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GMTXXX10.1177/1048371317705163General Music TodayYoo and Kang

Article

Teaching the Korean Folk Song (Arirang) Through Performing, Creating, and Responding

General Music Today 2017, Vol. 31(1) 16­–25 © National Association for Music Education 2017 https://doi.org/10.1177/1048371317705163 DOI: 10.1177/1048371317705163 journals.sagepub.com/home/gmt

Hyesoo Yoo1 and Sangmi Kang2

Abstract This article introduces a pedagogical approach to teaching one of the renowned Korean folk songs (Arirang) based on the comprehensive musicianship approach and the 2014 Music Standards (competencies in performing, creating, and responding to music). The authors provide in-depth information for music educators to help their students achieve learning outcomes for the skill, knowledge, and affect domains of the Korean folk song (Arirang). Furthermore, the authors offer music lessons for Arirang in a variety of ways that are appropriate for upper elementary and secondary general music classrooms, including performing, creating, and responding to the music. An educational website that includes exemplary lesson plans, videos, and worksheets is also provided to help music teachers obtain content and pedagogical knowledge of Arirang. Keywords Arirang, comprehensive musicianship, culture, general music, Korean folk songs, multicultural music, world music Comprehensive musicianship, developed and refined between the 1960s and 1970s, suggested ways to improve teaching and learning music in classes and rehearsals in K–12 schools, colleges, and universities in the United States (Choksy, 2001; Grashel, 1993). Comprehensive musicianship stresses the following concepts, which are relevant at all levels of instruction: 1. The development of competencies in creating music, performing music, and critical listening and analysis 2. Experience with the totality of music styles—particularly those in the 20th century, and a wide variety of non-Western styles—brought into a common frame of reference by the common elements approach to terms and principles found in all music 3. The integration of content and music experiences 4. The students’ active involvement in the application of concepts with emphasis on music making and discovery, rather than on routine memorization and a passive learning environment (Willoughby, 1971, p. 39)

in multiple music behaviors or skills, such as performing, creating, analyzing, evaluating, and listening. In the 1990s, the concept of comprehensive musicianship gave way to the National Standards for Music Education (Norris, 2010), which include nine areas of music behaviors or skills. Recently, the original list of nine standards were combined into the three Artistic Processes of performing, creating, and responding in the 2014 Music Standards (NAfME, 2014). The comprehensive musicianship approach has been explored in relation to general music, choral, and instrumental music education since the seminar on comprehensive musicianship at Northwestern University (Norris, 2010). Additionally, since the National Standards for Arts Education were released (Consortium of National Arts Education Associations, 1994, 2014), various curricula and programs have been developed to meet the standards. Music teachers have attempted to design high-quality music programs and plentiful lessons using the comprehensive musicianship approach and the standards. These programs and lessons have largely focused on teaching Western classical traditions; however, the development of 1

Comprehensive musicianship is a total and integrated approach to music instruction that advocates that the development of music understanding (of elements) should be multidimensional; thus, students should engage

Virginia Tech, Blacksburg, VA, USA University of Florida, Gainesville, FL, USA

2

Corresponding Author: Hyesoo Yoo, Virginia Tech, 195 Alumni Mall, Blacksburg, VA 24061, USA. Email: [email protected]

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Yoo and Kang lessons on the comprehensive musicianship approach and the standards focused on non-Western traditions is relatively lacking (Anderson & Moore, 1998). Even though music teachers include multicultural music in their curriculum, music activities such as improvisation or composition have not been traditional components in music classes, particularly when teaching musics from different cultures (Anderson & Campbell, 2011). Therefore, the authors seek to provide music educators with ideas about how music teachers can design multicultural music lessons based on the three music curriculum areas of creating, performing, and responding, all of which comprehensive musicianship and the 2014 Music Standards addressed. In current practices of multicultural music education, some researchers (Campbell, 2004; Volk, 1998) have criticized the pervasive presence of the “supermarket approach” (Volk, 1998) or “musical tourism” (Campbell, 2002), in which students are merely provided with a small sampling of multiple cultures. They argue that this supermarket approach can limit cultural understanding, and it may cause students to develop instructional prejudices or cultivate stereotypical or negative impressions of cultures. Many music education scholars assert that a more in-depth and carefully guided study of a specific culture or a few countries may do more to help students develop a thorough understanding of those cultures (Abril, 2006; Campbell, 2004; Goetze, 2000; Holmes & VanAlstine, 2014; Volk, 1998). Therefore, this article considers these challenges and provides music educators with in-depth Korean folk music lessons that involve the three music curriculum areas of performing, creating, and responding to music. The exercises below are intended to be implemented over several class periods in upper elementary or secondary general music classrooms. We also provide an educational website for teachers in which exemplary lesson plans, videos, and assessment plans are included.

