Arirang History

Chapter II
The Beginning of Arirang:

From Gangwondo Arirang to Gujo Arirang
Kim Young-woon
The Beginning of Arirang 27
Preface
Arirang is the representative song of Korea. “Arirang” is a collective name for the songs with
“arirang,” “arari,” and other such similar words in the refrain. Thus, many songs titled “Arirang” are
widely sung in South Korea, North Korea, and Korean communities in foreign countries today. In
addtion to traditional Arirang songs, new Arirang songs have been fused with popular and classical
music, and pieces derived or revised from existing Arirang songs have been created for choruses and
orchestras. Today, for the convenience of distinguishing the various kinds of Arirang songs, the title
“Arirang” is normally preceded by the name of a region or other words with different meanings. For
example, “Jeongseon Arirang,” “Jindo Arirang,” etc., contain the name of a region. In examples like
“Bonjo Arirang,” “Gujo Arirang,” etc., the modifier describes a kind of Arirang (“bonjo” meaning
“original,” and “gujo” meaning “ancient”).
If not preceded by a modifier, “Arirang” indicates the popular folk song that was generally sung
by professional singers from Gyeonggi Province-normally this is that Arirang also known as “Bonjo
[original] Arirang.” This Arirang was composed as the theme song for the movie Arirang, filmed in
1926, which gained sensational popularity in Korea. This was in large part due to the fact that it was the
theme song of a silent film, a totally new kind of media at the time. Both the film and the song became
enormously popular, such that, to this day, virtually every Korean of a certain generation is familiar
with the movie and every Korean with the song.
In the early 20th century, Koreans who emigrated to foreign countries, leaving behind the
colonized home country, carried this song inside of them as an enduring symbol of their home country.
Since then, Koreans have regarded “Arirang” as the song that represents Korea, and the predominant
symbol of their home country. After the release of the film, people began to call the famous theme song
“Bonjo Arirang,” meaning “the original,” when necessary, to distinguish it from other types of Arirang
songs.
Therefore, today's “Arirang” in Korea indicates the song “Bonjo Arirang,” but it also
comprehensively indicates various folk songs called Arirang, including “Bonjo Arirang.” As “Bonjo
Arirang” spread more widely, people in some regions began to create their own Arirang, stamping
them with musical characteristics from their own regions. These songs are now rendered in
performances by professional musicians and are recognized by the public as traditional folk songs.
Having been adapted and recast among Korean people locally and abroad, they now number greater
than one hundred.
Arirang songs, however, were sung in Seoul and Gyeonggi Province before 1926 when “Bonjo
Arirang” was created, and local folk versions of Arirang were transmitted in most regions of the Korean
peninsula, including Gangwon Province, before that time. In an attempt to understand the diverse
28 KOREAN FOLK SONG, ARIRANG The Beginning of Arirang 29
Arirang songs of Korea, in this study, I will examine the traditional Arirang songs that were sung in [Type C]
Korea prior to the early 20th century and trace the development of “Bonjo Arirang” from a musical ariari eolssu arariyo, arirang eolssigu noda gase. “Haeju Arirang”
perspective. I will identify various aspects of the Arirang sung in Korean communities and classify arirang arirang arariroguryo, arirang arieolssu arariroguryo. “Gin Arirang”
these by their original songs. Next, I look at how the local folk songs of Arirang transformed into the ariari eolssu arariyo, arirang eolssigu nolda gase. “Gangwondo Arirang (Lee Chang-bae)”
popular folk songs of Korea, mainly by investigating and comparing changes in the melodies. In
addition, I will review some of the theories on the origins of Arirang that focus on the meaning of the The refrain of the type A songs consists of “arirang arirang arariyo” in the beginning and
word “Arirang.” “Arirang gogae” (“Arirang hill”) in the latter part. “Sseuri-sseuri” appears in the beginning of the
refrain of the type B songs, while “eolssu” or “eolssigu” (words of excited encouragement, like
The Meaning of Arirang “great!”) appear in the refrain of the type C songs. Most of the Arirang songs, however, share the
common feature of “Arirang” and “arari” repeated more than one time in the refrain. That is why they
It is the repetition of the word “Arirang” or “arari” in the refrain that distinguishes Arirang from are titled “_____ Arirang” or “_____ Arari.”
other songs. Thus, what demarcates an Arirang song form others are not the musical elements but the Cognizant of this pattern, scholars have attempted to decipher the meaning of these words in
lyrics. Most of the Arirang songs consist of many verses, most of which have different lyrics, though tracing the origin of the Arirang songs. Theories on the origins of Arirang fall into two general camps:
some words of each verse are shared by other songs. However, they all include the word “Arirang” or 1) Arirang was formed in the era of the Three Kingdoms; or 2) it was formed in the late 19th century,
“arari” in the refrain. The following shows the important refrain components of Arirang songs: when Gyeongbok Palace was being reconstructed by Daewongun (the Great Prince Lee Ha-eung).
The former, the opinion that Arirang began to spread during the era of the Three Kingdoms,
[Type A] relates the song to Queen Aryeong, the wife of King Park Heokgeose. According to the Samgukyusa
arirang arirang arariyo, arirang gogaero nareul neomgyeojuge. “Jeongseon Arirang, regional folk song” (Memorabilia of the Three Kingdoms) and Samguksagi (Historical Record of the Three Kingdoms),
(Please pass me over to the Arirang ridge.) Aryeong was born from a dragon's side in a well called “Aryeong jeong” (well). This beautiful queen
arirang arirang arariyo, arirang gogaero nareul neomgyeojuo. “Seoul-je Jeongseon Arirang (Lee Chang-bae)” accompanied the king on a royal tour to encourage people engaged in farming and silkworm
(Please pass me over to the Arirang ridge.) cultivation. Along the way, people sang a song to praise Queen Aryeong, which some presume to have
arirang arirang arariyo, arirang gogaero neomeoganda. “Bonjo Arirang” “Gujo Arirang” been an early Arirang. This opinion appears to be based on the similar pronunciation of “Aryeong” and
arirang arirang “arirang.”
