Andrew Killick
Biographic Data
| ID | 97425 |
|---|---|
| NAME | Andrew Killick |
| GIVEN NAMES | Andrew |
| FAMILY NAME | Killick |
| SIGNATURE | KILLICK A |
| AFFILIATIONS | University of Sheffield |
| VERIFIED | No |
| TOTAL WORKS | 13 |
| TOTAL CITATIONS | 8 |
| AUTHOR COUNT | 13 |
| EDITOR COUNT | 0 |
| FIRST PUBLICATION YEAR | 1992 |
| LATEST PUBLICATION YEAR | 2021 |
| H-INDEX | 2 |
Songs for ‘Great Leaders’: Ideology and Creativity in North Korean Music and Dance . By Keith Howard
Even before K-pop topped the Billboard charts, the Korean Peninsula, like Bali or coastal Ghana, was one of those areas whose music attracted a level of international attention out of proportion to geographical size or population. As of December 2020, searching the Society for Ethnomusicology’s online directory for members interested in Korea yields more hits than for either Japan or China. Yet the music feeding this voracious international appet…
Traditional Music and the Work-Concept: TheKayagŭm Sanjoof Hwang Byungki
In most of the world, through most of history, music has been conceived as a set of practices and techniques, expressive or religious behaviours, and adaptable repertoire resources, or as an integral part of some larger phenomenon such as theatre or healing. Over the last two hundred years, however, music has increasingly been reconceived as consisting of autonomous musical works. This has surely been one of the most important developments in mus…
Hwang Byungki: Traditional Music and the Contemporary Composer in the Republic of Korea
Anyone who knows anything of Korean music probably knows something of Hwang Byungki. As a composer, performer, scholar, and administrator, Hwang has had an exceptional influence on the world of Korean traditional music for over half a century. During that time, Western-style music (both classical and popular) has become the main form of musical expression for most Koreans, while traditional music has taken on a special role as a powerful emblem o…
July 24, 1896: Korean First Recording: (Minyo) Korean Traditional Songs. 2009. C. K. Jung's Traditional Music Recording Series CKJCD–010–A. Re-recorded by Pak Kiman. Annotated by C. K. Jung, Lee Bo-hy…
July 24, 1896: Korean First Recording: (Minyo) Korean Traditional Songs. 2009. C. K. Jung's Traditional Music Recording Series CKJCD–010–A. Re-recorded by Pak Kiman. Annotated by C. K. Jung, Lee Bo-hyung, and Yi Chinwőn. 28-page booklet with notes in Korean and English. Colour and b/w photographs. CD, 45 tracks (55:21). - Volume 46
Hyelim Kim: Taegŭm Collection: Nim. 2013. Universal Music Korea DU 42057. Recorded by Dongha Lee, Rob Shipster, and Jeremy Glasgow. Annotated by Hyelim Kim and Keith Howard. Produced by Hyelim Kim. 24…
Korean Musical Drama: P'ansori and the Making of Tradition in Modernity. By Haekyung Um
Readers unfamiliar with the subject of this book may be surprised to find that the ‘musical drama’ in the title turns out to be performed by a single singer to the accompaniment of a single drum. By most definitions, the Korean traditional performing art p’ansori is more a form of storytelling than of drama. It does incorporate dramatic elements, for instance in the singer’s use of acting and of different ‘voices’ when delivering the words of dif…
SamulNori: Contemporary Korean Drumming and the Rebirth of Itinerant Performance Culture
In Search of Korean Traditional Opera: Discourses of Changguk
This is the first book on Korean opera in a language other than Korean. Its subject is ch'angguk, a form of musical theater that has developed over the last hundred years from the older narrative singing tradition ofp'ansori. The book examines the history and current practice of ch'angguk as an ongoing attempt to invent a traditional Korean opera form to compare with those of neighboring China and Japan. The book addresses a growing interest with…
Holicipation: Prolegomenon to an Ethnography of Solitary Music-Making
Solitary music-making for personal satisfaction is a widespread form of musical behaviour that has hitherto been neglected by ethnomusicologists and other students of music. By analogy with "participation" (taking part), this activity might be termed "holicipation" (taking the whole), in that, as the only performer and listener involved, the solitary music-maker personally experiences the whole of the musical event. This paper assesses the treatm…
Jockeying for Tradition: The Checkered History of Korean Ch'angguk Opera
