-Fl mah um eh son nun been dah l moo ree [ma clm e son" ncln bin dal mu ri] an emp1y mysty moon that rises in my heart .!:i-%-% -"-.) t_!,]~ 0 1 '-ris. 7 h"'r doo doong seel ttee oo meo nah hol loh gah noh rah [du duT\ duT\ sil t'i u mjA na hol" lo ga no ra] I float away as I walked alone ool meo gah noh rah yen nah reh doo ee run bahm en [ul mjA ga no ra jen" nar e do i rAn barn en] Weeping, even long ago';! walked alone when the night was such as this %0 1 i~"'r ool meo gahn noh rah [ul mjA gan" no raj while weeping, I walked alone 77 ~~ -q .2. o;i 'a/ ojJ_!i_" '"o'J ~ ~ 0~ i 1. "1 i ~r 0 r% 0 11 :H: ~ 'i} Fl 'i-%%~ ""i'/- 0 1 '-ri5.. 'r"-"r ~□j •}!,__"} o;i'a/oJJ.ti_ oJ~ 'i}o~ ~ □j -:'.J:!,__"} A misty moon is floating, a misty moon is floating a single path where I walked alone even long ago, I walked alone when the night was such as this an empty misty moon that rises in my heart I float away as I walked alone Weeping, even long ago, I walked alone when the night was such as this while weeping, I walked alone. (trans. by the author of this document) 78 •!} ~~. ;s.t,(t . Andantino % o],tl- >it~ " t) M - - - >, ...------...._ ~ t) ·~ •r ~r = - .... ~ I : ·- I ,P ' ;.. i/ p ·1 ,v ·1 q Q II 128 q IQ j p tranquillo esprcu. OIi S:. M ,,.,...-----;:: ._, 01 '\i •\} "-i!- -------- -~ -%£- ~ !c..- 11..- ,._, l'f' I F' v• I /\ u a tempo ._, •f - I\" - ~ ._, >------------~==- - . I a tempo !U4- ,tr I y ,~ ht--== = ;- f ' ,v t ,v 129 130 Q [I • I II ll • "" pa lempo ~ranq,11il/o ., - <>J! <>ii _,._ " 01 '\l_ . •J-II I ,,,--, ·~ "" .., a tempo trcmq,uillo . -. 1'7: /2-· I If r v • I /', -pprit. ~ __, af ~ u ,--.... ./J." u a ~ "" tJ ~ ··- pp ~ PPP - '" I I '7 · i 131 7. Red Pomegranate Song by ByungDong Paik, Poem by MogWol Pahk WfOJ ~ -'---1-\'\- ppah ah! gahn sung lew [p'a al gan SAT1 lju] wf OJ ~ "-1 -\'\- .., f "1 xj ppah ah l gahn sung lew gah tuh juh [p'a al gan SAT1 lju ga IA 3 ' A] a red pomegranate opened 0H-"l ~ '-H:: ~½ young long hee beenah nun goo sul Li"Tl roll hi bin"na ncln gu sell] serenely shining glass beads of, -"-f 2J o] ';} OJ oj ~~cf%~ 0101 ah, sah rahng ee ahl ahl ee bool gun mah um ul meh juh [a sa raT1 i ar_,arj bul gcln ma clm...,cll mE3'A] ah, love connects each passionate soul -'f-e "f~ .., f 0 1I ~E..-"-1 i"1!I1Xle poo run hah nul kkah eh sahl poh shee ool lyeo puh jee nun [pu rcln ha ncll k'a e sal po ji ul" ljA P" 3 'i ncln] and gently spreads to the blue sky -"-f 2J£1 ~ ~i ~,11 ~t:t:f sah rahng eh jeen joo rul gob kkeh mahn dun dah [sa raT1 E 3'in 3'u rill gob" k'e man dcln da] beautifully make the pearl of love ~ .} ,11 !I1 xJ e -'H· "1 2d ppahl gah keh puh jee nun dung ppool chuh rum [p'aJ ga ke P" 3'i ncln ddll p'ul tf" um] like a r~d light <>Jj;\-o] 2_cjsl: :.l; ~ ~Cl'-1 ~ heng boh ghee suh myeo duh nun goo kwah joo meo nee sohk [hET1 bojl"i scl mjA dcl ncln gu k\wa 3'u mA ni sog"] happiness smears into mums 79 0 f, 0 f'i:l 0 1 'ii '-H: i 'ii -'i!-~n e! 0 I ah, ah cheem heh beenah nun guhm ppit boo cheh sahl gah chee [a atfim hE bin" na nan gam p'it" bu tfo s'al ga tJi] ah, morning sun, like a ray of golden fan v ~~ 0 1 °f%~ ~ 0 1 .'.0. 0 1~ ~ "l'if e[ 0 I chahl lahn hee mah um sohk ghee pee suh mee nun you ree ahl gah chee [t/al" lan hi ma am s'og" giyi sa mi nan ju rial ga tfi] and like the glass beads that brightly smears into the deep soul, ~{ J_ ~{ ~ A} 2J- e_] ~a~~ ~Ct} mahl kkoh mah! gun sah sahng eh noh reh rul mahn dun dah [mal k'o mal gan sa ra11 e no rE ral man dan da] makes a love song that is fresh and clear . • "'f'if ~ --'--l~'f "l"-1 • OJ~ 01 ~ LH~: ~½ of, ..