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The History of Korean Male Soloists from the 20th Century: Episode 17/?

The 17th episode of 'The History of Korean Female Soloists from the 20th Century' focuses on notable Korean musicians who emerged during the early 20th century, a time significantly impacted by Japanese occupation. The historical records pertaining to these artists remain largely incomplete. This scarcity of thorough documentation can be attributed to the nearly century-long gap since their contributions, which predates the Korean War and resulted in the loss or inaccessibility of vital records. As a result, the limited information on this singer may render this episode a (12th) mini-sode within the broader series 'The History of Korean Female Soloists from the 20th Century.'

It is important to highlight the limited availability of information regarding the artist Kim Man-bok, as there is currently no visual representation of him. This situation is likely to be similar for numerous male and female artists in future episodes.

Kim Man-bok (김만복; 金萬福)

Kim Man-bok served as a conductor during the Japanese occupation of Korea and held the position of director of the Seoul Metropolitan Symphony Orchestra. Born in 1925, his date of death remains unknown. He began his musical journey as a trumpeter with the Seoul Philharmonic Orchestra in 1948. After completing his studies at California State University, he took over the role of conductor for the Seoul Philharmonic Orchestra in 1960, succeeding Kim Saeng-ryeo (김생려).

Throughout his career, Kim conducted significant works, including Lee Yeon-guk's (이연국) "Symphony No. 1" and Lee Sang-geun's (이상근) "Symphony No. 5" at the inaugural Seoul Music Festival in 1969. He also directed Puccini's "Madame Butterfly" in March 1970 and showcased compositions by contemporary Korean composers at the 7th Seoul Music Festival in 1975. His conducting engagements included regular concerts with the Seoul City Orchestra, Gwangju City Orchestra, and Daegu City Orchestra, with notable performances occurring from 1982 to 1993, highlighting his enduring influence in the Korean classical music scene.

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The History of Korean Male Soloists from the 20th Century: Episode 16/?

The 16th episode of 'The History of Korean Female Soloists from the 20th Century' focuses on notable Korean musicians who emerged during the early 20th century, a time significantly impacted by Japanese occupation. The historical records pertaining to these artists remain largely incomplete. This scarcity of thorough documentation can be attributed to the nearly century-long gap since their contributions, which predates the Korean War and resulted in the loss or inaccessibility of vital records. As a result, the limited information on this singer may render this episode a (11th) mini-sode within the broader series 'The History of Korean Female Soloists from the 20th Century.'

It is important to highlight the limited availability of information regarding the artist Jeong Hoe-gap, as there is currently no visual representation of him. This situation is likely to be similar for numerous male and female artists in future episodes.

Jeong Hoe-gap (정회갑; 鄭回甲)

The name 정회갑 can be Romanised in three distinct ways: Jeong Hoe-gap, Jeong Wook-jae, or Jeong Hwi-gap. The reason for these variations in romanization is not entirely clear; however, for the sake of consistency, he will be referred to as Jeong Hoe-gap throughout this text.

Jeong Hoe-gap, also known by his pen name Woo-seok, was a notable composer during the Japanese occupation of Korea. Born in 1923 in Gimje, North Jeolla Province, he later became a professor at the Seoul National University College of Music. Jeong began his musical education at Gyeongseong Music College, where he was part of the inaugural class in 1946. He played the horn with the Seoul Orchestra in 1947 and joined the Seoul Symphony Orchestra the following year. After graduating from the Department of Composition in 1951, he initially taught at Sudo Girls' High School before joining the faculty at Seoul National University in 1961.

Throughout his career, Jeong made significant contributions to Korean music, publishing works such as "Azaleas" in 1947 and "Symphony No. 1" in 1957. He showcased his compositions at the Seoul Philharmonic Orchestra's "Korean Composers' Night" in September 1957 and was involved in the establishment of the Changakhoe in May 1958. His later works included "Theme and Variations for Gayageum and Orchestra" in 1961, followed by several compositions in 1962, such as "Variations for Gayageum and Orchestra" and "String Quartet." Notable pieces from the mid-1960s include "Pieces for Two Gayageums" and "Gayago Sogok," with his "Korean Dances for Piano" being performed at the Gaudeamus International Festival of Contemporary Music in 1969.

In 1970, he showcased "Wind Suite Korean Dances" at the 2nd Seoul Music Festival, followed by the chamber music piece "Sinawi for Human Voice and Five Instruments" at the 7th Seoul Music Festival in 1975. The following year, he presented multiple works, including "Whimsical Composition for Piano and Orchestra" during the Concerto Night of the 1st Korea Music Festival, "Suite for Violin and Orchestra" on September 19, and "Sound Masquerade" at the Mirae Music Society's founding anniversary recital on November 12. His contributions continued with performances at the "Night of Korean Songs and Chorus" during the 12th Seoul Music Festival on December 9, 1980, and at the Mirae Music Society's presentation on October 20, 1981.

On April 14, 1982, he performed "Suite for Violin and Orchestra" at the KBS Symphony Orchestra's 226th regular concert, followed by "Korean Dance" at the inaugural recital of the Hyangcheonhoe (響泉會) on September 21. He also participated in the "Night of Songs and Chorus" at the 14th Seoul Music Festival on December 13. The premiere of "Sori Masquerade" took place at the 8th Republic of Korea Music Festival on September 11, 1983. He presented "Geurium" at the 10th composition recital of the Miraeakhoe on October 14, 1985, and again at the 17th Seoul Music Festival on November 20. In 1985, he became the Dean of the College of Music at Seoul National University, retiring in 1989. His suite "Korean Dance" was featured at the Pan-Music Festival's Contemporary Piano Recital on October 7, 1987.