The perception that Korea does not have a traditional theatre form comparable to those of other Asian countries has been widely accepted by Koreans as well as international observers. The last hundred years have seen a sustained effort to fill this gap with a genre called ch'angguka type of opera using the singing style, and often the actual repertoire, of the older musical storytelling form p'ansori. But admission to the hallowed ranks of the tr…
Road Test for a New Model: Korean Musical Narrative and Theater in Comparative Context
S'appuyant sur ses propres recherches sur la narration musicale et les traditions theâtrales en Coree (p'ansori, ch'angguk, et yosong kukkuk), l'A. se propose d'evaluer les potentialites heuristique et ethnographique - et plus particulierement comparative - de l'espace tridimensionnel de l'experience musicale que propose T. Rice dans son modele ethnomusicologique. Ne pratiquant pas une ethnographie musicale centree sur l'individu au sens strict o…
"Ch'angguk Opera and the Category of the "Traditionesque
Ch'angguk opera was first developed in the early twentieth century, when it was advertised as shinyon'guk, or "new drama," emphasizing the novelty of its indoor theater setting and acting conventions. Today, Ch'angguk is often described in English as "traditional Korean opera," mainly because it incorporates elements of the older musical storytelling genre p'ansori. While Ch'angguk has come to base a large part of its appeal on this association w…
Musical Composition in Twentieth-Century Korea
This article explores the nature of musical creation in Korea and traces the development of the Western notion of composition through the main figures of twentieth-century Korean music. Korean composers have long been divided into composers of kugak (traditional music) and yangak (Western music). There have been attempts to cross the barrier between these two groups, and the extension of the Western concept of composition to traditional music has…
Holicipation: Prolegomenon to an Ethnography of Solitary Music-Making
Solitary music-making for personal satisfaction is a widespread form of musical behaviour that has hitherto been neglected by ethnomusicologists and other students of music. By analogy with "participation" (taking part), this activity might be termed "holicipation" (taking the whole), in that, as the only performer and listener involved, the solitary music-maker personally experiences the whole of the musical event. This paper assesses the treatm…
In Search of Korean Traditional Opera: Discourses of Changguk
This is the first book on Korean opera in a language other than Korean. Its subject is ch'angguk, a form of musical theater that has developed over the last hundred years from the older narrative singing tradition ofp'ansori. The book examines the history and current practice of ch'angguk as an ongoing attempt to invent a traditional Korean opera form to compare with those of neighboring China and Japan. The book addresses a growing interest with…
Musical Composition in Twentieth-Century Korea
This article explores the nature of musical creation in Korea and traces the development of the Western notion of composition through the main figures of twentieth-century Korean music. Korean composers have long been divided into composers of kugak (traditional music) and yangak (Western music). There have been attempts to cross the barrier between these two groups, and the extension of the Western concept of composition to traditional music has…
"Ch'angguk Opera and the Category of the "Traditionesque
Ch'angguk opera was first developed in the early twentieth century, when it was advertised as shinyon'guk, or "new drama," emphasizing the novelty of its indoor theater setting and acting conventions. Today, Ch'angguk is often described in English as "traditional Korean opera," mainly because it incorporates elements of the older musical storytelling genre p'ansori. While Ch'angguk has come to base a large part of its appeal on this association w…
Jockeying for Tradition: The Checkered History of Korean Ch'angguk Opera
The perception that Korea does not have a traditional theatre form comparable to those of other Asian countries has been widely accepted by Koreans as well as international observers. The last hundred years have seen a sustained effort to fill this gap with a genre called ch'angguka type of opera using the singing style, and often the actual repertoire, of the older musical storytelling form p'ansori. But admission to the hallowed ranks of the tr…
Road Test for a New Model: Korean Musical Narrative and Theater in Comparative Context
