The history of Korean boys and girls choirs dates back to 1923, originating with the “Dahlia Society”, a children’s singing assembly established by composer Yoon Geuk-young, and it boasts a rich history spanning a century. As a municipal boys and girls choir, the Daegu City Boys and Girls Choir, bei...
The history of Korean boys and girls choirs dates back to 1923, originating with the “Dahlia Society”, a children’s singing assembly established by composer Yoon Geuk-young, and it boasts a rich history spanning a century. As a municipal boys and girls choir, the Daegu City Boys and Girls Choir, being the third of its kind following Seoul and Gwangju, was inaugurated on May 1, 1981, marking its 42nd anniversary this year. They have conducted 127 regular concerts thus far and, in addition, have annually presented over 20 specially curated and guest performances, outreach musical events, and have participated in national celebrations, unfolding a tapestry of varied musical engagements.
While examining the regular concert repertoire of the Daegu City Boys and Girls Choir, it was uncovered that programs from 33 sessions were missing. During the diligent endeavors to recover them, all but five of the entire program materials were restored and have since been cataloged in the digital archive at the Daegu Cultural Arts Center.
In the 42-year journey of the Daegu City Boys and Girls Choir, the roles played by the past artistic directors have been particularly notable. Delving into their performance repertoires proved to be profoundly insightful.
To begin with, the first conductor, Kwon Young-woo, organized the regular concert programs with distinct genre categorizations. The main repertoire included religious compositions, traditional Korean children’s songs, as well as selections from both Korean and global origins. During his tenure, they held four regular concerts each year, and on about 10 occasions, guest conductors led these events. Furthermore, the choir embarked on international endeavors through musical exchanges with Japanese choirs.
Conductor Lee Jae-jun held the position of principal conductor during both the second and fourth terms. He was instrumental in expanding the choir’s horizons, undertaking a wide range of choral activities including international collaborations with countries like Japan and China, and staging original musical performances. Notably, religious compositions played a significant role in his repertoire choices, accounting for as much as 29% of the performances.
Principal conductor Ma Won-hwi had a penchant for religious pieces, often presenting Mass songs in his performances. Additionally, he showed a keen interest in developing new repertoires, with a special emphasis on original works, including original children’s musicals.
Principal conductor Kwon Yu-jin primarily curated performances around four distinct themes. Unlike his predecessors, he emphasized the finale of stage performances, often opting for a repertoire that captivated and engaged the audience with its visual allure and intrigue.
Principal conductor Kim Yu-hwan (also the author of this paper) has dedicated significant focus to the development of original choral works. He has, among other innovative endeavors, arranged the full song cycle of Schumann’s ‘Dichterliebe’ (‘The Poet’s Love’) for choral performance, emphasizing the continual evolution of the repertoire. Particularly during the COVID-19 pandemic that started in 2020, he produced a range of ‘ontact’ performance videos that attracted significant public interest and received extensive acclaim from the media. He also extensively sought to cultivate a repertoire that delivers enjoyment and emotional resonance to both performers and audiences by adapting a multitude of pieces that align with contemporary sensibilities.
Upon reviewing the special guest appearances over the course of 127 regular concerts, it’s evident that a significant majority, comprising 61.9%, were choirs of a similar genre. In terms of venues, the concerts were primarily held at the Daegu Citizens’ Hall, now known as the Daegu Concert House. But with the inauguration of the Daegu Cultural Arts Center in 1990, most performances transitioned to this new location.
A review of the performance repertoires from past conductors reveals a dominant presence of religious music. However, the Daegu City Arts Group is now restricted from presenting religious music on stage. This constraint is concerning, especially when one recognizes the deep roots of classical music in religious compositions. This barrier potentially poses a significant setback to the evolution and appreciation of classical music and inevitably tarnishes Daegu’s esteemed reputation as a hub for musical innovation.
In determining the appropriate choral repertoire, one must ponder: Should the performance cater to the children? Should it be tailored for the audience? Or should it serve the conductor’s preferences? These are the questions that warrant reflection.
The global pandemic, COVID-19, has profoundly transformed the culture of performance in the last three years. Traditional live performances have dwindled, giving rise to concepts like ‘untact’ and ‘ontact’ performances. The audience has increasingly turned their attention to online platforms. Many artists, recognizing this shift, began producing a plethora of ontact performances. Even as we move past the pandemic’s immediate impact, ontact performances continue to capture significant interest, especially among younger audiences. A look at recent musicals indicates that without the use of 3D visuals, it’s hard to meet the evolving expectations of audiences.
Today’s children are growing up in the era of LEDs and smart technology, necessitating an evolution in the repertoire tailored for them. The Daegu city Boys and Girls Choir should position itself as a role model for other private children’s choirs. If they solely present performances already staged by other groups, they will inevitably draw comparisons. Being a city-affiliated entity, they must not shy away from crafting new compositions. With access to more generous budgets than private entities, they have the responsibility and means to produce novel compositions and share them.
Moreover, to captivate young members sensitive to trends and help them experience the charm of choral music, it is imperative to develop a diverse range of repertoires and stage performances that resonate with contemporary times. It’s imperative that children do not experience stress from the chosen repertoire during their three-hour practice session. Some members, even after enduring rigorous auditions, have departed within a month due to such strains.
This reflects the present disposition and reality of today’s children. In essence, while it’s paramount for a performing group to offer an emotionally resonant and engaging repertoire for audiences, it’s equally vital to choose pieces that ensure the young choir members find joy in their practice. This balance is critical for the successful operation of a children’s choir.