Korean Folk Song: Arirang Among a variety of Korean folk songs, we introduce Arirang because it is the most widely recognized Korean folk song, both in and outside of Korea, and it is also included as one of the multicultural pieces in most music textbooks (e.g., Share the Music, Music Connection, Making Music, etc.). Arirang has various versions in existence, and the titles of the different versions are usually determined by their region of origin (i.e., “____ Arirang”). Each Arirang presents regional differences in style, tune, rhythm, lyrics, and form (Park, 2013). The Arirang that most Americans are familiar with is called Gyeonggi Arirang or Seoul Arirang, given its origins in either Seoul (the capital city of South Korea) or in the Gyeonggi province near Seoul. A number of scholars have debated the origins of the term Arirang. Some argue that “Arirang”

was the name of a hill located in the central part of Seoul, and others claim that “Ari” may have meant “beautiful or lovely” in an old Korean dialect and “rang” may have meant “beloved.” Put together, “Arirang” means “my beautiful lover or my beloved one” (Kang, 2013, p. 32; Park, 2013). The lyrics of the Arirang is about the sadness of lovers’ parting. The historical and cultural background of Arirang will be discussed in more detail later in this article.

Oral and Aural Transmission Oral and aural transmission should be used to achieve the goals of “cultural literacy and understanding” (Campbell & Scott-Kassner, 2013, p. 56). Moreover, as Julia Shaw (2012) states, “Using a score might reduce the cultural validity of the experience” (p. 78). If teachers take authenticity in world musics seriously, they should adopt as much of the teaching style of those cultures as possible. Like other traditional Korean folk songs, Arirang was taught and transmitted orally and aurally. Therefore, the oral and aural approach is recommended when teaching Arirang. By adopting oral and aural transmission as part of their pedagogy, teachers can not only introduce songs from different countries but also incorporate the teaching methods of that music’s culture or time period (Campbell, 2004).

Performing Singing Arirang Korean folk songs often consist of pentatonic scales, compound triple meter, and a call-response music form (Son, 2013). Arirang also has a call part in which a leader typically sings his or her own melodies and lyrics, and a response part in which a group sings the same melodies and lyrics simultaneously (see Figure 1). The lyrics and their meaning of Arirang are presented below. Response

Call

Arirang, Arirang, Arariyo, My beloved one, my beloved one, my beloved one Arirang gogaero neomeoganda. My beloved one is going over the mountain Nareul beorigo gasin nimeun If you leave and forsake me Siprido motgaseo balbyeong nanda. Lame you will be before going three miles

Music aesthetics in traditional Korean singing differ from those of the Western music traditions, where the bel canto style has been the desired singing technique since the Baroque era. Korean people believed that music

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Figure 1.  An example of Gyeonggi or Seoul Arirang without ornamentation. Source. Yong (2003, p. 68).

comes from nature and that all sound colors harmonize naturally. As a result, the Korean music tradition has been far more inclusive of all types of voices, including harsh or husky voices, because each voice complements the performance of the others (Hwang, 1985). Most Korean vocal production centers in the throat with vibrato (a rough, unpolished, and quavering sound) rather than the high, clear voice that is qualified as head voice in Western music (Kang, 2013). Thus, music teachers should be aware of the traditional singing style for Korean folk songs and encourage students to sing the songs in that style. In doing so, students can “enhance a cultural sensitivity to vocal nuance” (Szego, 2005, p. 206), become “more receptive of other styles” (Shaw, 2012, p. 78), and experience, as well as appreciate, the qualities that distinguish such music from Western styles. When teaching Arirang, the music instructor first teaches the song using the head voice and then gives students an opportunity to view the YouTube clip of the song, which is sung in a traditional Korean vocal style (see Appendix B). Next, the teacher explains to the students the traditional Koran vocal style. Teachers can encourage students to sing in “raspy sounds as the air is thrust upward from the stomach through the vocal chords, unlike the bel canto style, in which the air resonates from the head, producing a clear and smooth tone” (Kang, 2013, p. 32). If students are able to vibrate the raspy sounds, it will sound more Korean-like. A detailed lesson plan for singing Arirang along with videos can be found at http://koreanfolkmusic. weebly.com/singing.html.