From October 30 to November 4, 1989, he showcased "Sound Masquerade (1976)" at the 20th Century Music Festival. His subsequent presentations included "Sanchaek" at the Future Music Society's recital on November 27, 1990, and another submission to the same society on September 22, 1992. He continued to contribute to the contemporary music scene with "Eumsamwol" at the 93 Saemadang II concert on April 9, 1993, followed by "Masquerade for Mezzo-Soprano, Cello, and Piano" at the Yeongnam International Contemporary Music Festival on October 28. Notably, his original opera "Wildfire" premiered on November 11, 1999.

Beginning in the 1960s, he composed "Theme and Variations for Gayageum and Orchestra" (1961), which integrated traditional Korean instruments with Western orchestral elements, earning him the Seoul City Cultural Award in 1962. His accolades include the Educational Achievement Award in 1980, the Republic of Korea Culture and Arts Award in 1982, the Order of Civil Merit, Moran Medal in 1989, the Republic of Korea National Academy of Arts Award in 1990, and the Arts and Culture Grand Prize in 1995. His notable works encompass "Symphony No. 1" (1957), "Violin Piece" (1952), "Chamber Music: The Revived Nokdu General" (1992), and "String Quartet No. 1" (1948), among others. His collections include "Theme and Variations for Gayageum and Orchestra" (1960) and "Jeong Hoegap Song Collection: Songs of Departure" (1977).

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The History of Korean Male Soloists from the 20th Century: Episode 15/?

The 15th episode of 'The History of Korean Female Soloists from the 20th Century' focuses on notable Korean musicians who emerged during the early 20th century, a time significantly impacted by Japanese occupation. The historical records pertaining to these artists remain largely incomplete. This scarcity of thorough documentation can be attributed to the nearly century-long gap since their contributions, which predates the Korean War and resulted in the loss or inaccessibility of vital records. As a result, the limited information on this singer may render this episode a (10th) mini-sode within the broader series 'The History of Korean Female Soloists from the 20th Century.'

It is important to highlight the limited availability of information regarding the artist Park Guk-rok, as there is currently no visual representation of him. This situation is likely to be similar for numerous male and female artists in future episodes.

Park Guk-rok (박국록; 朴國錄)

Park Guk-rok was a prominent cellist during the Japanese occupation of Korea, contributing significantly to the musical landscape of the time. He began his career with the Goryeo Symphony Orchestra in 1946, followed by his involvement with the Seoul Orchestra in 1947 and the Seoul Symphony Orchestra in 1948. Notable performances include a solo concert at the Sigonggwan on November 14, 1958, and a rendition of Tchaikovsky's "Variations on a Rococo Theme" with the Seoul Philharmonic Orchestra during its 98th regular concert in June 1962. His homecoming recital at the National Theatre of Korea on November 10, 1972, and subsequent solo recital at the Sejong Centre for the Performing Arts Small Hall on October 27, 1982, further showcased his talent. He continued to perform at the Sejong Centre on February 28 and March 8, 1984, and concluded his notable performances with the Seoul Symphony Orchestra at their regular concert on May 17, 1991.

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The History of Korean Male Soloists from the 20th Century: Episode 14/?

The 14th episode of 'The History of Korean Female Soloists from the 20th Century' focuses on notable Korean musicians who emerged during the early 20th century, a time significantly impacted by Japanese occupation. The historical records pertaining to these artists remain largely incomplete. This scarcity of thorough documentation can be attributed to the nearly century-long gap since their contributions, which predates the Korean War and resulted in the loss or inaccessibility of vital records.

Kim Young-gyu (김영규; 金英圭)

Kim Young-gyu, born on August 10, 1927, in Mapo-gu, Seoul, had a profound impact on the South Korean music scene until his passing on October 22, 1989. After graduating from Seoul National University of Education post-liberation, he began his musical journey as a hwagot player with both the Korea Symphony Orchestra and the Seoul Symphony Orchestra. His career took off in July 1950 when he joined the Frontline District Defence Command Concerto in Seoul, marking the beginning of his extensive contributions to the performing arts.

By November 1950, Kim transitioned to the National Theatre of Korea as a performer and later became a composer in July 1954. Throughout his career, he produced a diverse array of musical works, including orchestral compositions, instrumental pieces, and dance epics. Notably, he joined the Sea of Blood Opera Company in March 1971, where he focused on composing revolutionary opera music and symphonies, further solidifying his legacy in the genre.

Among his notable compositions are the orchestral works "Barley Threshing" (1953) and "A Bountiful Harvest Has Come to Cheongsanbeol" (1970), the latter inspired by a piece by Kim Ok-seong (김옥성). He played a pivotal role in the orchestration of revolutionary operas such as "Byeobada," "Flower Girl," and "Speak, Jungle." His symphonic works, including "Byeobada" (1973) and "Snow is Falling" (1980), significantly advanced the development of independent orchestral music in Korea. In recognition of his contributions, he received the Merited Artist Award in 1979, along with various honours, including the First-Class Order of National Merit.

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The History of Korean Male Soloists from the 20th Century: Episode 13/?

