cosmosbeelover

[cosmosbeelover]

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.”

[cosmosbeelover]

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.

[cosmosbeelover]

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.

[cosmosbeelover]

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.

[cosmosbeelover]

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.

[cosmosbeelover]

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.

[cosmosbeelover]

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.

[cosmosbeelover]

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.

[cosmosbeelover]

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.

[cosmosbeelover]

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.

[cosmosbeelover]

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.

[cosmosbeelover]

The History of Korean Female 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. 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 crucial to emphasize that the information at hand is scarce, featuring only a single image of the singer.

No Hwa-wol (노화월;蘆花月)

No Hwa-wol (노화월; 蘆花月), born in 1899, was a prominent vocalist known for her folk songs, particularly during her time as a gisaeng associated with Daejeongwon. At the age of 19 in 1918, she hailed from Pyeongyang-bu in Pyeongannam-do and was skilled in various artistic disciplines, including Sijo poetry, calligraphy, and painting, as well as Jeongjae singing. Her reputation was notably enhanced by her performances of gayageum byeongchang (가야금병창; 伽倻琴併唱), as documented in the 1918 publication "Treasure Mirror of Joseon Beauty." Throughout the Japanese colonial period, she recorded numerous songs, including those on Japanese Columbia Records, and collaborated with artists like Sim Sang-geon (심상건;沈相健) and Han Seong-jun (한성준;韓成俊) for recordings on Victa Records. Additionally, her rendition of the dan-ga "Baekro Hoenggang" (白鷺橫江) was featured on Polydol Records. Her works, including gayageum byeongchang and dan-ga, were also released on Sieron Records, while her collaborations with Lee Nan-hyang (이난향;李蘭香) and Han Seong-gi (한성기;韓成基) appeared on Taepyeong Records. Hwa-wol's contributions to the music scene included performances on Gyeongseong Broadcasting Station in 1930 and 1938, further solidifying her legacy in Korean music history.

Gayageum Byeongchang (가야금병창; 伽倻琴併唱)

Gayageum byeongchang is a unique performance art that combines vocal singing with the traditional stringed instrument, the gayageum. This style emerged during the late Joseon Dynasty when pansori masters began to explore the integration of gayageum accompaniment with pansori dan-ga or popular nundae-mok (눈대목). It was not until the early 20th century that gayageum byeongchang was formalized into the structured art form we recognize today.

During the Japanese colonial era, notable figures such as Sim Sang-geon (심상건), Oh Su-gwan (오수관;吳壽寬), Oh Tae-seok (오태석;吳太石), and Kang Tae-hong (강태홍;姜太弘) played pivotal roles in shaping the foundations of contemporary gayageum byeongchang. Park Gwi-hee (박귀희;朴貴姬), a student of Oh Tae-seok (오태석) and Kang Tae-hong (강태홍), was later recognized as the custodian of this art, designated as an Important Intangible Cultural Property. Currently, artists like Jo Nam-hee (조남희), Kang Moon-ja (강문자), and Kang Jeong-suk (강정숙) continue to uphold Park Gwi-hee's (박귀희) legacy. Prominent pieces within the repertoire of gayageum byeongchang include "Jukjangjipgo," "Jebinojeonggi," "Sarangga," "Cheongseokryeong Jinaegalje," "Noknokbangcho," "Sesangongmyeongga," and "Gogocheonbyeon."

[cosmosbeelover]

Sent to a foreign country as a tribute, Lady Ki (c.1320- after 1369) carved a place for herself and became a powerful empress, the last of the Yuan dynasty.

From maid to imperial consort 

Lady Ki, also known as Öljei Khuduq, was born in Xingzhou, Gaoli (present-day Korea). The Korean state used to send a tribute of women to its neighbor, the Mongol-led Yuan dynasty, who controlled most of modern-day China and its surrounding areas such as present-day Mongolia. 

