<Chan Mi Ka> (1902)

1. What are these hymnals?

Chan Mi Ka is a Methodist hymnal translated into Korean in 1902. The Methodist Hymnal with Tunes, published in 1901, is a collection of hymns and tunes commonly used in Methodist worship.

2. Musical styles and practices that were characteristic of Methodist and Presbyterian churches around the turn of the 20th century

2-1) Methodist

- Simple, singable melodies that emphasized congregational participation
- Use of refrains or choruses to reinforce the central message of a hymn and encourage participation
- Focus on the text of the hymn, with the music serving to support and enhance the words
- Use of folk and popular melodies in addition to traditional hymn tunes
- The use of gospel hymns and spirituals, which had a more emotional and experiential quality than traditional hymns

2-2) Presbyterian

- Greater emphasis on choral settings and instrumental accompaniment, reflecting the church's connection to classical music and the European musical tradition
- More complex and structured musical settings, with complex harmonies and counterpoint
- Greater emphasis on the musicality of the hymn, with the music often serving as an equal partner to the text
- Use of traditional hymn tunes from the European hymnody tradition, as well as newly composed hymns in a more classical style
- Greater use of the organ as a primary instrument in worship, rather than the piano or other instruments

3. Overlap between the musical styles of the two denominations

One area of overlap between the musical styles of the two denominations was the use of hymns from the gospel tradition. While gospel hymns were particularly associated with the Methodist Church, they were also embraced by some Presbyterians who appreciated their emotional and experiential qualities.

Another area of overlap was the use of popular melodies in hymn settings. While this was more common in the Methodist Church, some Presbyterians also incorporated folk and popular tunes into their hymnody.

Furthermore, both denominations were influenced by the broader cultural and musical trends of their time, including a growing interest in American vernacular music and an increasing appreciation for musical simplicity and accessibility.

It's also worth noting that many of the hymns included in the unified hymnals published by the two denominations in 1908 and 1946 were selected because they were widely known and loved by members of both churches, indicating a shared appreciation for certain musical styles and traditions.

4. The differing theological emphases and historical traditions of the Methodist and Presbyterian denominations led to different approaches to musical practice and style

4-1) Methodist Theology and History 

- Emphasis on the emotional and experiential aspects of faith
- Belief in the importance of personal conversion and spiritual transformation
- A strong connection to American culture and the American gospel tradition
- Historical roots in the Revivalist movement and the Wesleyan tradition

These theological emphases and historical traditions led to a musical style that emphasized singable, emotionally expressive melodies and the use of gospel hymns and spirituals, which were often more accessible and easier to sing than traditional hymns. The emphasis on personal conversion and spiritual transformation also contributed to the use of refrains and choruses that reinforced the central message of a hymn and encouraged participation.

4-2) Presbyterian Theology and History 

- Emphasis on the intellectual and rational aspects of faith
- Belief in the importance of theological education and reflection
- A strong connection to the European musical and choral tradition
- Historical Roots in the Reformed Tradition and the Scottish Presbyterian Church

These theological emphases and historical traditions led to a musical style emphasizing complexity and structure, choral settings, and instrumental accompaniment. The importance placed on theological education and reflection also contributed to a greater focus on the text and the musicality of the hymn, with the music often serving as an equal partner to the text.

5. Analysis

5-1) In <Chan Mi Ka>, there is no staff score, just the lyrics. And <Methodist Hymnal with Tunes> has a score, sharing 1-4 lyrics in one score.

The absence of a staff score in <Chan Mi Ka> and the presence of a score in <Methodist Hymnal with Tunes> with 1-4 lyrics in one score suggest different approaches to musical notation and musical practice between the two hymnals.

<Chan Mi Ka> may have been intended to be sung without strict adherence to a specific musical score or accompaniment. This would be consistent with the Methodist tradition of emphasizing congregational singing and participation and using gospel hymns and spirituals that often relied on simple, singable melodies that the congregation could easily learn and remember. The absence of a staff score may have allowed for greater flexibility and improvisation in the singing of the hymn. This way, different congregations or singers could adapt the melody and accompaniment according to their preferences and contexts, which is consistent with the Methodist tradition of emphasizing congregational singing and participation.

On the other hand, including a score in <Methodist Hymnal with Tunes> suggests a more formal and structured approach to musical notation and accompaniment. This would be consistent with the Presbyterian tradition of emphasizing choral settings and instrumental accompaniment, as well as using more complex and structured musical settings. Including multiple lyrics in a single score may have also allowed for more efficient use of space in the hymnal while providing a clearer guide for singers and accompanists.

In conclusion, the different approaches to musical notation and practice reflected the two denominations' differing theological emphases and historical traditions, with Methodists, emphasizing congregational participation and simplicity and Presbyterians emphasizing more formal and structured musical settings.

5-2) In <Chan Mi Ka> (the Korean Version), the titles of the hymns are listed from right to left, and each is arranged in a Korean consonant order. In <Methodist Hymnal with Tunes>, the hymns are listed from left to right, and several songs are grouped by theme. 

The differences in the organization of the hymns in <Chan Mi Ka> and <Methodist Hymnal with Tunes> reflect the different cultural and linguistic contexts in which they were produced.