The 13th episode of 'The History of Korean Female Soloists from the 20th Century' focuses on notable Korean musicians who emerged during the early 20th century, a time significantly impacted by Japanese occupation. The historical records pertaining to these artists remain largely incomplete. This scarcity of thorough documentation can be attributed to the nearly century-long gap since their contributions, which predates the Korean War and resulted in the loss or inaccessibility of vital records. As a result, the limited information on this singer may render this episode a (9th) mini-sode within the broader series 'The History of Korean Female Soloists from the 20th Century.'

It is important to highlight the limited availability of information regarding the artist Ahn Seong-gyo, as there is currently no visual representation of him. This situation is likely to be similar for numerous male and female artists in future episodes.

Ahn Seong-gyo (안성교; 安聖敎)

Ahn Seong-gyo, was a skilled violist, graduated from Nihon Music School. His return to Korea in 1930 was marked by a recital that garnered attention, as noted in an article in the 22nd issue of ‘Donggwang’ (1931). Subsequent publications highlighted his contributions to music, including a private lecture in Hamheung in 1934, and the formation of a string quartet with notable musicians Gye Gye-sik (계계식), Park Tae-cheol (박태철), and Kim In-su (김인수), reported in the 6th issue of ‘Chosunwang’ (1936). His participation in the music academy concert was featured in ‘Cheongsa’ (1938), and he was recognized in the April 1936 issue of Music Review as one of the prominent violinists alongside Hong Nan-pa (홍난파), Gye Jeong-sik (계정식), and Hong Seong-yu (홍성유).

In addition to his performances, Ahn played a significant role in various musical events throughout the late 1930s and early 1940s. He celebrated the founding anniversary of the Gyeongseong Music Academy on May 10, 1938, and held a solo concert around 1940. His collaborations included a trio performance consisting of Jeon Bong-cho (전봉초), Jo Yun-ok (조윤옥), and Ahn Seong-gyo (안성교) at Bumin Hall in October 1941 and participation in the “Music Patriotism Weekly Music Festival” later that year. Ahn also appeared at a concert organized by the Joseon Musicians Association in May 1942 at Bumin Hall with Kim Jae-saeng (김재생), Hong Ji-yu, and Lee Heung-ryeol (이흥렬). As a member of the Gyeongseong Chamber Orchestra, established in 1942, he worked under conductor Kim Saeng-ryeo (김생려) alongside various esteemed musicians, contributing to the cultural landscape of Korean music during this period.

In 1946, following the liberation, he established the Seoul Music Club, which became the first chamber orchestra and later the precursor to the Seoul Symphony Orchestra, alongside notable musicians such as Kim Saeng-ryeo, Lee Jae-ok (이재옥), Kim Won-bok (김원복), Lee In-hyeong (이인형), Oh Byeong-do (오병도), and Jeon Bong-cho (전봉초). He joined the faculty of the newly reorganized Department of Music at the College of Arts, Seoul National University, and became a member of the Seoul Orchestra in 1947, performing with the Seoul Symphony Orchestra the following year. However, on August 15, 1948, coinciding with the establishment of the South Korean government and the issuance of arrest warrants for leftist musicians, he defected to North Korea.

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The History of Korean Male Soloists from the 20th Century: Episode 12/?

The 12th episode of 'The History of Korean Female Soloists from the 20th Century' focuses on notable Korean musicians who emerged during the early 20th century, a time significantly impacted by Japanese occupation. The historical records pertaining to these artists remain largely incomplete. This scarcity of thorough documentation can be attributed to the nearly century-long gap since their contributions, which predates the Korean War and resulted in the loss or inaccessibility of vital records.

Lee Byeong-woo (이병우; 李炳祐)

Lee Byeong-woo (이병우; 李炳祐), a talented musician proficient in the flute, danso (오보에), and oboe, was born in Seoul in 1908 and passed away in 1971. Known by his pen name Unpa (雲波), he was a distinguished graduate of the inaugural class of the Aakbuwon Training Centre and served as a musician in the Yi Wangjik (Royal) Aakbu (李王職雅樂部). His contributions to Korean music were significant, particularly during his tenure as a full-time musician for Gyeongseong Broadcasting Station and Okerecord.

In addition to his broadcasting work, Lee Byeong-woo was an active clarinetist with the Goryeo Symphony Orchestra, the Naval Military Music Troupe, and the Seoul Symphony Orchestra. Notably, on November 3, 1928, he participated in the first broadcast by the Yi Royal Aakbu, performing a selection of traditional pieces, including "Mannyeon Janghwanjigok" (Song of Eternal Joy) and "Bonghwangeum," (Phoenix Song) which showcased his exceptional musical talent and dedication to preserving Korean cultural heritage.

Between 1932 and 1945, during the Yi Royal Aakbu era, he collaborated with Kim Il-sun (김일순) on the Gyeongseong Broadcasting Station, where they performed a variety of pieces including Unrak (言樂), Urak (羽樂), Pyeon (編), Pyeonrak (編樂), and approximately 20 folk songs such as "Garak Dodri," "Gaeseong Nanbongga," and "Yeongsan Hoesang," (靈山會相) alongside oboe solos. In 1940, he returned to the station as a tungso soloist, presenting works like "Gilgunak," "Segarak Jeongeup," (井邑) and "Taryeong." His recordings, which featured around 20 folk songs including "Ganjang Taryeong," Gyeonggi Soka, Gyeonggi Sokyo, and "Gyeongsan Sanbul," (Nunciation of the Buddha) were produced with the Japanese Vikta Orchestra, alongside notable artists such as Go Yeon-ok (고연옥) and Gwak Gyeong-ok (곽경옥), and Gwak Myeong-wol (곽명월). Many folk songs, such as “Noregarak” and “Maehwa Taryeong,” that he recorded with Gwak San-wol (곽산월) and Gwak Myeong-wol are recorded on polyphonic albums.

