2020 Kyujanggak Booktalk Series: 10th Lecture

Hanna Kim's picture
December 21, 2020
Korea South
Subject Fields: 
Anthropology, East Asian History / Studies, Humanities, Korean History / Studies, Music and Music History

The International Center for Korean Studies, Kyujanggak, Seoul National University is hosting a booktalk series, which introduces a work in Korean studies to facilitate the exchange of views and information among scholars. We will have our 9th booktalk via ZOOM on December 21, 10AM (KST). If you would like to join, please register at https://forms.gle/Mp5eF91GpgwXe1rc8. Please write your full name and affiliation correctly on the Google Form. We will send you the details you need to log in one day in advance. Thanks in advance!

About the Author: Prof. Katherine In-Young Lee (UCLA)
Katherine In-Young Lee is Associate Professor in Ethnomusicology at the UCLA Herb Alpert School of Music. Her research interests include East Asia, Korean music and culture, music and politics, sound studies, global circulations of form, ethnography, transnational adoption, and Cold War politics. Her book, Dynamic Korea and Rhythmic Form (Wesleyan 2018) was  recognized with the 2019 Béla Bartók Award for Outstanding Ethnomusicology from the ASCAP Foundation. Lee’s research on the role of music at scenes of protest during South Korea’s democratization movement was awarded the Charles Seeger Prize by the Society for Ethnomusicology and the Martin Hatch Award by the Society for Asian Music. She has published in Ethnomusicology, the Journal of Korean Studies, and the Journal of Korean Traditional Performing Arts. 

About the Book: Dynamic Korea and Rhythmic Form (Wesleyan University Press 2018)
The South Korean percussion genre, samul nori, is a world phenomenon whose rhythmic form is the key to its popularity and mobility. Based on both ethnographic research and close formal analysis, author Katherine In-Young Lee focuses on the kinetic experience of samul nori, drawing out the concept of dynamism to show its historical, philosophical, and pedagogical dimensions. Breaking with traditional approaches to the study of world music that privilege political, economic, institutional, or ideological analytical frameworks, Lee argues that because rhythmic forms are experienced on a somatic level, they swiftly move beyond national boundaries and provide sites for cross-cultural interaction.

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