30년대 신민요 - V.A. "Pork Song"
This compilation proves how the new folk music from the 20s/30s was highly original and clearly the foundation for the continuation of this new tradition during the 50s even thought they filtered out the Japanese singing variations further even though it is highly joyful and beautiful to hear them enrich the music. But the music still is a mixture of a variety in styles in singing.
The band can have a front folk band (banjo, acoustic guitar, Japenese flute), while the band is the old time western ballroom combo (strings, brass, flute, clarinet solos, accordion). Here and there Korean percussion element comes trough. The rhythms are often a bit humpapa-like, light and pleasant, a perfect accompaniment despite its limits.
The fourth track shows a bass rhythm, which in combination with the song gives it almost a rock potential with a blues rhythm on bass.
I also would like to take out track 5 of the second CD, with Japanese flute and a singing that shows a gifted and varied intonation with very special ethnical variations in the singing, taking the time and space to develop itself.
The 9th track of CD2 has a responding voice that imitates a goat, possibly an animal song.
A really enjoyable album of an era that lived on until the 60s, except for some unfortunate elements. Very good!!
**쟈켓상태; 미개봉 **음반상태; 미개봉 **2LP/GF커버 **빅터유성기원반시리즈-가요2
김용환 / Kim Yong-Hwan 1.꼴망태 아리랑(김용환) 2.정어리 타령(김용환) 3.눈깔먼 노다지(김용환)
4.물레방아(박단마) 5.우리님 날보고(박단마) 6.가야금 야곡(박단마) 7.날두고 진정 참말(박단마) 1 (8).처녀화원(박단마) 2 (9).멋장이 춘풍(박단마)
유정화 / Jeong Hwa
최남용 / Choi Nam-Young 5 (12).이팔청춘(최남용)
김옥진 / Kim Ok-Jin 6 (13).둥글둥글 삽시다(김옥진)
노벽화 / No Bueck-Hwa 7 (14).정원애사(노벽화)
황금심 / Hwang Keum-Sim 1.날 다려가소(황금심)
조백조 / Jo Baek-Jo 2.단오 아가씨(조백조) 3.치마폭 눈물(조백조) 4.천리에 님을 두고(조백조) 5.울지마라 미나리(조백조) 6.첩첩청산(조백조) 7.무정한 사람(조백조)
이규남 / Yigyunam? 1 (8).서러운 댁네(이규남) 2 (9).꿈꾸는 녹야(이규남)
3 (10).아무렴 그렇지(이규남/김복희)
김복희 / Kim Bok-Hee 4 (11).함경도 아가씨(김복희)
이인근 / Lee In-Keun 5 (12).스리스리 봄바람(이인근)
이은파 / ? 6 (13).베짜는 처녀(이은파)
안옥경 / Anokgyeong ? 7 (14).여인의 호소(안옥경)
I must say that after all these years, this double CD remains amongst my favourite releases of Korea. It’s subtle jazz, refreshing arrangements, good sound quality, original singing technique and unique interpretation and approach still stands out as a rather one of its kind performance.
Essential tracks are at least Track CD1 3-5, 7-9,11 ; CD2 1,3
See also 강홍식 - Kang Ho-Sik, 박단마 / Park Dan-Ma,
황금심 / Hwang Keum-Sim, 최남용 - Choi Nam-Yong
See also https://www.kyobostory.co.kr/contents.do?seq=262
read also http://s-space.snu.ac.kr/bitstream/10371/95683/1/07%20권도희.pdf
Korean Urban Culture and Popular Music in the 1930s, Zhang, Eu-Jeong
This study has examined the relationship between urban culture and popular music in the 1930s. The second section explored how popular music formed centering on the phonograph within the popular media and the significance of the arrival of the phonograph. Without question, the phonograph contributed to the popularization of music. The public not only encountered a diverse range of popular music through the phonograph, but they were also able to enjoy popular songs. This study then examined what kind of music was played mostly in the tea rooms and cafes through the sources available from the period. From the sources, one can tell that the cafes that operated like bars mostly played jazz, and the tea rooms that operated like tea houses played an extremely diverse range of music, because the music differed according to the location of the establishment and the tastes of their customers. In the third section, this study showed how the popular songs described the urban culture at the time through an examination of some actual works. The popular songs that described the urban culture can be generally divided into two categories of songs of laughter and songs of tears. Usually within the songs of laughter, the poetic ego satirized the urban space that newly appeared within the urban culture and the behavior of city residents who wandered within. In contrast, within the songs of tears the poetic ego often expressed the depression and sadness of that he or she encountered while experiencing the urban culture.