Following Korea's liberation, he became an oboe player for the Goryeo Symphony Orchestra (高麗交響協會) in 1946 and joined the Goryeo Symphony Association, established by right-wing musicians on September 16 of the same year. By 1947, he was part of the Seoul Orchestra, and in 1948, he continued his contributions to the Seoul Symphony Orchestra. His commitment to music education was evident when he began teaching composition and danso at the Korean Traditional Music School (國樂藝術學校), which opened on March 5, 1960, serving as a practical instructor for aspiring musicians.

In January 1962, he became a member of the Yegreen Orchestra (예그린악단), which was founded under the motto "Remembering the Past and Yesterday, for Tomorrow." His involvement in this symphony orchestra highlighted his dedication to preserving and promoting traditional Korean music while fostering a connection between past and future generations. Through his performances and teaching, he played a significant role in the cultural landscape of Korea during a transformative period in its history.

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The History of Korean Male Soloists from the 20th Century: Episode 11/?

The 11th episode of 'The History of Korean Female Soloists from the 20th Century' focuses on notable Korean musicians who emerged during the early 20th century, a time significantly impacted by Japanese occupation. The historical records pertaining to these artists remain largely incomplete. This scarcity of thorough documentation can be attributed to the nearly century-long gap since their contributions, which predates the Korean War and resulted in the loss or inaccessibility of vital records. As a result, the limited information on this singer may render this episode a (8th) mini-sode within the broader series 'The History of Korean Female Soloists from the 20th Century.'

It is important to highlight the limited availability of information regarding the artist Nam Chang-hyun, as there is currently no visual representation of him. This situation is likely to be similar for numerous male and female artists in future episodes.

Nam Chang-hyun (남창현; 南昌鉉)

Nam Chang-hyun (남창현) was a distinguished violinist associated with the Koryo Symphony Association (高麗交響協會), established by right-wing musicians on September 16, 1946. In 1947, he joined the Seoul Orchestra and later played second violin in the Seoul Symphony Orchestra in 1948. His performance history includes participating in the 37th concert of the Navy Symphony Orchestra on May 23, 1956. Additionally, he was a founding member of the Yegreen Orchestra (예그린악단), which launched in January 1962 under the motto “Remembering the Past and Yesterday, for Tomorrow.”

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The History of Korean Male Soloists from the 20th Century: Episode 10/?

The 10th episode of 'The History of Korean Female Soloists from the 20th Century' focuses on notable Korean musicians who emerged during the early 20th century, a time significantly impacted by Japanese occupation. The historical records pertaining to these artists remain largely incomplete. This scarcity of thorough documentation can be attributed to the nearly century-long gap since their contributions, which predates the Korean War and resulted in the loss or inaccessibility of vital records. As a result, the limited information on this singer may render this episode a (7th) mini-sode within the broader series 'The History of Korean Female Soloists from the 20th Century.'

The limited availability of information on various artists is noteworthy, with Lee Jae-ok possessing more details than many of his peers, including accompanying photographs. Despite having a richer repository of information compared to other artists, it is essential to recognize that the scarcity of data is likely a common issue for numerous male and female artists in future episodes.

Lee Jae-ok (이재옥; 李在玉)

Lee Jae-ok (이재옥) was a distinguished violinist and violist, serving as a professor at the Seoul National University College of Music. Born in 1913 in either Namhae or Chungmu, Gyeongsangnam-do, he passed away in 2002. His early education took place in Mokpo and Suncheon, where he followed his father's career. At the age of 16, he acquired a violin and embarked on a self-directed journey of musical education.

In 1934, Lee enrolled at the Tokyo Music School, focusing on violin while also studying the horn as a minor. His talent was recognized in 1936 when he secured second place in a violin competition organized by the Chosun Ilbo, leading to a public concert representing his school. By 1938, he had joined the Singyeong Music Institute, where he actively contributed as a violinist in the Singyeong Symphony Orchestra.

In 1946, Lee co-founded the Seoul Music Club, the first chamber orchestra established after Korea's liberation, alongside notable musicians such as Kim Saeng-ryeo (김생려), Ahn Seong-gyo (안성교), Jeon Bong-cho (전봉초), Kim Won-bok (김원책), Lee In-hyeong (이인형), and Oh Byeong-do (오병도). This ensemble laid the groundwork for what would become the Seoul Symphony Orchestra. He became a member of the Seoul Orchestra in 1947 and played with the Seoul Symphony Orchestra the following year. By 1962, he had risen to the position of principal with the Seoul City Symphony Orchestra, collaborating with conductor Kim Man-bok (김만복), and participated in several concerts with the Seoul National University String Quartet throughout the 1970s.

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The History of Korean Male Soloists from the 20th Century: Episode 9/?

The 9th episode of 'The History of Korean Female Soloists from the 20th Century' focuses on notable Korean musicians who emerged during the early 20th century, a time significantly impacted by Japanese occupation. The historical records pertaining to these artists remain largely incomplete. This scarcity of thorough documentation can be attributed to the nearly century-long gap since their contributions, which predates the Korean War and resulted in the loss or inaccessibility of vital records. As a result, the limited information on this singer may render this episode a (6th) mini-sode within the broader series 'The History of Korean Female Soloists from the 20th Century.'

