Inhalt Foreword Foreword 2 서문 4 1. Kyrie 5 2. Gloria Credo Sanctus with Benedictus Agnus Dei 40 Cool-Jae Huh used folk song tunes in

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1 Cool-Jae Huh 허걸재 Missa Arirang 미사아리랑 for mixed choir (SATB), changgo or any drum ad libitum: pianoforte Full score C Carus

2 Inhalt Foreword Foreword 2 서문 4 1. Kyrie 5 2. Gloria Credo Sanctus with Benedictus Agnus Dei 40 Cool-Jae Huh used folk song tunes in his sacred mass entitled Missa Arirang, which was commissioned by the Korean Chamber Singers in The piece takes its name from Missa, the Latin word for mass, and Arirang, the most popular piece of secular Korean folk music. This mass is based on Korean traditional folk tunes: Arirang, Jindo-arirang, Milyang-arirang, Jeongsun-arirang, Shingosan-taryung, as well as on the Sanguh-sori funeral song. Missa Arirang is written in the style of many different Korean provincial songs, as well as Gregorian chant. It combines Korean folk tunes accompanied by a piano and a puk, a kind of barrel drum, or jang-go. A piano accompaniment is also added when more texture is needed. This mass follows the traditional Ordinary: Kyrie, Gloria, Credo, Sanctus and Agnus Dei. The Kyrie utilizes portions of the Arirang for its motif. It begins with a counter melody that is paired with the Arirang, later appearing in a monophonic-like chant and it is treated in organum, canonic and fugal style. The Arirang used in the Kyrie contains five pitches sol-la-do-re-mi, which is a Korean traditional pentatonic folk-song scale. This movement is in A-B-A structure and the composer uses traditional western techniques, such as a cappella choral singing, as well as the organum-like use of parallel fourths in the Kyrie. The use of the puk, a Korean traditional drum, and its saemachi rhythm, a long short short long beat pattern in two-measure phrases is also introduced, showcasing Korean musical tradition in contrast to the western style of the movement. The piano begins at measure 21, and overlaps the end of the first section in measure 19. In effect, Huh transitions from the western style of the first section to the contemporary Korean style using western technique. The piano is not part of the Korean folk song heritage, thus with the addition of the piano, Huh also combines the old culture with the new. The following performance material is available: full score and optional piano (Carus ), choral score (Carus /05), percussion (Carus /41). In the Gloria section the Jindo-arirang and Milyang-arirang melodies are used to form the main melody. Both the Jindo-arirang and Milyang-arirang are derived from the same roots but are from different provinces. The people of Jindo and Milyang have been quietly feuding with each other for centuries, but the composer tries to make a peaceful union by utilizing both styles in this movement. The arirangs on which the Gloria is based are traditionally in 9/8 time, giving the feel of the local oceanside from where they originate. The rondo-like Gloria uses a heavily dotted rhythm and changing meters to show the excitement and constant motion of the people. In the phrase Laudamus te, benedicimus te, the composer introduces the Jindo-arirang and Milyang-arirang, first separately and then overlapping, finally finishing together. Perhaps Huh is trying first to illustrate the feuding between the two provinces and then attempting to bring them to peace in the end. Jeongsun-arirang is from KangWon mountain village and is used in the Credo. The music reflects the hills and val- 2 Carus

3 leys of this province s mountains with music that ascends and descends. The dynamics remain subdued, reflecting the mountain lifestyle of the province from which the Jeongsun-arirang comes. There are many Buddhist monks in the mountain region and this style may represent the sense of a sacred location (i.e., a church or Buddhist temple). The composer also uses a traditional syncopated Korean rhythm to accent key words in this movement: credo (I believe), filium (Son), Dominum (God) and Amen. The Sanctus contains many meter changes and utilizes the Shingosan-taryung. The piano accompaniment is mainly comprised of the tones do-mi-la, the tempo is very fast and Í dynamics are used in the introduction. Interestingly, the use of Í in the introduction demonstrates Korean style vocalisms (for example, a heavy downbeat followed by a lighter upbeat). The form of the Sanctus is rondo-like, but it does not exactly fit the true definition of a rondo, due to the inclusion of a repeated B section. This movement is vocally challenging because of the high tessitura for sopranos and tenors, and their brisk tempo. a fisherman or a merchant. In the mountainside provinces the music is often slower, with more ascending and descending lines, reflecting the terrain of that area. In his Missa Arirang, in addition to showcasing the provincial styles of Korean folk song, Huh is attempting to inspire peace and unity, not only in reference to the provinces, but throughout all of Korea and the world. In the Gloria, his utilization of the Arirangs from the Gyeongsang and Jeolla provinces is an attempt to unify the two groups of people. His use of traditional songs from both North and South Korea in the Sanctus shows a desire for reunification of the countries as they once were and should be again. The Agnus Dei, with its use of the funeral song Sanguh-sori in the final dona nobis pacem, is symbolic of the death and resulting end of all conflict. It appears that the composer is pleading for peace, not only within Korea and its provinces, but worldwide. Alabama, April 2011 Imgyu Kang, DMA One of the most interesting movements, the Agnus Dei, introduces the sound of a traditional Korean opera singer into the palette of colors. Unlike western classical singers, Korean opera singers do not use the western classical singing style; however, they use strong throat sounds that are often presumed to be untrained to the western ear. In the Korean tradition, the natural speaking voice, coupled with a throaty vocal sound is thought to communicate one s thoughts and feelings more clearly. Furthermore, Korean listeners will recognize the sound of funeral singing, and many connect these sounds to Christ s suffering on the cross. Agnus Dei is based on a traditional Korean funeral service and on the following procession to the grave, and it is written for an operatic solo voice and double choir. The soloist represents the minister in the Korean funeral service, who often rings a bell while giving a sermon to the congregation, which is represented by the second choir. The first choir represents the pallbearers, who, in turn, repeat the words of the soloist. The dynamics are consistently π, shifting to Ï with extremely high vocal writing for sopranos, tenors and the baritone soloist (i.e., high a-flat for the baritone solo). The texture also thickens greatly here, and the ensuing climax of the movement represents Christ s last moments on the cross. The music becomes calmer, returning to the earlier π dynamic, and is scored for a cappella chorus. The final note sounds on the puk and fades to niente. The style of the Korean folk song varies from province to province and the style of each province reflects the lifestyle of the natives of the area. For example, in the provinces of the plains there are few differences in tempo and rhythms are not complicated, perhaps reflecting the simple lifestyle of a farmer. In the oceanside provinces the music is often faster, with more active rhythms, reflecting the busy life of Carus