In this way, this study has examined the mutual relationship between urban culture and popular music in the 1930s and revealed how the people of the period felt about the city. The people at the time did not simply welcome or adopt a hopeless attitude about the urban culture. At times, they mocked urban culture and at times they expressed the despair they felt while experiencing the urban culture. Due to the limitations of space, this study cannot include thediverse images of the people who lived everyday lives at the time. Yet this study should have significance, for during the process of investigating the relationship between urban culture and popular music, it provided a brief glimpse of the people of the time wandering through the duality of emotions engendered by colonialism and modernity.
LP vol 1, vol.2 & CD vol.1 & 2:
30년대 만요 (코믹송) (빅터 유성기 원반 시리즈-가요 1)
30년대 신민요 (빅터 유성기 원반 시리즈-가요 2)
빅터유성기원반시리즈 가요2 <30년대 신민요
There were only a few companies that released records in Korea until 1930, but by the early 1930's this changed significantly. Around the same time in the early 1930s, several companies entered the music market, like Polydor, Okay, Sierran, and Taiping Records (Daihei, Giraffe). At the time, so many companies started producing music albums, also the demand for records was greatly increased. The explosive growth of the music market in such a short period of time reveals Korea's national sentiment to love music.
Polydor Records was founded in Tokyo, Japan in 1927 and released albums in Korea from around 1932 until Liberation Day. The company has released Korean culture and art records in black and red. Pansori masters Lee Dong-baek, Kim Chang-ryong, Jeong Jeong-yeol, Lee Seon-yu, Cho Hak-jin, Chosun-sun, Imso-hyang, Park Rok-ju, Munryon-hyang, Park Cho-wol, Gayageum masters Oh Tae-seok, Carrots, Gayageum masters Jeong Nam-hee, Kim Un-sun Seosan Australia, Shinhae Joongwol, Pyoyeonwol, Lee Youngsan Hong, Kim Ok-yup, Lee Jinbong, Kim Jooho, Kwak Myeongwol, Kwaksanwol, and Sunwoo Ilseon imported the records. Also, there are records such as Kim Gye-seon, Kim Hae-seon, Jung Hae-si, Haegum-myung, Kim Duk-jun (Jin), Bang Yong-hyun, Danso, etc., Go Jae-deok, Lee Byung-woo, Korean Polyphony Orchestra, Myeong-mu, and master drummer Han Sung-joon. Was blown. The company also produced Changgeuk Simcheongjeon (23SP) and Changgeuk Red Brick House (18SP) records by Lee Dong-baek, Kim Chang-ryong, Jung-yeol Ryu, and Hak-jin Cho. In addition, popular songs of Wang Soo-bok, Kim Yong-hwan, and Kang Hong-sik, plays of Seong Dong-ho and Seo Sang-pil, Shin Min-yo of Ewha-Jae and Sunwoo Il Sun, Bae Jae-hak Institute, and the Central Nursery School were recorded.
OK Record was founded by Lee Chul in 1932 and released the album from 1933 until Liberation. During the Japanese occupation, the company was the most successful record company established by Koreans and competed with Polydor Records. From 1932 to 1937, OK Records did not have a record production facility, so records were produced using facilities of other record companies, such as Imperial Gramophone Corporation. And around 1938, the Imperial Gramophone Company took over and operated OK Record. OK Record released the record in two classes: regular (black and white) and high-grade (red). By supplying records at a significantly lower price than other companies, the company has been successful in the music market for a long time, leading the popularization of meteor recordings.