Figure 2.  Semachi jangdan.

Accompanying Arirang Most Korean folk songs are accompanied with the recurring rhythmic patterns (like ostinato), called Jangdan (literally “long-short”) in Korean. Among a variety of the recurring rhythm patterns, Arirang is performed with semachi jangdan, a rhythm pattern of 9/8 meter with a stress on the first and sixth beats (see Figure 2). This rhythmic accompaniment is typically played by a janggu (hourglass drum). As mentioned earlier, Korean music was transmitted orally and aurally, thus the best way to teach and learn the recurring rhythmic pattern (semachi jangdan) is to use the Korean verbal syllables (“dung dung duck kung duck”) presented under each note in Figure 2. In playing the Korean hourglass drum, (“dung”) indicates hitting both sides with both hands, (“duck”) means hitting the right side with the right-hand bamboo stick, and (“kung”) represents hitting the left side with the left-hand mallet. Even though we provided the Western notation of semachi jangdan in this article, it is advisable not to present students with the music score.

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Figure 3.  An example of Arirang with semachi jangdan.

When teaching the recurring rhythmic pattern (semachi jangdan), the teacher is encouraged to vocalize the verbal syllables as a whole and have students listen and then imitate them until they are familiar with the verbal syllables. Next, the teacher demonstrates how to play it using body percussion (both hands), while chanting the Korean verbal syllables, and then has students imitate them. Afterward, the teacher plays semachi jangdan with instruments (e.g., classroom, handmade, or authentic instruments) and have students imitate the rhythm (Yoo & Kang, 2014). After students learn to sing Arirang, the teacher splits the class into two groups and has one group sing Arirang and the other group play the rhythmic accompaniment (see Figure 3). Teachers can borrow the traditional Korean instruments from the Korean student union at a local university or a Korean language school. If the traditional instruments are unavailable, they can be replaced with handmade or classroom instruments created to resemble the appearance and sounds of traditional ethnic instruments (Anderson & Campbell, 2011). A detailed lesson plan for accompanying Arirang as well as photos of the instruments can be found at http://koreanfolkmusic. weebly.com/accompanying.html.

Dancing to Arirang There is often an interdisciplinary connection between folk music and folk dances in Korea. A popular Korean proverb goes, “Music, singing, and dancing are one (樂歌舞一體),” which means that instrumental sounds, vocal sounds, and dancing have existed as an integrated form. Many folk songs are performed with group folk movements, which provide students the opportunity to experience various music traditions by incorporating these folk dance movements. Among a variety of folk dances, the Korean fan dance can be combined with Arirang. The fan dance, one of the most popular traditional folk dances of Korea, was developed in the 18th century. The fans were thought to expel evil and bring prosperity (Son, 2013). In South Korea, fifth or sixth

graders usually perform a Korean fan dance in school performances. Teachers can learn this fan dance through a lesson plan that we have provided (see Appendix A). A more detailed lesson plan, a video, and information on fans can be found at http://koreanfolkmusic.weebly. com/dancing.html. The website also introduces the artcraft activity of making Korean fans with which students can dance.

Creating Improvising and Composing Patricia Shehan Campbell and William M. Anderson are two advocates for including multicultural music creative activities in music classes. They assert that “engaging in creative activities guided by teachers with a sense of how musical pieces each have their own architectural shape, students can bring about understanding of smaller and larger musical structures” (Anderson & Campbell, 2011, p. 56). Creative activities within the context of multicultural music in music classes give students the opportunity to learn music vocabularies from diverse ethnic groups in traditional styles and allow them to expand their expressive music vocabulary (Anderson & Campbell, 2011). Korean traditional music has long been a faithful reflection of Korean society and has developed into an integral part of everyday life. For instance, as Korea was predominantly an agricultural society, many traditional songs were sung while laboring in fields as a way for the workers to provide encouragement and strength to one another. Therefore, it is worth providing students with an opportunity to create their own music and lyrics (“call” part) connected to their own lives, thus reflecting their own emotions in the style of Korean folk music traditions. For creative activities, the teacher should first understand culturally specific music elements, such as certain aspects of melodic modes, rhythm, meter, and music form used in Arirang. These aspects form the framework