It is important to highlight the limited availability of information regarding the artist Shin Sang-cheol, as there is currently no visual representation of him. This situation is likely to be similar for numerous male and female artists in future episodes.

Shin Sang-cheol (신상철; 申相徹)

Shin Sang-cheol (신상철) was a distinguished violinist who became a prominent figure in the South Korean music scene. In 1947, he joined the Seoul Orchestra and quickly advanced to the role of first violinist with the Seoul Symphony Orchestra in 1948. His notable performances included the 30th concert of the Naval Military Music Band on May 18, 1955, a solo concert on May 11, 1956, and a performance at the presentation of Lee Young-ja's (이영자) composition on July 17, 1958.

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The History of Korean Male Soloists from the 20th Century: Episode 8/?

The 8th episode of 'The History of Korean Female Soloists from the 20th Century' focuses on notable Korean musicians who emerged during the early 20th century, a time significantly impacted by Japanese occupation. The historical records pertaining to these artists remain largely incomplete. This scarcity of thorough documentation can be attributed to the nearly century-long gap since their contributions, which predates the Korean War and resulted in the loss or inaccessibility of vital records. As a result, the limited information on this singer may render this episode a (5th) mini-sode within the broader series 'The History of Korean Female Soloists from the 20th Century.'

It is important to highlight the limited availability of information regarding the artist Heo Sang, as there is currently no visual representation of him. This situation is likely to be similar for numerous male and female artists in future episodes.

Heo Sang (허상; 許湘)

Heo Sang (허상) was a notable violinist who played a significant role in the Korean music scene post-World War II. He became a member of the Koryo Symphony Association (高麗交響協會), established by right-wing musicians on September 16, 1946, and served as the second violinist for the Koryo Symphony Orchestra (高麗交響樂團) that same year. In 1947, he joined the Seoul Orchestra and continued his musical contributions with the Seoul Symphony Orchestra in 1948, showcasing his dedication to the development of orchestral music in Korea during this transformative period.

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The History of Korean Male Soloists from the 20th Century: Episode 7/?

The 7th episode of 'The History of Korean Female Soloists from the 20th Century' focuses on notable Korean musicians who emerged during the early 20th century, a time significantly impacted by Japanese occupation. The historical records pertaining to these artists remain largely incomplete. This scarcity of thorough documentation can be attributed to the nearly century-long gap since their contributions, which predates the Korean War and resulted in the loss or inaccessibility of vital records. As a result, the limited information on this singer may render this episode a (4th) mini-sode within the broader series 'The History of Korean Female Soloists from the 20th Century.'

It is important to highlight the limited availability of information regarding the artist Baek Hae-je, as there is currently no visual representation of him. This situation is likely to be similar for numerous male and female artists in future episodes.

Baek Hae-je (백해제; 白海帝)

Baek Hae-je (백해제) was a distinguished violinist who made significant contributions to the classical music scene in Korea. In 1946, he became the first violinist of the Goryeo Symphony Orchestra, marking the beginning of his prominent career. The following year, he joined the Seoul Orchestra, and by 1948, he was part of the Seoul Symphony Orchestra. His expertise led him to serve as the principal violinist for the Seoul City Symphony Orchestra in 1962, where he collaborated with notable conductor Kim Man-bok and others. Baek also showcased his talent as a soloist during the 17th regular performance of the Seoul Symphony Orchestra.

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The History of Korean Male Soloists from the 20th Century: Episode 6/?

The 6th episode of 'The History of Korean Female Soloists from the 20th Century' focuses on notable Korean musicians who emerged during the early 20th century, a time significantly impacted by Japanese occupation. The historical records pertaining to these artists remain largely incomplete. This scarcity of thorough documentation can be attributed to the nearly century-long gap since their contributions, which predates the Korean War and resulted in the loss or inaccessibility of vital records. As a result, the limited information on this singer may render this episode a (3rd) mini-sode within the broader series 'The History of Korean Female Soloists from the 20th Century.'

It is important to highlight the limited availability of information regarding the artist Lee Sang-seong/Lee Gye-seong, as there is currently no visual representation of him. This situation is likely to be similar for numerous male and female artists in future episodes.

Lee Sang-seong/ Lee Gye-seong (이계성; 李桂成)

Lee Sang-seong (이계성) was a distinguished violinist and the senior conductor of the North Korean National Symphony Orchestra, hailing from Hadong, Gyeongnam. Born in 1926, he showcased his exceptional talent at the age of 14 by securing second place in a violin solo competition organized by the Chosun Ilbo. His performance during the Japanese colonial era garnered attention, particularly through Moon Hak-jun's (문학준) critique published in the 38th issue of Chosun Ilbo in 1938, which highlighted the significance of the music competition.

Following Korea's liberation, Lee pursued private violin lessons while studying at Yonhui College in 1946. That same year, he became the first violinist for the Goryeo Symphony Orchestra and joined the Seoul Orchestra in 1947. His involvement with the Seoul Symphony Orchestra began in 1948, and in September 1949, he co-founded the Park Min-jong Quartet alongside Park Min-jong (박민종), Kim Hee-jo (김희조), and Jeon Bong-cho (전봉초). During the Korean War in 1950, he took on the role of conductor for the Korean People's Army Frontline Guard Command Orchestra, further solidifying his reputation in the music community.