Pansori and Namdo folk songs from Ok Record were released by Yu Sung-joon, Jang Pan-gae, Park Dong-sil, Park Joong-geun, Jeon Il-do, Oh Soo-am, Ewha Jung-sun, Lim Bang-ul, Park Rok-ju, Kim Joon-seop, Ha Nong-ju, Kim Yeon-su, Obichi, Kim So-hee, Shin Sook, Lee Joong-sun, Seo Young-ju, Kim Rok-ju (the same name as Gimhae Kim Rok-ju), Kim Ok-ryeon, Mochu-wol, Da-ok, and Cho-an-ok were recorded. Gyeongsang-do's famous artists include Kim Jong-jo, Choi Soon-kyung, Koo Dae-gam, Choi Jung-sik, Shin Hae-moon, Yu Gae-dong, Park Bu-yong, Hong So-wol, Jang Hak-sun, Choi Poong-cheon, Shin Geum-hong, Kim Young-sun and Lee Eun-young. The record was blown up. And Gayageum Byungchang, Oh Tae-seok, Lee Sohyang, Choi So-ok, Kim Geum-ok, Sung Geum-hwa, Buddhist music master Kwon Myung-hak, Ha Ryong-nam, Kim Soo-nam, Folk religion, Jeong-ga-myung Choi Il-won, Ko Young-tae, Nam-do folk song Cho Jin-young, Daegeum Kim Gye-sun, Park Jong-gi, Haegeum master Ji Yong-gu , Kim Jong-gi of Gayageum and Geomungo, Kim Hak-soo of flute, Kim Choo-wol of Pansori and Gayo, Cho Joon-seon of Pansori and Gayageum, Jung-seop Kori and Master of Flute and Family Register Jung Nam-hee and Kim Geum-am (Kim Byung-ho) also imported the album. In addition, popular singers Nam In-soo, Baek-nyeon-sul, Park Hyang-rim, Go Bok-soo, Kim Hae-song, Jang Se-jeong, Lee Nan-young, Kim Jung-gu, as well as Ewha (Shin Min Yo), Shin Bul-chul (Mandarin), Nok Song nursery rhymes and Baekyang nursery rhymes (song), and Jung Hoon-mo (soprano) The company left a recording. Ok Records, meanwhile, has released the most collections of Japanese occupation. The collections produced by the company include Chang Jung-yeol, Chang-chang Chang-cheol Chun-hyang-jeon (20SP), Oh Su-am, Ewha Jung-sun, Lim Bang-ul, Kim Rok-ju (12SP), and Yeon-su Kim, Park Rok-ju, Nam Nam-hee, Kim Joon-seop, and Kim Ok-yeon (16SP).
Sierra Record released Korean culture and art records from 1931 until liberation. This company was a Japanese record company and mostly produced records according to the plan of Iseo-gu. Pansori masters Kim Jung-moon, Ewha Jung-seon, Lee Jung-sun, Lim Bang-ul, Shin Geum-hong, Park Rok-ju, Kim Ok-jin, Lee Ok-hwa, Gyeongseo-do It was. The collections produced by the company include the Changgeuk Chunhyangjeon record (12SP) by Kim Jung-moon and Shin Geum-hong. The film's speeches include Kim Young-hwan, Mandao Shinbul-chul, popular singers Kim Chang-bae, Choi Yeon-yeon, Kim Sung-pa, Kim Yun-sim, Choi Hyang-hwa, and Kim Yeon-sil.
Taiping Records released Korean culture and art records under the trademark Daihei, Giraffe and King Record from around 1932 until Liberation. Pansori Myeongchang Ewha Jungsun, Jeil Ildo, Park Rok Joo, Junan Hyang, Kim Nam Soo, Kim Yuaeng, Lee Hyanghyang, Byun Jin Hong, Gyeongseo Do Myungchang Kim Jong Jo, Kim Tae Un, Lee Young San Hong, Kim Ok Yeop, Lee Jin Bong, Lee Jin Hong, Lee Jin Hyang, Jang Ok Hwa, Jang Hyang Ran, Kim Bok Sung, Lee Hong-hong, Kim Hyang, Kim Chu-wol, Nam-do folk song Lee Nan-hyang, Gayageum Byeongchang, Oh Tae-seok and Lee So-hyang released their records. The company also acquired records from the company, such as Park Dae-gi, Park Sang-gi and Han Sung-ki from Gayageum, Go Jae-deok from the flute, Choi Soo-sung from Danso and Yang Geum, Taepyeong Choseon orchestra from Korean classical music, and Kwon Myung-hak from Buddhist music. In addition, the company recorded popular songs such as Lee Na-young, Lim Sa-won, Lee Eun-pa, Kang Seok-yeon, Baek Nan-a, and Baek-nyeon-sul.
