JOURNAL OF ANALYTIC MUSIC: EAST AND WEST Issue 43

Journal of
Analytic
Music:
East and West

MUSICAL LINKS INVESTIGATION 12/19/2017 1724 WORDS

An Examination of West and East Folk Tunes -Janggu-

by Nathan Furlow Janggu is played
using beating sticks
(chae). Yeolchae is
used on the right high
An exciting new discovery has 3,600 variations. Throughout these pitch area and
been made regarding Eastern and versions, however, ‘Arirang’ is a gungchae on the left
Western folk music! A link has simple song consisting of the low pitch area.
Modern gungchae can
been made between two celebrated refrain ‘Arirang, Arirang, Arariyo’ be made from plastic
songs loved by the people of and two simple lines which differ but yeolchae is always
Korea and the English-speaking depending on the region. The most made of bamboo.
West. These two pieces famous and so called ‘standard’ Image 1 left; Image 2 down
originating from wildly different version of ‘Arirang’ is the
times and places, not to mention ‘Gyeonggi Arirang’, also known
cultures, have been discovered to as the ‘Seoul Arirang’.
have surprisingly similar musical
features. Before we jump into the Culturally, ‘Arirang’ is immensely
analysis of these similarities, significant to the Korean identity.
however, let me introduce you to During the Japanese occupation of
the works. Korea from 1910 to 1945,
‘Arirang’ became a resistance
Introduction to the Pieces anthem against the Imperial
Arirang is a popular Korean folk Japanese rule. Now considered the
tune that has developed through ‘unofficial anthem’ of South -Olney Hymns-
contributions made by ordinary Korea, it continues to have Published in 1779, these hymns are the combined
influence as a popular subject and works of curate John Newton and poet William
Koreans over the last 600 years. Cowper. These hymns are a strong illustration of
Experts estimate that there are motif in diverse arts and media, the views of the Evangelical movement which was
approximately 60 songs carrying including cinema, musicals, taking place in England at the time.
the title ‘Arirang’ with more than drama, dance and literature.
 JOURNAL OF ANALYTIC MUSIC: EAST AND WEST | Issue 43 2

which ‘Amazing Grace’ was Musical Links Found

paired in Based on these descriptions one
might not expect many similarities
1835. Newton’s hymn is one of
in the musical aspects of the
the most recognizable songs of the
pieces. The distance, in both time
English speaking world, and has
and space, however, would be
become emblematic in American
deceiving as both folk tunes
folk and African American
(Arirang and Amazing Grace)
spiritual.
consist of solely the major
Korean VS Western Tuning pentatonic scale, are in strophic
Like in Western tuning, there are form, have a conjunct, wave-like
twelve scale tones within an melody, and are in triple meter.
octave in the Korean tuning
Rhythmic Relations
system. Each note or yul, has its
‘Amazing Grace’ and ‘Arirang’
own name and pitch: Hwang-jong,
Image 3

are both set in a triple meter. This

Tae-ryŏ, Tae-ju, Hyŏp-chong, Ko-
means that there are three distinct
sŏn, Chung-ryŏ, Yu-bin, Im-jong,
beats in every measure. In western
I-chik, Nam-ryŏ, Mu-yŏk, and
culture, an easy example of
-Arirang- Ŭng-jong in order from the lowest
One of the earliest films made in Korea, Arirang, another song with a triple meter is
pitch. Hwang-jong, the lowest
1926, directed by Na Un’gyu depicts life in the waltz featuring an um-pa-pa
Japanese occupied Korea. The film was a national pitch which is close to E-flat
(1-2-3) rhythmic accompaniment.
sensation and popularized ‘Arirang’ the song in the above middle C in the Western
20th century. pitch system, is a fixed tone and In Korean culture, although there
used as a tuning pitch. are no classics recognizable to the
Although now usually performed average western ear, triple meter is
with piano in western adoptions, quite common. ‘Arirang’, along
the pairing of Arirang with the with many traditional Korean folk
traditional Korean Janggu, an tunes, are accompanied by a
hourglass shaped drum, is more constant rhythmic cycle played on
authentic. janggu called a jangdan. The two
most common jangdan are
‘Amazing Grace’ is a Christian semachi-jangdan and gutgeori-
hymn with words written by John Fig.1 jangdan. ‘Arirang’ features the
Newton (1725–1807). It was first, semachi-jangdan, which is
written to accompany a sermon on These twelve pitches are very
the most common and is in
New Year's Day of 1773 and was close to the equal temperament
compound triple meter. Semachi-
first printed in in 1779 in Western pitches, but traditional
jangdan has stress on the first and
Newton’s Olney Hymns. Although Korean pitches slightly differ. The
sixth beats.
‘Amazing Grace’ settled into differences in the frequencies can
relative obscurity in England, it be seen in the chart below, where The following figure illustrates the
became popular in the United in the upper row are Western rhythmic pattern of semachi-
States of America where it was equal temperament pitches in jangdan, where the top line is the
used extensively in the Second Hertz and in the bottom row are right hand and the bottom line is
Great Awakening in the early 19th Korean pitches in Hertz. the left hand.
century.
D E F G A B C
Although ‘Amazing Grace’ has 200 400 500 700 900 1100 1200
been associated with more than 20
204 408 612 702 906 1100 1200
melodies, the tune that is most
sung today is ‘New Britain’ with Fig.2
Fig.3
JOURNAL OF ANALYTIC MUSIC: EAST AND WEST | Issue 43 3

