Skip to main content Accessibility help

We use cookies to distinguish you from other users and to provide you with a better experience on our websites. Close this message to accept cookies or find out how to manage your cookie settings.

Close cookie message
×
  1. Home
  2. Search

Refine search

Refine search

Access:
Content type:
Publication date:
Apply   From and To filters
Subject: Show more
Journals Show more
Publishers: Show more
Societies Show more
Series: Show more
Collections: Show more

Actions for selected content:

Select all | Deselect all
  • View selected items
  • Export citations
  • Download PDF (zip)
  • Save to Kindle
  • Save to Dropbox
  • Save to Google Drive

Save Search

You can save your searches here and later view and run them again in "My saved searches".

Please provide a title, maximum of 40 characters.
Cancel
×

1 results

  • 19 - Images of sound: Erich M. von Hornbostel and the Berlin Phonogram Archive

  • from Part VII - Institutions and politics of representation
  • Edited by Philip V. Bohlman, University of Chicago
  • Book:
    The Cambridge History of World Music
    Published online:
    05 December 2013
    Print publication:
    12 December 2013, pp 475-497

  • Summary

    This chapter explores the development of Western music in Korea, and the impact it has had on music and musical discourse. The twentieth century saw the development of music education and musicology in Korea, and the introduction of music training in universities and conservatoires, using Western models and, initially, focusing on Western music. Western music became a formal part of the Korean school curriculum shortly after Japan took control. Music training for budding Western musicians was initiated at the Choyang Club. Musicology catapulted kugak into the public arena, encouraging government agencies to promote it. The transition whereby kugak moved onto public stages was assisted by recording and broadcast technologies. Post-liberation at the end of the Pacific War, Western music dominated the media in South Korea. Public pop music retained eponymous pan-Asian balladry, based in Korea on yuhaengga, until democracy and music videos arrived in the early 1990s.