By 1952, Lee was actively performing and conducting with the Korean Central Broadcasting Orchestra. His career continued to flourish as he became the conductor for both the Korean Art Film Studio Orchestra and the National Symphony Orchestra starting in 1964. In recognition of his contributions to the arts, he was honoured as a meritorious actor in 1979, receiving prestigious awards, including the Order of National Flag, 1st Class, and serving as an advisor conductor for the National Symphony Orchestra.

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The History of Korean Male Soloists from the 20th Century: Episode 5/?

The 5th episode of 'The History of Korean Female Soloists from the 20th Century' focuses on notable Korean musicians who emerged during the early 20th century, a time significantly impacted by Japanese occupation. The historical records pertaining to these artists remain largely incomplete. This scarcity of thorough documentation can be attributed to the nearly century-long gap since their contributions, which predates the Korean War and resulted in the loss or inaccessibility of vital records. As a result, the limited information on this singer may render this episode a (2nd) mini-sode within the broader series 'The History of Korean Female Soloists from the 20th Century.'

It is important to highlight the limited availability of information regarding the artist Kim Soon-deok, as there is currently no visual representation of him. This situation is likely to be similar for numerous male and female artists in future episodes.

Kim Soon-deok (김순덕; 金順德)

Kim Soon-deok (김순덕) was a distinguished violinist during Korea's Japanese occupation. In 1947, he played with the Seoul Orchestra alongside notable musicians such as Kim Saeng-ryeo (김생려), Jo Bong-deok (조봉덕), and Lee Gyu-su (조봉덕). The following year, he played a pivotal role in advancing symphonic music as the first violinist of the Seoul Symphony Orchestra, an ensemble established by Kim Saeng-ryeo.

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The History of Korean Male Soloists from the 20th Century: Episode 4/?

The 4th episode of 'The History of Korean Female Soloists from the 20th Century' focuses on notable Korean musicians who emerged during the early 20th century, a time significantly impacted by Japanese occupation. The historical records pertaining to these artists remain largely incomplete. This scarcity of thorough documentation can be attributed to the nearly century-long gap since their contributions, which predates the Korean War and resulted in the loss or inaccessibility of vital records. As a result, the limited information on this singer may render this episode a (1st) mini-sode within the broader series 'The History of Korean Female Soloists from the 20th Century.'

It is important to highlight the limited availability of information regarding the artist Jo Bong-deok, as there is currently no visual representation of him. This situation is likely to be similar for numerous male and female artists in future episodes.

Jo Bong-deok (조봉덕; 趙鳳德)

Jo Bong-deok (조봉덕) was a prominent violinist during the period of Japanese occupation in Korea. In 1946, he held the position of second violinist with the Goryeo Symphony Orchestra and became a member of the Goryeo Symphony Association, an organization established by right-wing musicians on September 16 of the same year. By 1947, he joined the Seoul Orchestra and, in 1948, he advanced to the role of first violinist with the Seoul Symphony Orchestra, marking significant milestones in his musical career.

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The History of Korean Female Soloists from the 20th Century: Episode 17/?

The 17th episode of 'The History of Korean Female Soloists from the 20th Century' focuses on notable Korean musicians who emerged during the early 20th century, a time significantly impacted by Japanese occupation. The historical records pertaining to these artists remain largely incomplete. This scarcity of thorough documentation can be attributed to the nearly century-long gap since their contributions, which predates the Korean War and resulted in the loss or inaccessibility of vital records. As a result, the limited information on this singer may render this episode a (14th) mini-sode within the broader series 'The History of Korean Female Soloists from the 20th Century.'

It is crucial to emphasize that the information at hand is scarce, featuring only a single image (left photo) of the singer. The additional photo (right photo) included pertains to another individual named Noh Eun-hong, and while their names are similar, it is uncertain whether they refer to the same person; I personally believe they are distinct individuals, but I don’t know.

Noh Eun-hong (노은홍; 盧銀紅)

Noh Eun-hong (노은홍; 盧銀紅) was a prominent Korean vocalist during the Japanese colonial era, known for her contributions to pop music. She collaborated with Kang Hong-sik (姜弘植) on popular tracks such as “A Customer in the Wilderness” (孤客) and “Jeonghwa” (情花), both of which were released under Japanese Columbia Records. Additionally, her recordings with the Columbia Orchestra further solidified her presence in the music scene of that time, showcasing her talent through various popular songs.

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The History of Korean Female Soloists from the 20th Century: Episode 16/?

The 16th episode of 'The History of Korean Female Soloists from the 20th Century' focuses on notable Korean musicians who emerged during the early 20th century, a time significantly impacted by Japanese occupation. The historical records pertaining to these artists remain largely incomplete. This scarcity of thorough documentation can be attributed to the nearly century-long gap since their contributions, which predates the Korean War and resulted in the loss or inaccessibility of vital records. As a result, the limited information on this singer may render this episode a (13th) mini-sode within the broader series 'The History of Korean Female Soloists from the 20th Century.'

It is important to highlight that there is limited information available regarding the singer, and no accompanying photograph has been provided. The image I have included shares the same name but may not represent the same individual; the only link between them is their names, indicating that they could potentially be different people.

Hong Do-hwa (홍도화; 洪桃花)

Hong Do-hwa (홍도화; 洪桃花) was a prominent vocalist known for her folk songs and served as a gisaeng in Pyongyang. Born in 1895 in Pyongyang-bu, Pyeongannam-do, she was recognized as a top-class gisaeng from Anju, Pyeongan-do, and was just 19 years old in 1914. In 1935 and 1936, she gained further acclaim by performing on the Gyeongseong Broadcasting Station, where she showcased a variety of songs, including "Gaetaryeong," "Namchangjireum," "So Chunhyangga," "Chang Naegojaja," and "Pyeongsijo" ("Blue Mountains").