Pentatonic Parallels a long-short pattern. In ‘Arirang’ enters sequence of the rhythmic

Harmonically, both ‘Arirang’ and this motif is: motifs. In ‘Arirang’ this sequence
‘Amazing Grace’ are very regular happens twice for each verse
and stay within one major cycle, due to the repetition of the
pentatonic scale. ‘Arirang’ is in F B section, in measures 5-6 and
major pentatonic which uses the measures 13-14. This sequencing
notes: F G A C D, can be seen in figure 6. In
Fig.6
‘Amazing Grace’ the sequencing
here the only rhythm used in occurs at measures 3-8, a section
measure 6. This rhythmic motif of which can be seen in figure 8.
can be found throughout the song
but specifically in measures 1-3, Strophic Similarities
Fig.4 5-6,11, 13-14. In many of the Structurally, ‘Arirang’ and
other measures of ‘Arirang’, ‘Amazing Grace’ are also very
while ‘Amazing Grace’ is in G similar. Both pieces are in strophic
rhythms derived from the motif
major pentatonic which uses the form which means that all verses
can be found such as:
notes G A B D E. or stanzas of the text are sung to
the same music.
The following is the English
Fig.7 translation of the lyrics of
‘Gyeonggi Arirang’. The first two
Fig.5 In ‘Amazing Grace’ the rhythmic lines are the refrain which is
motif used is: followed by three verses which are
Pentatonic scales are commonly all sung to the same music.
used in many types of folk music
around the world as they provide Arirang, Arirang, Arariyo...
for simple harmonies and pleasant Crossing over Arirang Pass.
melodies. The melodies of both
Fig.8 Dear who abandoned me here
‘Arirang’ and ‘Amazing Grace’,
due to their pentatonic structure, This rhythm is present in measures Shall not walk even ten Li before
are easily sung and learned which 2-4, 6-7, 9, 11 and, 13. Similarly his feet hurt.
allows for their longevity without to the rhythmic motif in ‘Arirang’, Just as there are many stars in the
notation (especially in the case of the motif in ‘Amazing Grace’ clear sky,
‘Arirang’ but also ‘Amazing features a long short pattern There are also many dreams in
Grace’ which has notation, but it characteristic of triple meter. our heart.
is rarely used for informal Without the distinction of tempo,
performances). in fact, these two rhythmic motifs There, over there, that mountain
would be practically is Baekdu Mountain,
Melodic Mirrors indistinguishable. Where, even in the middle of
The melodies of both ‘Arirang’
winter days, flowers bloom.
and ‘Amazing Grace’ are Regarding the melodies of the
constructed in similar ways. Both respective pieces, both use their With the inclusion of the repeated
melodies consist of several rhythmic motif in very similar refrain, the more specific form of
sections. In ‘Arirang’, these ways. In both pieces, the verse that ‘Arirang’ is A-B-A-B-A.
sections are arranged A-B-C-B is repeated is divided into two
and then are repeated for each of phrases. The first phrase, in both The following are the first three
the two verses. In ‘Amazing instances, features the most use of verses of ‘Amazing Grace’ which
Grace’, the melody is segmented the rhythmic motif although it is are all sung to the same music.
A-B. Although different in present throughout the rest of There are six verses that exist but
structure, both melodies use a pieces. After a first statement of for the sake of this article, three
repeated rhythmic motif featuring the topic of the phrase, the melody
JOURNAL OF ANALYTIC MUSIC: EAST AND WEST | Issue 43 4