<.f2Jol 'if~DI ~ e- o} ~ ~ □i Oi '¥-e 0 f~'f 0 ll -:}.'l.--'-1 %"1"l"-ll:': I --'-f~Jc -~ - ..;;. ,, •1- ----·- "i "!t 7J- ~I »j - ~1 .:,. % •1 ',j ,. ,go -=-- .., - - -mp-; ,.-r -... .iJ . -J) I I I .J t "'---' - · I " .., ... ·'I~J + ' -oj 'lo·! - .:,. ",· - - - 7 . ..... -+ ol ~ oJ s. .:,. "'!" .., -"ro-1 '-"I "" )i.., ... ~ C•l • r-... ---~ L.-1 r::, .r-, I JJ t q Ill 485 .Il... l m II DI II -:.....________ ~....- -------:-: • 480 n fl'} .., •i - i:-J- " "i >.l "r % tJ- - ;;a. - ~ •l ~ •I ' '" .., /I ll ~ " ~ I I - l. al uJc -le- % u.} -le- ,, ll D.S. D.S. [I [I "1- II .., II Ill d 8. Stars Song by Sooln Yi, Poem by ByungGhi Yi "J byeol [bjAl] "f'go) Aj),. ~ ofoj ~~oj) '-fof Ajt:j'-) bah rah mee suh nul doh ha yeo ttur ah peh nah ah suht ttuh nee [ba ram . SI\ nal do ha jA t'auP. e na a S/\t"t' Ani] Because of the cool breeze, [ went to the garden. Aj~ oJa)oiJ of),.~ ~ ~% ~oj'-f .1. suh sahn muh ree eh hah nuh run goo ru ul buh suh nah goh [SA san mA ri e ha nilr iln gu rel mill bA SA na go) Over the west mounta'in, the s'll l • r bee gah [bi ga] or ~~~ Al esttoJol %A1"'l"1 oj~~ ~1011 ah cha! lahn hahn juh the yahng ee soom juh buh ryeo uh 1 "1 •I - - - 2 _______,____ ~ I - - .., ., ri-l.~ - p -- ~ - ' I r ~ e' u---- , "i' f; ;-:--...., -----=== = IU I - •f c:.~ 71 ff ¼ 'l! <>1 -"- C;t st - - oJ , - ~ - - I.., -I ~ ==--mf u- -~~ ~ ~ , ' n I I =-- A ~ -~ ff~;. cf..- - --- ~, • f .-;. . 01 -Th- - • f - - - - - -A > I ~d 'J ·--== 1 './- (' . ., . -,; ,; • did [4 ~----- L r '-..____,.,': ·i.J ~ 815 <>al -----= =-- u El I 11 II II I 816 II p ~ - > ._, - •,! o-J •l •I - •f - - :-,1. •f c.~ 71 ii--% >.I. o-J .,,_ II _. ...----..,,_ I "' ~ ~ J ...-=--.- !· - e..c:::"' ' '---7 f~ -- £ -- ~ f~ II - ---= > / •' ., I .., ' - - •I ., -';- •I * - II ~ > ,;> \., I~ ~ ,~ ·----=---------I n ,]--== I JJJ :.~ I : ,- I I i . ], . - -....- =====--- ., -------l!-- p r---3 ~ pP - ---, ,,.--~ 'PPP - - rit-. ( mor~rtdo } - - ., ,,'- --=-- - - ' I - ¼- llum. - - - - II _-c---- ,...----:::::: J---i~ !· J PPP pp~ ril. -- rr1ore11do " I I A~~e~d,~ V,k, t'"} \Zo..-ea• I) Cor.,c,o·. --½ --- --- CJ) -iL:.~ <'.P--' (]) 1J i I © ~ ©~-.;.Q_) - ® CD CD 0 CD~ CD~! ~ ® ~ ® © I CD - rE I, I, :;=- I- I ,.... I . 7 ;L ~ (%~ I;,) - ~--' ~ j) I i t) : i ! i 3 I 3 I ! I l~I l~.l'. ' I I;~ - I ~ - I I I I I b- ' I I I I ' I ' (D ® ~.-_iLlL-.. ® I ' I '.R~I I !~.l I I I I ! I I ! I I I -~· -J1- '. ~ ~ . ' - I~{ ~ :i ' ' ' ~ 1 ' I I I q ll Bibliography Black W., & Irwin, R. (1969). Voice and diction: phonetic and phonology. Ohio: D. E. Merrill. Buzo, A. (1995). Korean language teaching in Australia: the current situation [Monograph]. Korea Journal, 35 (3), 54- 65. Chang, H.J. (1992). The Evolution of Paik Byung- Dong'scompositional style as seen through his piano music. D.M.A. thesis, Manhattan School of Music, New York. Cho, S. B. (1967). A phonological study of Korean: with a historical analysis. Uppsala: Almquist & Wiksells. Chun, S. Y. (1982). Folk culture in Korea. Seoul: The Si-sa- yong-o-sa Publishers, Inc. Coffin, B. (1980). Coffin's overtones of Bel Canto: phonetic basis of artistic singing: with 100 chromatic vowel-chart exercises. (1st ed.). New Jersey: Scarecrow Press. I Decker, D. M. (1970). Mastering the international phonetic alphabet. New York: Regents Publishing Company, Inc. 11 [I Feliciano, F. F. (1983). Four Asian contemporary composers: the influence of tradition in their works. Quezon City: New Day Publishers. Grant, B. K. (1979). A guide to Korean characters. New Jersey & Seoul: Hollym International Corp. Grubb, T. (1979). Singing in French: a manual of French diction and French vocal repertoire. New York: Schirmer Books. Ingram, J. (1995). Loan words and inter-language speech perception [Monograph]. Korea Observer. 