Pyeongsijo (평시조;平時調)

Pyeongsijo is a variant of the contemporary Gyeongjesijo (京制時調) and serves as the foundational model for various forms of sijochang, including jireumsijo and sasulsijo. Initially referred to simply as sijo, it was later designated as pyeongsijo to differentiate it from the numerous derivative songs that emerged. The term pyeongsijo is derived from the characteristic of its verses, which are sung in a balanced mid-tone (仲呂) that avoids extremes of pitch. In the context of Korean literature, the lyrics set to this melody are classified as either 44 or 45-character fixed-form sijo (定型時調) or short-form sijo (短型時調).

The structure of Pyeongsijo is divided into three distinct chapters: an opening, a middle, and a closing chapter. The rhythmic patterns differ slightly between Gyeongjesijo and Hyangjesijo. For Gyeongjesijo, the opening and middle chapters each consist of 34 beats arranged in a 5·8·8·5·8 pattern, while the closing chapter has 26 beats in a 5·8·5·8 configuration, totalling 94 beats. In contrast, Hyangjesijo features the same 34 beats for both the opening and middle chapters but concludes with a shorter closing chapter of 21 beats, resulting in a total of 89 beats.

The lyrical arrangement of Gyeongjesijo is characterized by specific phrases in each chapter, such as "Dongchang-i" and "Was it bright?" in the opening, "Sochi" and "Ah-hee-nom-neun" in the middle, and "Jae-neomeo" and "Sarae long field" in the closing. The scale utilized in Pyeongsijo comprises three notes: Hwangjong (Eb), Jungryeo (Ab), and Imjong (Bb), and it is classified under Gye-myeonjo (界面調). Notably, the five-line music score can be found in Volume 9 of "Korean Music." A defining feature of Sijochang is its slow tempo, which can obscure the rhythm, yet the simplicity of the three-note melody is enhanced by dynamic variations and ornamentation, showcasing the beauty inherent in the sijo form.

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The History of Korean Female Soloists from the 20th Century: Episode 15/?

The 15th episode of 'The History of Korean Female Soloists from the 20th Century' focuses on notable Korean musicians who emerged during the early 20th century, a time significantly impacted by Japanese occupation. The historical records pertaining to these artists remain largely incomplete. This scarcity of thorough documentation can be attributed to the nearly century-long gap since their contributions, which predates the Korean War and resulted in the loss or inaccessibility of vital records. As a result, the limited information on this singer may render this episode a (12th) mini-sode within the broader series 'The History of Korean Female Soloists from the 20th Century.'

It is crucial to emphasize that the information at hand is scarce, featuring only a single image (left photo) of the singer. The additional photo (right photo) included pertains to another individual named Lee Jeong-suk, and while their names are similar, it is uncertain whether they refer to the same person; I personally believe they are distinct individuals, but i don't know.

Lee Jeong-suk (이정숙; 李貞淑)

Lee Jeong-suk (이정숙) was a notable Korean vocalist active during the Japanese occupation of Korea. Although details about her early life remain scarce like when she was born and when she died, she made her debut in the music industry in 1924 with the song "Bandal," which was both written and composed by Yun Geuk-yeong (윤극영). On September 4, 1926, she performed alongside Kim Myeon-gyun (김면균) and Jeong Byeong-hyeon (정병현) at a posthumous concert organized by the Pyongyang Orchestra, marking a significant moment in her career.

As a pioneer of Western music in Korea, Lee Jeong-suk recorded numerous solo tracks, including "Autumn Play," "A Dream of Flight," and "Thinking of the Homeland." She was the first artist to record "Thinking of My Homeland" for the Japanese Gramophone Company's Ichiban Records. Her contributions to music extended to children's songs such as "Boat Song," "Byeol Norae," and "New Song Naoe," which were featured on the Ichiban Joseon Sori Band.

In addition to her earlier works, Lee Jeong-suk recorded around 10/20 other songs, including "Galnip Whistle," "Godreum," and "Cricket," along with various popular and children's songs in collaboration with the Columbia Orchestra, which were released on Columbia Records in Japan. Among her most celebrated performances was the hit song "Nakhwa Yusu," further solidifying her legacy in the Korean music scene.

Notable songs from this era include "Crescent Moon" (1924), "Autumn Play" (1926), and "Falling Flowers and Flowing Water (Gangnamdal)" (1927). The following years saw the release of "Jaramera" (1928), a repeat of "Falling Flowers and Flowing Water" in 1929, and "My Brother's Thoughts/ Thinking of my Brother," "Crescent Moon," and "New Year's Day," all in 1930. Additionally, "Spring Letter" and "Black Catcher" were introduced in 1934, further enriching the musical landscape of the time.

Lee Jeong-suk is renowned for her original songs, many of which she rearranged herself, as well as for pieces she received from various composers. Noteworthy examples include "Half Moon" and "Thinking of My Homeland," both composed by Yun Geuk-yeong. Alongside figures like Yun Sim-deok (윤심덕) and Lee Ari-su (이애리수), she is recognized as one of the pioneering popular singers of Korean descent. Following the establishment of the Republic of Korea, Hyun-in (현인), real name Hyun Dong-ju (현동주; 玄東柱) emerged as a significant figure in the music scene, yet little is known about his personal life, including details of her birth, death, or family, and few photographs of her exist from his lifetime.