Lady Ki entered the palace and was assigned to Toghon Temür's service. Described as beautiful and clever, she quickly caught the young emperor’s attention and was elevated to the rank of consort.

The empress Danishiri was hostile to Lady Ki but was executed in 1335 or 1337 for having tried to protect her brother who was involved in a rebellion.

Toghon Temür then tried to name Lady Ki empress, but his decision was met with extreme hostility. Indeed, no Korean woman had held the dignity so far. Most empresses came from the Mongol Khongirad clan. He ultimately relented and chose a Mongol empress: Bayan Khuduq. 

A powerful favorite 

Lady Ki’s position was strengthened when she gave birth to a son, Ayushiridara (future emperor Zhaozong of Northern Yuan, r.1370-1378). Bayan Khuduq's son died young. Having a frugal and effaced personality, the empress was furthermore no match for Lady Ki. Ayushiridara was thus made heir apparent in 1355.

Empress Ki was influential and involved herself in political and military affairs. She for instance protected the high-ranking official Toqto'a but withdrew her support when he opposed the installation of her son as heir apparent. 

She liked to read the Women’s Book of Filial Piety and sought examples of past empresses she could emulate. When a famine struck in 1359, she showed her generosity by having the officials distribute porridge to the hungry, using her own funds to have thousands of corpses buried and hiring monks to perform funeral services. 

Lady Ki used her influence to promote her family’s interests. Her kinsmen in Korea were granted official ranks and titles. They repeatedly abused their power, which led the Korean king to execute Lady Ki’s entire clan. 

When she learned about it, she asked her son to avenge her family and raise a force of 10,000 soldiers. The military campaign was a complete failure and the entire force was routed. 

Empress before the fall

Bayan Khuduq died in 1365. No obstacles stood in Lady Ki’s way and she received the empress’s seal. It seems that she tried to make up for the mistakes of a poorly-performing emperor. Later historians indeed wrote that Toghon Temür preferred focusing on wine and women, though this could be an exaggeration to justify the fall of the Yuan Dynasty. 

The government’s structure was disintegrating. Empress Ki conspired to force the emperor to abdicate and put her son on the throne but failed. She faced little consequences and was simply put under house arrest for 100 days. Her agressive defense of her son’s interests was in keeping with Mongolian political culture, which recognized the influence of strong women. 

The Yuan dynasty fell in 1368 when the armies of the future Ming Emperor Hongwu entered the capital. Empress Ki fled to the north with Toghon Temür. What happened to her afterward is unclear, but she likely died the following year.

Her life was the inspiration for a 2013  Korean television drama, Empress Ki.

Feel free to check out my Ko-Fi if you like what I do! Your support would be much appreciated.

Further reading 

Buell Paul D., Fiaschetti Francesca, Historical Dictionary of the Mongol World Empire

McMahon Keith, Celestial Women: Imperial Wives and Concubines in China from Song to Qing

Robinson David M., Empire's Twilight: Northeast Asia Under the Mongols

Xu Shindan, “Öljei Qudu”, in: Hong Lee Lily Xiao, Wiles Sue (ed.), Biographical Dictionary of Chinese Women, Volume II: Tang Through Ming 618 - 1644

[cosmosbeelover]

The first female regent of the Joseon dynasty, Queen Jeonghui (1418-1483) governed skillfully, maintaining stability and harmony during her tenure.

Strengthening her family’s position

Jeonghui’s father served as the first state councilor under King Sejong, and her family had a long history of producing influential courtiers. From a young age, Jeonghui displayed a bold and assertive personality. In 1428, she married Prince Suyang, the second son of King Sejong, and was granted the title of Her Royal Highness of Nangnang. The couple had three children.

Prince Suyang eventually plotted to overthrow his young nephew, King Danjong. Although he hesitated at first due to his advisors' warnings, Jeonghui encouraged him to proceed and helped him don his armor. The coup succeeded, and Prince Suyang ascended the throne as King Sejo, with Jeonghui becoming queen consort.