In <Chan Mi Ka>, the titles of the hymns are listed from right to left in Korean consonant order. This reflects the traditional Korean writing system, written from top to bottom and right to left. The use of the Korean consonant order for the hymn titles also reflects the influence of the Korean language and culture on the hymnal. 

On the other side, in <Methodist Hymnal with Tunes>, the hymns are listed from left to right, and several songs are grouped by theme. This reflects a more Western approach to organizing music, where musical works are typically listed alphabetically or by genre. The grouping of songs by theme also reflects a more systematic and organized approach to worship, where songs are selected to fit a particular liturgical context or theme.

By and large, the differences in the organization of the hymns in <Chan Mi Ka> and <Methodist Hymnal with Tunes> reflect the different cultural and linguistic contexts in which they were produced, with <Chan Mi Ka> reflecting a more traditional Korean approach, and <Methodist Hymnal with Tunes> reflecting a more systematic and organized Western approach.

5-2)-(1) "Traditional Korean approach" and the "Western and systematic approach”

The "traditional Korean approach" to organizing music is rooted in Korea's cultural and linguistic traditions. Traditional Korean music is typically organized according to the five elements of nature: wood, fire, earth, metal, and water. This system of organization is known as "ohwui cheop," which translates to "five agents' system."

Additionally, traditional Korean music is often characterized by improvisation, with performers combining fixed melodies and improvised variations to create a unique and expressive performance. The improvisation and the emphasis on the performer's expression reflect a more flexible and fluid approach to music-making, which contrasts with Western music's more systematic and fixed approach.

But, the "Western and systematic approach" to organizing music is rooted in Western Europe's cultural and historical traditions. Western music is typically organized according to fixed musical forms, such as the sonata, concerto, and symphony. These forms provide a clear and systematic structure for the music, designed to guide the listener through a specific emotional and intellectual journey.

Also, Western music is often characterized by staff notation, which provides a precise and standardized system for representing musical sounds on paper. The use of staff notation and the emphasis on fixed musical forms reflect a more systematic and structured approach to music-making, which contrasts with the more improvisational and expressive approach found in traditional Korean music.

5-3) In the <Methodist Hymnal with Tunes>, double vertical lines were used to divide lyrics into phrases, and they were not always determined by the time signature but rather by the length of the paragraph. Slurs were also used flexibly when multiple sounds corresponded to a single word. The division of the note tail was also used flexibly rather than directly corresponding to the lyrics. In terms of using the time signature, Common Time (4/4 time) and 4/4 time were used without distinction, and Alla breve (2/2 time) is the same. Even in the use of Dodol-Ipyo, it is repeatedly used in the shape of 4 points instead of following the existing shape with 2 points. The notation of Duet, Quartet, etc. and efforts to differentiate between voices within one song are also evident. 

These characteristics of the <Methodist Hymnal with Tunes> reflect the influence of Korean notation, which is slightly different from Western music notation. This Korean approach combines Western music notation and Korean traditional music notation, as Western music began to be introduced in Korea at that time.

For example, double vertical lines to separate paragraphs in lyrics are common in traditional Korean poetry and lyrics, and this method is suitable for expressing music in units of sentences rather than syllables due to the nature of the Korean language.

The flexible application of the slur reflects the characteristics of the Korean language, where each syllable is often pronounced independently. 

There is also a difference in the use of time signatures and Dodol-Ipyo between Western music and traditional Korean music. For example, Western music uses common time and 4/4 time interchangeably, while traditional Korean music uses 2/2 beats more often and uses Dodol-Ipyo differently.

The mixing of Western and traditional Korean music notation in <Chan Mi Ka> reflects the hybrid cultural influences of the time. While traditional Korean notation suggests a desire to maintain cultural identity, adopting Western notation demonstrates a willingness to incorporate Western musical styles and practices.

The evolution of Korean music notation can be seen in the use of specific symbols and notation practices in <Chan Mi Ka>, such as slanted lines to indicate the relative pitch of a note in relation to the preceding note, which is a common feature of traditional Korean notation. Additionally, the use of "dorae" notation, where notes are represented by their corresponding solfège syllables, is also present in some Korean music notation systems. These features are present in <Chan Mi Ka> alongside Western music notation symbols, highlighting the ongoing development of Korean music notation during this period.

5-3)-(1)

In the early 20^th century, In Korea, traditional music was the dominant expression, reflecting the country's long history and unique cultural identity. This music was characterized by various instruments, including strings, percussion, and wind instruments, and was often performed in ensembles or by soloists. Traditional Korean music also featured distinctive rhythmic patterns, melodic structures, and unique vocal techniques.

In contrast, the United States was a melting pot of musical traditions from around the world, with African American music, European classical music, and various forms of popular music all contributing to the country's musical landscape. This diversity was reflected in the wide range of musical genres and styles that were popular at the time, including ragtime, jazz, blues, folk music, and opera.

Conclusionally, the musical cultures of Korea and the United States in the early 20th century reflected their respective histories, traditions, and social contexts, with Korea emphasizing its unique cultural identity through traditional music and the United States showcasing its cultural diversity through a wide range of musical genres and styles.