4 서문 Missa Arirang 은우리나라각지방의여러민요들을한데모아다양한음악적작업을통하여동 - 서양이함께공감할수있도록용해해낸합창음악으로, Korea Chamber Singers 의위촉에의해쓰여졌다. Missa Arirang 에는작품전체에한국적인선율이면면히이어지고있는데, 여기에는경기의 < 아리랑 >, 전라의 < 진도아리랑 >, 경상의 < 밀양아리랑 >, 강원의 < 정선아리랑 > 등각지방에서불리는아리랑과지금은신고산타령이라고불리는함경의 < 어랑타령 >, 그리고전국어디서나들을수있는 < 상여소리 > 의선율들이주요한재료로포함되어있다. 합창이작품전반을이끌고나가고있으며, 화성적으로강화하여야할부분에서는피아노가합창을보강해주고있다. 여기에북 ( 소리북 ) 이함께하여합창과피아노의장단에가락을더해주고있다. 실제미사의식에서사용될목적으로쓰여진것은아니지만, 의식에서쓰이는라틴어텍스트를따르고있다. <Kyrie> 에서는경기 < 아리랑 > 이정선율 (Cantus Firmus) 로사용된다. < 아리랑 > 선율의대선율로사용될수있도록고안된 Chant 스타일의단선율로시작되어, 이대선율이서양음악의발달사를쫒아가며차츰 Organum, Canon, Fugue 양식등으로발전한다. 그사이에대선율과 < 아리랑 > 의선율이함께등장하게되는데처음에는 < 아리랑 > 의정선율이중경 (middle Ground) 정도에머물지만후반부로갈수록정선율은더욱두드러지게되며, 마지막부분에서는포근하고도친근한아리랑의선율을느낄수있도록화성적인배려를하고있다. <Agnus Dei> 는전국어디에서나불리는토속선율인상여소리의선율과메기고받는응창방식을사용하고있다. 남성솔로가상여소리의원선율에미분음적인변화를가해메기면, 합창이이를받아나가게되는데, 단순한토속선율에변화를주기위해중간에이중합창을채용하고있으며, 화음에도미묘한변화를주곤한다. 죽음을대하는우리네의고유한정서로하나님의어린양이신그리스도예수를묵상하게한다. 차분하면서도엄숙하게작품전체를마무리를하는악장이다. 지난수년간한국에서절판이되어서구입이어려웠던미사아리랑곡을이번에독일의카루스출판사에서새로운모습으로출판하게됨을기뻐하며, 더불어이지면을통해서출판사에게감사를드린다. 앞으로도이와같은계기를통해더많은한국의좋은음악작품들이유럽에소개되는기회가되어지기를개인적으로바래본다 년 5 월서울에서허걸재 <Gloria> 에서는전라도의 < 진도아리랑 > 과경상도의 < 밀양아리랑 > 을주재료로하고있다. 이두아리랑의선율은각각등장하기도하지만, 때로는동시에등장하기도한다. 지금은 육자배기토리 라고불리는전라도지방의음악과 메나리토리 로분류되는경상도지방의음악이같은뿌리에서출발하였다는점에착안하였으며, 한국적인도미난트 (dominant) 사용에유의하고있다. 한편, 리드미컬한텍스트의사용이부쩍늘어, 작품전체적으로봐서는활기를띄게되는악장이다. <Credo> 에서는강원도의 < 정선아리랑 > 이주재료로사용되고있어, 빼어난산세와고즈넉한산사의이미지마저느껴진다. 신앙의대상은다르지만, 간절하기그지없는우리네종교적심성을표현하기에더없이적합한선율로생각된다. 음악적으로는엇모리 (5/8 박자 ) 를사용하여정적인면과대비를이루게하고있으며작품전체로봐서음악적인긴장을고조시키는역할을하는악장이다. <Sanctus> 에서는함경도의어랑타령 ( 신고산타령 ) 을주재료로사용하고있다. Changing-meters ( 변박 ) 을시도하면서섹션별로서로다른박자를사용하지만, 한국장단의큰틀은그대로유지되고있다. 유일하게피아노반주가이끌어가는악장으로화성적인측면에서도반음계적인요소들이긴장감을더하고있다. 작품전체의절정에해당하는악장이다. 4 Carus

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<B3EDB9AEC1FD5F3235C1FD2E687770> 경상북도 자연태음악의 소박집합, 장단유형, 전단후장 경상북도 자연태음악의 소박집합, 장단유형, 전단후장 - 전통 동요 및 부녀요를 중심으로 - 이 보 형 1) * 한국의 자연태 음악 특성 가운데 보편적인 특성은 대충 밝혀졌지만 소박집합에 의한 장단주기 박자유형, 장단유형, 같은 층위 전후 구성성분의 시가( 時價 )형태 등 은 밝혀지지 않았으므로