Jeonghui first became involved in state affairs during her husband's illness. Recognizing her intelligence and sharp judgment, King Sejo expressed confidence that she could manage the kingdom after his death.

Following King Sejo’s passing in 1468, their son, King Yejong, ascended the throne. However, his reign was brief, and Jeonghui had to appoint a new heir. She chose the second son of her deceased eldest son, who became King Seongjong.

Ruling behind the bamboo screen

Since the young King Seongjong was still a child, Jeonghui assumed the regency, "ruling from behind the bamboo screen" from 1469. This practice adhered to Confucian principles of gender segregation, which prohibited face-to-face interactions between the queen and male courtiers. Initially, Jeonghui declined the role, as she wasn't literate in classical Chinese, and suggested her daughter-in-law, Queen Insu, instead. However, the courtiers insisted, and she ultimately accepted.

Jeonghui had the final say all matters of state, including land ownership, personnel appointments, border defense, and construction projects. She was likely assisted by Queen Insu in making major decisions.

During her regency, the Grand Code for State Administration was enacted. Her policies, such as decreasing government surveillance and abolishing identification tags (hopae), appeased the public. Demonstrating frugality, she downsized the Office of Royal Estate.

Jeonghui had a strong attachment to Buddhism—contrary to the prevailing Confucian policies of the time—she persistently tried to import Buddhist scriptures despite opposition from the court.

Jeonghui was renowned for her political acumen and ability to navigate complex power dynamics. By collaborating with senior ministers, she effectively implemented her policies, stabilizing both the throne and the dynasty. Her flexibility ensured a prosperous and harmonious regency, and she protected the young monarch from the influence of powerful courtiers.

In 1476, a text criticizing her regency was displayed on the streets of the capital. Jeonghui stepped down a year later.

Queen Jeonghui died during the 14th year of King Seongjong’s reign, at the age of 66.

Enjoyed this post? You can support me on Ko-fi!

Further reading

Duncan John, “The Naehun and the politics of Gender”, in: Kim-Renaud Young-Key, Creative Women of Korea The Fifteenth Through the Twentieth Centuries

Pae Yong-Yi, Women in Korean History

Park Si Nae, “Re-reading Queen Sohye's Naehun”

[cosmosbeelover]

Queen Insu (1437–1504), also known as Queen Sohye, was a shrewd political figure of the Joseon dynasty and Korea’s first female author.

A scholarly lady

Born and raised in the capital, Insu was likely taught Confucian moral principles from an early age. Coming from a family with a strong scholarly tradition and ties to the royal court, she was immersed in an environment of learning. Fluent in Chinese, Korean, and Sanskrit, and well-versed in literary classics, her education was exceptional for a woman of her time. She likely learned alongside her brothers.

At around 15, she married Crown Prince Uigyeong, and her father-in-law, King Sejo, praised her as a filial daughter.

Widowhood and regency

Insu’s life took a dramatic turn when she became a widow at just 19. Her husband, who had never ascended the throne, left her with three young children. After King Sejo’s death, his son Yejong briefly ruled but also passed away. In 1469, Insu’s second son, Seongjong, was chosen as king by her mother-in-law, Queen Jeonghui. The following year, her late husband was posthumously enshrined as king, and Insu received the title of Queen Insu.

Initially, Queen Jeonghui, was offered the regency but hesitated, suggesting Insu take the role instead. Though Jeonghui ultimately accepted, she lacked Insu's knowledge of classical Chinese. Insu, with her exceptional education and powerful family connections, became a key figure at court, wielding significant influence. While she didn’t hold an official position, she likely co-ruled with Jeonghui, assisting in crucial state decisions.

The Naehun

It was during this period that Insu authored the Naehun (Instructions for Women), establishing herself as Korea’s first female writer. This conduct manual outlined how women should behave according to Confucian ideals, emphasizing chastity, discretion, gentle speech, and etiquette.