26, 487-501. Killick, A. P. (1992). Musical composition in twentieth-century Korea [Monograph] . Korean Studies. 16. 43-60. Kirn, Y. K. (1994). Theoretical issues in Korean linguistics. Los Angeles: Stanford Linguistics Society. Kirn, M. S. (1992). The grand Korean dictionary. Seoul: Kumsung Publishing Co. Laver, J. (1980). The phonetic description of voice quality. New York: Cambridge University Press. Lee, C. H. (1955). Practical Korean grammar. Seattle: University of Washington Press. ii Lee, G. S. (1990). ~ ~ % ~ '4 [Korean musicology]. Seoul: MinEumSah. Lee, H. B. (1989). Korean grammar. New York: Oxford University Press Inc. Lee, H. G. (1976). Essays on Korean Music. Seoul: SuMoonDahng. Lukoff, F. (1982). An introductory course in Korean. Seoul: Yonsei University Press. Marshall, M. (1951). The singer's manual of English diction. New York: Schirmer books. Martin, S. E. (1992). A reference grammar of Korean: a complete gµide to the grammar and history of the Korean language. Tokyo: Charles E. Tuttle Company, Inc. Minjoongseorim Publisher. (1993). Essence Korean-English dictionary (2nd Ed.). Seoul: Minjoongseorim. Noh, D. E. (1989). ~ ~ ';'.! ~ % ~ ~ '2 •ii [Current phase of Korean ethnomusicology]. Seoul: SeGwahng Music Publisher. Odom, W. (1981). German for singers: a textbook of diction and phonetics. New York: Schirmer books. II iii 0, Hyon-Myong. (1985). Performing and Understanding Korean Lieder. Seoul: Um-ak -choon-choo-sah. Paik, Byung Dong. (1996). Liederbuch von Byung-Dong Paik. Seoul: SooMoonDahng. Park, C. (1985). Korean singing diction. Master's degree thesis, University of Washington, Seattle. Park, F. Y. T. (1977). Speaking Korean: Book I. Seoul: Merinolweh BangJeon Gyohoi. Park, J. W. (1977 / 1980). King Sejong Q. H. Ahn, Trans.). New York: Larchwood Publications Ltd. 11 Park, M. C. (1989). A Study of lyric songs and of selected choral settings by Kim Kyuwhan. Unpublished doctoral a dissertation, University of Washington, Seattle. ~ Renaud, Y. K. (Eds.). (1994). Theoretical issues in Korean linguistics. Stanford Linguistics Society. Robertson, F. S. (1995). English diction for singers: A self- instructional course of study utilizing the international phonetic alphabet with self- test materials. Unpublished doctoral dissertation, Ball State University. iv SeKwang Music Publisher. (1978). 200 °~ "J -e\- ~ [200 Selected Korean Art Song ]. Seoul: SeKwang Music. -------· (1979). [Collected Korean Popular Art Songs] Seoul: SeKwang Music. Sohn, H . (1987). Underspecification in Korean phonology. Thesis. University of Illinois at Urbana-Champaign. The Board of Education for Korean Residents in America of Seoul National University. (1991). ';'.!--;;), 0 1 I [Korean I]. Washington D.C.: Old Belview Printing. Wall, J. (1989). International phonetic alphabet for singers: a manual for English and foreign language diction. Dallas, Texas: Pst., Inc. Yu, S. H . (Ed.). (1994). □J %8 d [Doctor of the orthography for Korean] . Seoul: BaRunMahl BarunGul YeonGoo Molm. V