S'appuyant sur ses propres recherches sur la narration musicale et les traditions theâtrales en Coree (p'ansori, ch'angguk, et yosong kukkuk), l'A. se propose d'evaluer les potentialites heuristique et ethnographique - et plus particulierement comparative - de l'espace tridimensionnel de l'experience musicale que propose T. Rice dans son modele ethnomusicologique. Ne pratiquant pas une ethnographie musicale centree sur l'individu au sens strict o…
Holicipation: Prolegomenon to an Ethnography of Solitary Music-Making
Solitary music-making for personal satisfaction is a widespread form of musical behaviour that has hitherto been neglected by ethnomusicologists and other students of music. By analogy with "participation" (taking part), this activity might be termed "holicipation" (taking the whole), in that, as the only performer and listener involved, the solitary music-maker personally experiences the whole of the musical event. This paper assesses the treatm…
In Search of Korean Traditional Opera: Discourses of Changguk
This is the first book on Korean opera in a language other than Korean. Its subject is ch'angguk, a form of musical theater that has developed over the last hundred years from the older narrative singing tradition ofp'ansori. The book examines the history and current practice of ch'angguk as an ongoing attempt to invent a traditional Korean opera form to compare with those of neighboring China and Japan. The book addresses a growing interest with…
SamulNori: Contemporary Korean Drumming and the Rebirth of Itinerant Performance Culture
July 24, 1896: Korean First Recording: (Minyo) Korean Traditional Songs. 2009. C. K. Jung's Traditional Music Recording Series CKJCD–010–A. Re-recorded by Pak Kiman. Annotated by C. K. Jung, Lee Bo-hy…
July 24, 1896: Korean First Recording: (Minyo) Korean Traditional Songs. 2009. C. K. Jung's Traditional Music Recording Series CKJCD–010–A. Re-recorded by Pak Kiman. Annotated by C. K. Jung, Lee Bo-hyung, and Yi Chinwőn. 28-page booklet with notes in Korean and English. Colour and b/w photographs. CD, 45 tracks (55:21). - Volume 46
Hyelim Kim: Taegŭm Collection: Nim. 2013. Universal Music Korea DU 42057. Recorded by Dongha Lee, Rob Shipster, and Jeremy Glasgow. Annotated by Hyelim Kim and Keith Howard. Produced by Hyelim Kim. 24…
Korean Musical Drama: P'ansori and the Making of Tradition in Modernity. By Haekyung Um
Readers unfamiliar with the subject of this book may be surprised to find that the ‘musical drama’ in the title turns out to be performed by a single singer to the accompaniment of a single drum. By most definitions, the Korean traditional performing art p’ansori is more a form of storytelling than of drama. It does incorporate dramatic elements, for instance in the singer’s use of acting and of different ‘voices’ when delivering the words of dif…
Hwang Byungki: Traditional Music and the Contemporary Composer in the Republic of Korea
Anyone who knows anything of Korean music probably knows something of Hwang Byungki. As a composer, performer, scholar, and administrator, Hwang has had an exceptional influence on the world of Korean traditional music for over half a century. During that time, Western-style music (both classical and popular) has become the main form of musical expression for most Koreans, while traditional music has taken on a special role as a powerful emblem o…
Traditional Music and the Work-Concept: TheKayagŭm Sanjoof Hwang Byungki
In most of the world, through most of history, music has been conceived as a set of practices and techniques, expressive or religious behaviours, and adaptable repertoire resources, or as an integral part of some larger phenomenon such as theatre or healing. Over the last two hundred years, however, music has increasingly been reconceived as consisting of autonomous musical works. This has surely been one of the most important developments in mus…
Songs for ‘Great Leaders’: Ideology and Creativity in North Korean Music and Dance . By Keith Howard
Even before K-pop topped the Billboard charts, the Korean Peninsula, like Bali or coastal Ghana, was one of those areas whose music attracted a level of international attention out of proportion to geographical size or population. As of December 2020, searching the Society for Ethnomusicology’s online directory for members interested in Korea yields more hits than for either Japan or China. Yet the music feeding this voracious international appet…
Asian Culture and Media Studies (12 works) · Art (11 works) · History (10 works) · Literature (7 works) · Musical (6 works) · Aesthetics (5 works) · Visual arts (5 works) · Hong Kong and Taiwan Politics (3 works) · Law (3 works) · Opera (3 works)