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Figure 4.  Composition worksheet.

through which composition can be practiced. For example, Arirang consists of four rhythmic cycles (one rhythmic cycle consists of nine eighth notes), F pentatonic scale, and a call–response form. At the beginning of the lesson, students listen to Arirang and discuss how the song typically sounds. Then, the teacher provides students with contextual information about music elements and structure (e.g., four rhythmic cycles, pentatonic scale, and call-response form). Additionally, for the notation, it is recommended to use Chongganbo, one of the Korean notation systems (a type of mensural notation developed in the 15th century). The Chongganbo notation consists of blocks of cells, each representing a unit of time, with symbols written in each cell depicting the notes (Figure 4). A sample lesson plan for rhythmic and melodic composition as well as a photo of Chongganbo are found at http://koreanfolkmusic.weebly.com/composing.html.

The teacher should give students enough time to complete and practice their compositions in order to promote creative music growth within students. In addition to the composition lesson plan, sample lesson plans for improvisation are found at http://korean folkmusic.weebly.com/improvising.html. Improvisation is “extemporaneous performance of newly created music” within a certain music structure (Radocy & Boyle, 2012). Improvisation and composition are closely related, but the important difference lies in time; improvisation takes place as an immediate action of creating. To improvise, students thus need to internalize the music syntax (e.g., melodic and rhythmic patterns) of a targeted genre of music. Thus, we advise adopting the improvisation lessons at the end of the Arirang unit, after which students will be familiar with the music patterns in Arirang through all the activities.

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Responding Listening to Arirang Many music aspects (e.g., rhythmic patterns, pitches with ornamental qualities, subtleties of dynamic expression, texture, and timbre) differ between Korean folk music and Western music. Initially, students would be encouraged to listen to Arirang and then identify music elements that are different from those in Western songs. Identifying different music elements is the initial step toward developing an individual’s music sensitivity and awareness of diverse instruments, styles, or genres (Campbell, 1991). Another listening activity is to have students listen to authentic recordings of Arirang in both vocal and instrumental versions and then have the students discuss the timbre of the traditional Korean instruments and the vocal production featured. Last, students listen to Arirang in diverse music genres, including band, jazz, choral, popular, classical, and modern arrangements, and then compare versions (see Appendix B). By including a variety of listening activities in which the wider music sounds are played, teachers can give students more chances to open their ears to examples of the great music variety not only in Western European music but also in the non-Western music world (Campbell, 1991).

Evaluating Arirang Many multicultural music presented in the elementary music textbooks are mostly Westernized arrangements of a culture’s original version or style. When a music teacher brings a form of arranged music to the classroom, it is important to allow students to listen to the recordings of an original version in order to discern what has been changed and how that transformation may alter the music’s meaning (Campbell, 2004; Szego, 2005). Otherwise, students will misunderstand that the arranged versions are the original sounds of the authentic version. Therefore, students should be encouraged to listen to and critically compare and contrast an authentic version of Arirang to a Westernized version (Kang & Yoo, 2016). Before asking students to evaluate these two versions, the teacher should develop a series of questions that prompt students to discuss the differences between two versions of music. An example of a lesson plan along with videos can be found at http://koreanfolkmusic.weebly.com/evaluating.html.

Understanding Arirang in Historical and Cultural Context Music is a part of culture, so it cannot be isolated from culture (Chen-Hafteck, 2007). Dunbar-Hall (2005) also