Million Records is estimated to be a record company founded by Koreans. Like most small companies, the company also appears to have no record production facilities. If you look at the label of the company, you can see that it was produced using the facilities of other record companies such as Goka Records in Osaka, Japan. The company also released the label Gora from the 1930s until the liberation of 1945. The Korean traditional music albums released on the Million and Gorai labels include Pansori's famous singers Ewha Jungsun, Lim Bang-ul, Kim Nam-su, Jo So-ok, Gyeongseo-do's famous singers Lee Young San Hong, Go Il-sim, Daegeum Park Jong-gi, Gayageum master Kang Tae-hong, and Gayageum master Chang Gye-ran. .
And from the 1930s to the Liberation Day, a few US companies such as Dombo Shipbuilding Record (Dragon Table), Shojiku Record, Korea Record, New Korea Record, Rivera Record, Sister Record, K-I Record, Deer Record, and Kumzoin Patent Record He produced a music record. Dombo Chosun Record (Dragon Table) is a famous song of Park Seo-yong, Lee Geum-ok, Park Sook-ja, Lee Young-ja, Gayageum master Han Sung-ki, Shojiku record is Gayageum master Han Sung-ki, Gyeongseo-do master song Kim Ju-ho He has released CDs such as Myeongcho Kim Chohyang and Riviera Records in Gyeongseo-do Myungchang Park Bu-yong, K-I Records in Pansori Myungchang Kim Nam-su, Deer Records in Gyeongseo-do Myungchang Lee Young-hong and Kim Ok-yeop, and Kumjo-in Patent Records in Seo-do and Myeongchang Baiyun Sun.
This paper looks into the musical traits of the “jazzsong” genre of the 1930s, and how it mixed with other existing genres such as trot and shinminyo(new folk song). Until recently, jazzsong was understood to be adaptations of Western popular songs that were not completely Japanized. In this paper, I analyzed several jazzsong pieces written by Korean composers to highlight the musical characteristics of the genre, and looked into how jazzsong merged with the musical grammar of trot(yuhaengga) and shinminyo that had already undergone the process of localization. First, in the case of jazzsongs written by Korean composers, the melody of the pentatonic scale were written and arranged in the big-band style of early jazz music. This contrasts with the fact that most adapted foreign jazz pieces were written in the diatonic scale. Second, since the late 1930s, blues became popular as a sub-genre of jazzsong, and it is evident that the lamenting tone of the blues leaned in many aspects to trot`s mode and melodramatic mood. Third, there existed a musical style that combined the shinminyo`s grammar and jazz`s style. Minyo`s mode and beat coexisted with major-minor mode, merging with the jazz style. This can be regarded as the mixing of shinminyo and jazz. As such, the mixing of jazz with other genres can be understood to be a result of the attempts to localize jazz which was perceived to be relatively new and unfamiliar compared to trot or shinminyo, which were already popular to the public. It can be regarded as acculturation of jazz to be settled and localized within Korean popular music.
The aim of this paper is to examine the musical value of the new folk songs on gramophone records from 1930s by classifying and analyzing their composition. Previously, the new folk songs have been described as ‘alteration and distortion of traditional music’ or ‘hybrids of traditional folk songs and popular songs’. However this paper shows that the new folk songs are essentially rooted in traditional music and combined with diverse musical influences from different regions including Japan and the West. Although this was a product of the distinct characteristics of the Japanese colonial era and the time of enlightenment, a higher portion of the new folk songs contains traditional musical elements. These results lead to the conclusion that a re-evaluation of the contribution of the succession and development of traditional music and the musical value of the new folk songs is needed.