Thinking of my brother (오빠생각)

Note that ‘오빠’ (Oppa) means older brother or man in Korean and can only be used by a female. Oppa can be a biological brother, male relative, cousin, male friend, male classmate, handsome guy, celebrity, boyfriend, or husband.

'Thinking of my Brother' is a children's song originating from the Republic of Korea, penned by Choi Sun-ae (최선애) in 1925 when she was just 12 years old. Initially titled 'Oppa Thoughts,' the song was featured in the November issue of the magazine Children's. Although the poem was reportedly written in 1924, it was submitted for publication the following year, marking a significant contribution to children's literature during that era.

The song was composed by Park Tae-jun (박태준) concurrently with its publication. Choi Sun-ae, reflecting on her older brother Choi Yeong-ju (최영주), who was eight years her senior and had moved to Seoul to engage in the children's enlightenment movement after studying in Tokyo, expressed her longing through this piece. She had requested her brother to bring her silk shoes from the city, and her feelings of nostalgia intensified as she gazed toward Seoul from an orchard field, where she reportedly shed tears before returning home. Choi Yeong-ju had previously returned to Suwon to escape the violence against Koreans during the Great Kanto Earthquake and later became a reporter for the Suwon branch of the Dong-A Ilbo, as well as a founding member of the Hwaseong Boys' Association.

In 1925, Choi Young-ju moved to Seoul at the invitation of Bang Jeong-hwan (방정환), where she became actively involved in the Gaebyeoksa and Saekdonghoe initiatives. Following this, she took on the role of editor for several publications, including "Children," "New Women," and "Students." As a close associate of Bang Jeong-hwan, she played a significant role in his memorial projects, overseeing the publication of the "Complete Works of Sofa" and the establishment of his tombstone in Manguri. Tragically, she passed away just months before Korea's liberation, and her grave is situated near that of Bang Jeong-hwan in Manguri.

There is a narrative suggesting that Choi Young-ju had promised to buy her younger sister, Choi Soon-ae, a beautiful ribbon, but never fulfilled this promise. However, this account is likely inaccurate. At the time of Choi Young-ju's death, Choi Soon-ae was already a 31-year-old woman. Additionally, when the children's literature writer Lee Won-su (이원수) sought to marry Choi Soon-ae, it was Choi Young-ju who successfully navigated family opposition to facilitate the union, indicating a positive sibling relationship in adulthood. The notion that a 20-year separation occurred between 1925 and 1945 raises questions, especially considering that Choi Young-ju likely encountered her sister's thoughts in a children's magazine during her Saekdonghoe involvement, which may have prompted her to return home to reconnect with Choi Soon-ae.

Lyrics

뜸북뜸북 뜸북새 논에서 울고

뻐꾹뻐꾹 뻐꾹새 숲에서 울제

우리오빠 말타고 서울가시면

비단구두 사가지고 오신다더니

기럭기럭 기러기 북에서 오고

귀뚤귀뚤 귀뚜라미 슬피 울건만

서울가신 오빠는 소식도 없고

나뭇잎만 우수수 떨어집니다

Suspicion of plagiarism

There are allegations that this work plagiarizes the Japanese nursery rhyme "Hamachidori," which was released in 1919. The rhythmic structure bears a resemblance to "Hamachidori," particularly in the earlier sections, although the final segment diverges. Notably, "Hamachidori" was recorded by JVC in 1920, predating the composition of "Thinking of Oppa" in 1925, and both songs share thematic elements cantered around birds. However, some argue that the melodic similarities are insufficient to substantiate claims of plagiarism. It may be beneficial to listen to both pieces and form an independent judgment.

Hamachidori (浜千鳥), a Japanese nursery rhyme composed in 1919

Other

Park Tae-jun, while perusing a magazine, spontaneously composed a song that deeply resonated with children's literature author Lee Won-su. So moved by the poem, Lee Won-su, who was just 15 years old at the time, sent a letter to 13-year-old Choi Sun-ae, ultimately leading to their marriage. Notably, Lee Won-su had already demonstrated remarkable literary prowess, having penned “Spring in My Hometown” during his elementary school years. This intriguing narrative was featured on the program Mysterious TV Surprise on February 18, 2018.

The lyrics of the song include the line, "If you go to Seoul on horseback, my brother," yet it is improbable that the journey from Suwon to Seoul was made on horseback, especially considering that the Gyeongbu Line had been operational for 19 years by 1924, the year the song was written. Additionally, a contemporary artist named Clone has released a song sharing the same title, which samples the original. This song was featured as a challenge on the Tray Karaoke episode aired on November 28, 2002, where it took multiple attempts for the participants, including Yoo Jae-suk (유재석), Hong Rok-gi (홍록기), and Song Eun-I (송은이) who knew almost all the lyrics, so she was able to sing it on the 2nd or 3rd try, but it took her a long time because of the letter 'buk ' in the first line of the 2nd verse, '기륵 기륵 기러기 북 에 오고’, to successfully perform it.

In a notable moment from the 27th episode of 1 vs. 100, the first question regarding the cry of the 'Tteumbuksae' resulted in a dramatic reduction of contestants by half. Furthermore, on October 17, 2010, the song was utilized as a challenge piece in the Ipsu Karaoke segment of the entertainment show 2 Days & 1 Night, where it was successfully completed on the eighth attempt. The lyrics of this song poignantly reflect the sombre realities of the era, as Korea was grappling with significant challenges during that time.