asserts that all music should be studied as cultural practice rather than focusing only on music concepts. Therefore, when teaching culturally unfamiliar music, teachers should aid students in understanding music in historical and cultural context by explaining background information about the piece and by describing the distinct characteristics of the music genres and styles. Arirang is a very popular traditional folk song among Koreans, both in South Korea and in North Korea. As a result, it has the power to unite all Koreans. Throughout history, Koreans have sung it in times of both happiness and sorrow, so this song is deeply rooted in the emotions of Koreans. For example, during the Japanese colonial era (1910–1945), Arirang played a significant role in unifying people by voicing people’s sufferings and arousing resistant sentiment against the Japanese rule (Kim, 2001; Yang & Lee, 2016). Since Korea was divided into South Korea and North Korea (1953), each country has developed its own separate culture, economy, education system, and art practices. Despite these differences, Arirang has been similarly preserved in both Koreas (Kang, 2013). Thus, Arirang has often been used as a national anthem for unified teams of South Koreans and North Koreans (e.g., World Table Tennis Championships in 1991, the Summer Olympics in 2000, etc.). Arirang has been registered on the UNESCO’s Representative List of the Intangible Cultural Heritage of Humanity since December 2012. Parr (2006) states, “One of the primary goals in instructing multicultural music is to increase understanding that involves the character of the culture” (p. 36). Teachers need to consider carefully the cultural backdrop to enrich their understanding of the music’s context and deliver a variety of music cultures to their students.

Reflections In this article, the authors provided a practical and indepth guide to teach the Korean folk song (Arirang) based on the comprehensive musicianship approach and the national standards (competencies in performing, creating, and responding to music). Many scholars agree that embedding multicultural music into the music curriculum is invaluable for helping students broaden their music and cultural experiences, increase their value of unfamiliar music, promote a deeper cultural understanding, and cultivate open-mindedness (Campbell & Scott-Kassner, 2013; Edwards, 1994; Fung, 1995; Nethsinghe, 2012; Volkmann, 2004). To aid music educators in deepening their understanding of music from a specific culture and obtain the skills necessary to implement that particular world music in their classes, more world music materials should be developed in a variety of ways, including performing, creating, and responding to music, in today’s music classes.

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Appendix A Sample Lesson Plan: Dancing to Arirang Grade level: Grades 4 to 12, general music classes Objectives: Students will be able to dance to “Arirang” with correct motions. Students will be able to fold and unfold fans in the correct timing. Students will be able to dance to “Arirang” with enthusiasm and energy during the entire song. Duration: 30–45 minutes (or approximately one class period). Procedures: 1. Arirang, Arirang, Arariyo (My beloved one, my beloved one, my beloved one) Have students lean to the left, extending their left shoulders forward while crossing their right arms on their left hips. Then, have students lean to the right, extending their right shoulders forward while crossing their left arms on their right hips.

2. Arirang gogaero neomeoganda (My beloved one is going over the mountain) Have students file into two rows (front and back). Both rows should open and shake their fans.

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3. Nareul beorigo gasin nimeun (If you leave and forsake me) Have students cover and show their faces with the fans while facing the audience.

4. Siprido motgaseo balbyeong nanda (Lame you will be before going 3 miles) Have students move to make a large circle, which looks like a big flower.

Appendix B •• •• •• •• •• ••

           

Arirang performed with the traditional Korean singing style: www.youtube.com/watch?v=gkM_LXUCMeA Arirang played with traditional Korean instruments: www.youtube.com/watch?v=lMtDqng0xOs Arirang played by New York Philharmonic: www.youtube.com/watch?v=QrEedoLFyfo Arirang Rhapsody Version: www.youtube.com/watch?v=Q6zX7ioBf_I Arirang Pop Version: www.youtube.com/watch?v=vwc5zTayVJw Arirang Choral Version: www.youtube.com/watch?v=1aE5iDypbjE

24 Declaration of Conflicting Interests The author(s) declared no potential conflicts of interest with respect to the research, authorship, and/or publication of this article.

Funding The author(s) received no financial support for the research, authorship, and/or publication of this article.

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Yoo and Kang Yoo, H., & Kang, S. (2014). Teaching Korean rhythms in music class through improvisation, composition, and student performance. General Music Today, 28(1), 16–22.

Author Biographies Hyesoo Yoo is an assistant professor of music education at Virginia Tech. She is a general and choral music specialist, lecturer, and guest conductor for multicultural music. Her

25 scholarship is focused on issues related to culturally responsive teaching, creative activities, students’ motivation, and the innovative uses of technology in classrooms. Sangmi Kang is an adjunct assistant professor of music education at the University of Florida and has taught preK–12 general music. Her research interests include affective responses to music, multicultural approaches to music education, and teaching music through digital technology.