are enough to understand the Sources www.basicmusictheory.com/f-

meaning of the song. “Arirang, lyrical folk song in the major-pentatonic-scale.
Republic of Korea.” Intangible Figure 5:
Amazing Grace, How sweet the Cultural Heritage, UNESCO, “G major pentatonic
ich.unesco.org/en/RL/arirang- scale.” Basicmusictheory.com: G
sound major pentatonic scale,
That saved a wretch like me lyrical-folk-song-in-the-republic-of-
korea-00445. www.basicmusictheory.com/g-
I once was lost, but now am found NC State: WWW4 Server, major-pentatonic-scale.
T'was blind but now I see www4.ncsu.edu/~xblin/htdocs/arira Figures 6&7:
ng-english.txt. Unknown. “Arirang.” Public Domain,
T'was Grace that taught my heart “Hymn: Amazing Grace.” Hymnalnet koreanfolkmusic.weebly.com/uploa
to fear RSS, ds/4/7/3/6/47365675/_arirang.pdf.
www.hymnal.net/en/hymn/h/313. Figure 8:
And Grace, my fears relieved Newton, John. “Amazing Grace.” Public
How precious did that grace “The Dissemination of "Amazing
Grace".” The Library of Congress, Domain,
appear www.loc.gov/item/ihas.200149086. library.timelesstruths.org/library/mu
The hour I first believed Son, Dong-Hyun. “A STUDY OF MISSA sic/A/Amazing_Grace/Amazing_Gr
ARIRANG By COOL-JAE HUH: ace.pdf.
Through many dangers, toils and ELEMENTS OF KOREAN
snares TRADITIONAL FOLK MUSIC.”
We have already come. 22 Apr. 2013.
T'was grace that brought us safe Cover Image:
Tompsett, Michael. “Music Notes Map
thus far Of The World Map.” Fine Art
And grace will lead us home America, 26 Feb. 2012,
fineartamerica.com/featured/music-
‘Amazing Grace’ is in very strict notes-map-of-the-world-map-
strophic form where there is only a michael-tompsett.html.
verse which is changed over the Image 1:
repeating music. M-louis. “Band '楽隊'.” 5 Nov.
2006. https://www.flickr.com/photo
Differences s/m-
Despite the many similarities and louis/293188319/in/photostream/
Image 2:
links between ‘Arirang’ and Olney Hymns Page 2 | Presbyterian
‘Amazing Grace’, like any two Historical Society, 12 Jan. 2018,
pieces picked from contrasting www.history.pcusa.org/history-
cultures, there are bound to be online/exhibits/olney-hymns-page-
many differences as well. In 2.
Image 3:
summary of the most important “'Arirang' recommended for UNESCO
differences, ‘Arirang’ is in Heritage.” Koreatimes, 5 Nov.
compound triple meter while 2012,
‘Amazing Grace’ is in simple www.koreatimes.co.kr/www/news/c
triple meter, ‘Arirang’ has a single ulture/2012/11/317_123973.html.
Figures 1&2:
vocal line traditionally while Son, Dong-Hyun. “A STUDY OF MISSA
‘Amazing Grace' is typically ARIRANG By COOL-JAE HUH:
performed in a four-part SATB ELEMENTS OF KOREAN
choir, and finally ‘Arirang’ has a TRADITIONAL FOLK MUSIC.”
refrain while ‘Amazing Grace’ 22 Apr. 2013.
Figure 3:
only has verses. Overall, however, “Accompanying.” Korean Folk Song,
these differences are very minor Arirang,
compared to the major similarities koreanfolkmusic.weebly.com/acco
found between these works. mpanying.html.
Figure 4:
“F major pentatonic
scale.” Basicmusictheory.com: F
major pentatonic scale,