Insu advocated for female education, arguing that it reinforced moral integrity and prepared women for their roles as wives and mothers. She criticized the trend of teaching daughters only poetry and music. However, she maintained that women’s roles should remain advisory and supportive.

The Naehun may also have served a political purpose, legitimating her mother-in-law's regency by citing examples of capable Chinese empresses. It reinforced the idea that women could govern wisely. Insu was thus also able to empower herself and present herself as a matriarch.

Queen mother

When Jeonghui’s regency ended in 1477, Insu continued to hold an honored position as the king’s mother. A devoted supporter of Buddhism, she argued against suppressing the religion, fearing it would lead to public unrest. In 1492, she spoke out against excluding commoners from monastic life and taught her five grandsons Buddhist and Confucian texts, which she recited from memory.

However, family tensions escalated when Queen Yun, King Seongjong’s consort, physically attacked him, leaving scars on his face. Insu took decisive action, first sending Queen Yun back to her family, then ordering her execution by poison.

The ascension of Insu’s grandson, Yeonsangun, in 1494 marked a dark chapter in her life. Yeonsangun, a violent and tyrannical ruler, was Queen Yun’s son. Upon discovering the truth about his mother’s death, he directed his fury at Insu. In 1504, Yeonsangun attacked his grandmother, leading to her death on May 11 at the palace. She was buried in a tomb that symbolically outranked her husband’s.

Enjoyed this post? You can support me on Ko-fi!

Further reading

Duncan John, “The Naehun and the politics of Gender”, in: Kim-Renaud Young-Key, Creative Women of Korea The Fifteenth Through the Twentieth Centuries

Kang Jae-un,  The Land of Scholars Two Thousand Years of Korean Confucianism

Park Si Nae, “Re-reading Queen Sohye's Naehun”

Pae Yong-Yi, Women in Korean History

[cosmosbeelover]

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

The thirteenth 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 crucial to emphasize that the information at hand is scarce, featuring only a single image of the singer. The additional photo included pertains to another individual named Lee Ok-ran, and while their names are similar, it is uncertain whether they refer to the same person; I personally believe they are distinct individuals.

Lee Ok-ran (이옥란; 李玉蘭)

Lee Ok-ran (이옥란) was a prominent Korean vocalist known for her contributions to popular and folk music, particularly recognized as a leading female singer of Seodosori. In 1938, she performed on the Gyeongseong Broadcasting Station, showcasing pieces such as "Sanbul," (山念佛) "Yeongbyeon-ga," (寧邊歌) "Jajinyeombul," (자진염불) and "Chohan-ga" (楚漢歌). During the Japanese colonial era, she recorded several popular songs with the Columbia Orchestra, including "Gisaeng Su-cheop," (기생수첩) "Kkeot Gatheun Pure Love," (겄갓흐누의 시집) and "Neuromoui Poetry Collection," (눈의 시집) all of which were released on Columbia Records in Japan. In total, she recorded six popular songs for the label.

[cosmosbeelover]

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

The twelfth 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 that the available information is limited, and there is no image of the singer. The photo I have included may be associated with Lee Chae-seon, but the only connection appears to be their names, indicating that they may or may not represent the same individual.

Lee Chae-seon (이채선; 李彩仙)

Lee Chae/Sae-seon (이채선) was a Korean vocalist and songwriter, recognized as a gisaeng of Hanseong Gwonbeon. During the 1920s, she made notable appearances on the Gyeongseong Broadcasting Station, where she performed songs sung by women. From 1929 to 1932, she continued to showcase her talent on the same station, presenting a variety of folk songs, including "Gaeseongsanyeombul," (開城山念佛) "Gaeseongnanbongga," (開城山念佛) "Geongonga," (乾坤歌) and "Gyemyeondugeo" (界面頭擧).