The history of Korean boys and girls choirs dates back to 1923, originating with the “Dahlia Society”, a children’s singing assembly established by composer Yoon Geuk-young, and it boasts a rich history spanning a century. As a municipal boys and girls choir, the Daegu City Boys and Girls Choir, being the third of its kind following Seoul and Gwangju, was inaugurated on May 1, 1981, marking its 42nd anniversary this year. They have conducted 127 regular concerts thus far and, in addition, have annually presented over 20 specially curated and guest performances, outreach musical events, and have participated in national celebrations, unfolding a tapestry of varied musical engagements.
While examining the regular concert repertoire of the Daegu City Boys and Girls Choir, it was uncovered that programs from 33 sessions were missing. During the diligent endeavors to recover them, all but five of the entire program materials were restored and have since been cataloged in the digital archive at the Daegu Cultural Arts Center.
In the 42-year journey of the Daegu City Boys and Girls Choir, the roles played by the past artistic directors have been particularly notable. Delving into their performance repertoires proved to be profoundly insightful.
To begin with, the first conductor, Kwon Young-woo, organized the regular concert programs with distinct genre categorizations. The main repertoire included religious compositions, traditional Korean children’s songs, as well as selections from both Korean and global origins. During his tenure, they held four regular concerts each year, and on about 10 occasions, guest conductors led these events. Furthermore, the choir embarked on international endeavors through musical exchanges with Japanese choirs.
Conductor Lee Jae-jun held the position of principal conductor during both the second and fourth terms. He was instrumental in expanding the choir’s horizons, undertaking a wide range of choral activities including international collaborations with countries like Japan and China, and staging original musical performances. Notably, religious compositions played a significant role in his repertoire choices, accounting for as much as 29% of the performances.
Principal conductor Ma Won-hwi had a penchant for religious pieces, often presenting Mass songs in his performances. Additionally, he showed a keen interest in developing new repertoires, with a special emphasis on original works, including original children’s musicals.
Principal conductor Kwon Yu-jin primarily curated performances around four distinct themes. Unlike his predecessors, he emphasized the finale of stage performances, often opting for a repertoire that captivated and engaged the audience with its visual allure and intrigue.
Principal conductor Kim Yu-hwan (also the author of this paper) has dedicated significant focus to the development of original choral works. He has, among other innovative endeavors, arranged the full song cycle of Schumann’s ‘Dichterliebe’ (‘The Poet’s Love’) for choral performance, emphasizing the continual evolution of the repertoire. Particularly during the COVID-19 pandemic that started in 2020, he produced a range of ‘ontact’ performance videos that attracted significant public interest and received extensive acclaim from the media. He also extensively sought to cultivate a repertoire that delivers enjoyment and emotional resonance to both performers and audiences by adapting a multitude of pieces that align with contemporary sensibilities.
Upon reviewing the special guest appearances over the course of 127 regular concerts, it’s evident that a significant majority, comprising 61.9%, were choirs of a similar genre. In terms of venues, the concerts were primarily held at the Daegu Citizens’ Hall, now known as the Daegu Concert House. But with the inauguration of the Daegu Cultural Arts Center in 1990, most performances transitioned to this new location.
A review of the performance repertoires from past conductors reveals a dominant presence of religious music. However, the Daegu City Arts Group is now restricted from presenting religious music on stage. This constraint is concerning, especially when one recognizes the deep roots of classical music in religious compositions. This barrier potentially poses a significant setback to the evolution and appreciation of classical music and inevitably tarnishes Daegu’s esteemed reputation as a hub for musical innovation.
In determining the appropriate choral repertoire, one must ponder: Should the performance cater to the children? Should it be tailored for the audience? Or should it serve the conductor’s preferences? These are the questions that warrant reflection.
The global pandemic, COVID-19, has profoundly transformed the culture of performance in the last three years. Traditional live performances have dwindled, giving rise to concepts like ‘untact’ and ‘ontact’ performances. The audience has increasingly turned their attention to online platforms. Many artists, recognizing this shift, began producing a plethora of ontact performances. Even as we move past the pandemic’s immediate impact, ontact performances continue to capture significant interest, especially among younger audiences. A look at recent musicals indicates that without the use of 3D visuals, it’s hard to meet the evolving expectations of audiences.
Today’s children are growing up in the era of LEDs and smart technology, necessitating an evolution in the repertoire tailored for them. The Daegu city Boys and Girls Choir should position itself as a role model for other private children’s choirs. If they solely present performances already staged by other groups, they will inevitably draw comparisons. Being a city-affiliated entity, they must not shy away from crafting new compositions. With access to more generous budgets than private entities, they have the responsibility and means to produce novel compositions and share them.
Moreover, to captivate young members sensitive to trends and help them experience the charm of choral music, it is imperative to develop a diverse range of repertoires and stage performances that resonate with contemporary times. It’s imperative that children do not experience stress from the chosen repertoire during their three-hour practice session. Some members, even after enduring rigorous auditions, have departed within a month due to such strains.
This reflects the present disposition and reality of today’s children. In essence, while it’s paramount for a performing group to offer an emotionally resonant and engaging repertoire for audiences, it’s equally vital to choose pieces that ensure the young choir members find joy in their practice. This balance is critical for the successful operation of a children’s choir.
주제어
#Children’s choir Daegu City Boys & Girls Choir Choral repertoire Regular concert
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