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Meditating on a Paradox:
The Music of Byungki Hwang

Anyone who knows anything of Korean music probably knows something of Byungki Hwang. No other name is more likely to come up when the talk is of gugak or Korean ¡°national music.¡± Gugak includes both traditional music inherited from the past and newly composed music for traditional instruments, and in both fields, Byungki Hwang has been a leading light for more than 40 years. He is the only living musician to have developed, taught, and published his own version of the traditional instrumental solo sanjo, while his original compositions have become staples of the repertoire for players of the gayageum zither. In Korea, he has been the subject of numerous graduate theses, television documentaries, and even a book for children. Overseas, he has represented the Republic of Korea and its music through performance, teaching, writing, and, in 1990, leading the South Korean contingent in an exchange of ¡°concerts for unification¡± with North Korea. If a nation¡¯s music can be represented by an individual, it would be hard to name an individual who represents gugak better than Byungki Hwang.
        And yet Hwang is not merely a representative, but very much an individual. This is one of several striking paradoxes that stand out in his career. Although he has been involved in most of the important developments in gugak since the 1950s, he has also gone against the general flow in a number of ways. On the one hand, he has served on the influential Committee for Cultural Properties, helping to select items of traditional music for government support and preservation. On the other hand, not content with mere preservation, he composed the first modern solo for gayageum, The Forest, in the very year (1962) that the Intangible Cultural Properties system was introduced. He has taught in two of Seoul¡¯s top universities from the time when they first opened their traditional music departments, training some of the finest gugak musicians and musicologists; but at the same time, he was exchanging ideas with contemporary Western composers and developing extended techniques for Korean instruments—as we hear on this album, for instance, in Night Watch. As a composer, he remains a lone star, for while others have been inspired by his example to write new music for Korean instruments, none has successfully emulated his unique approach.
But Hwang¡¯s dual role as a trend-setter and an iconoclast is only one of the paradoxes in his career. Another concerns his very identity as a composer. Hwang himself has written that the ¡°composer¡± was not a recognized figure in traditional Korean music, where creativity took the form of controlled improvision and the gradual re-working of existing material whose original creator was unknown. The concept of the composer, as an individual who creates a new piece of music from scratch, came to Korea from Western music, and in becoming a composer, Hwang was well aware that he was adopting a Western stance. Moreover, his first musical training had been in Western-style music, and from the beginning he composed using Western notation. And yet his music is not Westernized at all. It avoids the harmonic accompaniments and dense textures that have been adopted by many Asian composers writing for traditional instruments, and although it moves beyond the vocabulary of traditional Korean music, it always remains recognizably Korean. Indeed, because Hwang has not made Western elements a prominent part of his own musical language, he is able to use them on occasion for local color, as he does in The Clock Tower.
Compounding this paradox is the fact that, despite his uncompromising adherence to a Korean musical sensibility, Hwang¡¯s music has been popular internationally. His very first recording was released in the United States, where it was greeted with rave reviews, and he has performed his works to great acclaim in many parts of America, Europe, and Asia. His early work Autumn was later used as the theme tune for an American radio program on Asian music. Here is at least one case where ex-president Kim Young Sam¡¯s ¡°globalization¡± slogan appears to be correct: the most Korean is the most global.
        Yet another paradox is that although Hwang¡¯s compositions are recognized as innovative, they are rapidly coming to be accepted as ¡°classics¡± and treated in the same way as traditional Korean music. His Chimhyangmu (1974) changed the traditional tuning of the strings on the gayageum and introduced unconventional playing techniques on both the gayageum and the accompanying janggu drum; yet it was one of the first modern compositions to be adopted into the programs of the weekly traditional music concerts at the National Center for Korean Traditional Performing Arts, and it has been known to appear on concert programs elsewhere without the composer¡¯s name being mentioned. Conversely, Hwang¡¯s performance of traditional music is innovative, in that he has added melodies of his own to the sanjo that he learned from his teacher; but this practice is itself more traditional than the current norm of simply memorizing an existing sanjo. Here, too, Hwang shows that tradition is compatible with creativity as well as preservation.
        A final paradox is that Hwang¡¯s individuality shines through all his works despite their great diversity of surface sound. At one extreme, his first composition Beside a Chrysanthemum could easily be mistaken for a traditional gagok art song, and Moon of My Hometown (on this album) is close to the folk song style of Gangwondo Province. At the other extreme, The Labyrinth for voice and gayageum is thoroughly avant-garde in its use of sounds unstructured by fixed pitches and rhythms. Without losing his Korean voice, Hwang has reached beyond the sound-world of traditional Korean music in both time and space. The extant repertory of traditional gugak was formed during the Confucian Joseon Dynasty (1392-1910), but in some works, such as Chimhyangmu and the earlier Gara Town, Hwang has drawn inspiration from the Buddhist culture of the Silla Kingdom (?-935). When he has turned his attention outside Korea, he has looked less to the West than to other Asian cultures, as with the Persian references in The Silk Road and (on this album) Hamadan. If these diverse sources of inspiration have enriched Hwang¡¯s palette of tonal colors, he has also proved flexible in responding to commissions and providing different music for different contexts. Yet he has achieved this diversity without compromising his individual taste and style. Each work is different, yet each bears the fingerprint of Byungki Hwang.
        How are we to make sense of all these apparent paradoxes? Perhaps we need not make sense of them at all, for in all artistic enjoyment there is probably an element of paradox or contradiction that remains unresolved. As Zen Buddhists know, a paradox is a good thing to meditate on; and Byungki Hwang¡¯s music is nothing if not meditative. This is surely a big part of its appeal for contemporary Korean and Western audiences alike. No wonder Stereo Review called it ¡°especially valuable as an antidote to today¡¯s high-speed world.¡± Not that Hwang¡¯s music is always slow; but it nearly always begins and ends in a slow and meditative mood, and even in fast virtuoso passages such as the last movement of The Clock Tower, there is usually a feeling of ¡°stillness in motion.¡± Even The Labyrinth uses a concluding passage of Buddhist chant to return to the meditative ethos that runs through Hwang¡¯s music from his laid-back free improvisations of the late 1960s to the Taoist world of Nakdo-eum and the wistful aestheticism of Two Poems on the Fragrance of Tea (both on this album).
Contributing to this meditative quality are two things that can be described in musicological terms: subtle rhythms (often with changing meters) and light, transparent textures. There is never too much going on at one time for everything to be clearly audible; but what is going on is never plain or obvious. We have the sense that we see something clearly, yet what we see is something complex and perhaps contradictory. In the true Zen spirit, we are meditating on a paradox.

Andrew Killick
Senior Lecturer in Ethnomusicology
University of Sheffield, U.K.

 
 
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