(I am passing over the Arirang ridge.) The other central theory, which asserts that Arirang first appeared in the mid- or late-19th century,
focuses on the recording of the word “Arirang” or “arari” in Chinese characters, leading theorists to
[Type B] believe Arirang was formed in the context of the reconstruction of the Gyeongbok Palace by
ariari sseurisseuri arariyo ariari gogaero neomeoganda. “Gangwondo Arirang” Daewongun. Heungseon Daewongun, the father of King Gojong, the 26th king of Joseon, regretted that
(I am passing over the Arirang ridge.) Gyeongbok Palace, the main palace of Joseon had been destroyed by fire during the Japanese Invasion
of Korea in 1592. He began reconstruction in 1865. However, national coffers at that time could not
ariarirang ssrissrirang arariga nanne, arirang gogaereul neomeoganda. “Miryang Arirang” cover the enormous expense. To solve the financial problem, Daewongun issued a new currency with a
(I am passing over the Arirang ridge.) face value of 500 times greater than the existing currency, which forced the rich to make contributions
to his project and mobilized the people into compulsory labor. It is said that the rich used to sing
ariarirang sseurisseurirang arariga nanne, arirang eungeungeung arariga nanne. “Jindo Arirang” “airong” in a wish that they would rather not hear anything. “Airong” means “I wish I were a deaf.”
According to this opinion, the word “airong” must have been changed to “Arirang”' when pronounced.
At the same time, many common people, who found themselves separated from their families and
pressed into slave labor, sang “arirang,” which means “I am parted with my family.” Another theory is
that “arari” is a variant of the word “analli,” meaning “it is difficult for me to live apart from my
family.”
All of the 19th century theories have in common the idea that Arirang came into existence by the
time Daewongun set about reconstructing Gyeongbok Palace, and that “arirang” and “arari” were
words people used to express their distress in some way. It is hard to see how the difficult Chinese
characters could have been used in the refrain of Arirang songs sung mainly by common people.
Nevertheless, it is noteworthy that this second group of theorists is united around a common idea that
the providence of Arirang has something to do with the reconstruction of Gyeongbok Palace in the 19th
century.
Setting theories of origin aside, today's scholars in general take the meaning of “Arirang” or
<Score 1> “Arurang taryeong” transcribed by Hulbert
“arari” to be a kind of a “scat” with no literal corollary. Such nonsense syllables are often found in the
refrain of old siga [詩歌, poetry and song], e.g., “yalli yalli yalla yallaseong yalla” in the refrain of
“Cheongsanbyeolgok” (靑山別曲 Ballad of Blue Mountain), a song from the Goryeo Dynasty [918- “The first and most conspicuous of this class is that popular ditty of seven hundred and eighty-two
1392]. In this respect, “Arirang” or “ariri” is considered not a word with a specific meaning but a kind verses, more or less, which goes under the euphonious title of A-ra-rung. To the average Korean this
of gueum [口音, lit., sound of the mouth] or a “scat” that is repeated in the refrain of a song to denote a one song holds the same place in music that rice does in his food-all else is mere appendage. You hear it
cheerful atmosphere. everywhere and at all times . . . But the furore not being so great, the run is longer.”
As examined above, attempts to trace the historical origin of “Arirang” and “arari” by
interpreting the meanings of these terms have not yet produced a conclusive result. Meanwhile, there This song's melody is similar to the melody of “Gujo Arirang,” which is included in the
are not many records that clearly reveal that Arirang was sung as a song prior to the late-19th century, repertoires of modern day master singers of Gyeonggi Province-style folk songs. Hulbert notes in his
though there is some evidence that the song was around before that time. Below are some of the records article that the song “is said to have captured the public fancy about the year 1883.”
that are widely known. To sum up some facts about the origin of Arirang, it appears to have been sung widely by the
In “Nongbusa” [農夫詞, Song of farmers] in the posthumous work, Mancheonyugo (蔓川遺稿), time Gyeongbok Palace was being reconstructed in the late Joseon period. Theorists seem to refer to
by Lee Seung-hun, there appears the chorus “arorong, arorong, eohiya,” which enables us to presume circumstances arising after the Arirang songs already had become widely known and popular among
that a word similar to arirang was sung in the refrain of a farmers' song. It is not known if this song is people in the central regions of Korea, such as Seoul and Gyeonggi Province. Though there is no
related to “Arirang.” record, many types of local folk song versions of Arirang appear to have been transmitted in Gangwon
An entry in the Maecheonyarok [梅泉野錄, the Apricot-blossom spring journal (1900)] of Province, a mountainous area in middle-eastern Korea. These Arirang are are work songs and songs
Hwang Hyeon (1855-1910) indicates that Arirang was sung in the palace: “Every night, the king sung for amusement. According to provincial scholars, these songs spread to the Seoul and Gyeonggi
ordered entertainers to play a beautiful new song called Arirang taryeong with the lights on. . . This was regions during the time of reconstruction of Gyeongbok Palace; thus it is necessary to review the
not suspended until Ootori Keisuke (大鳥圭介) intruded upon the palace.”1 Since the Japanese Arirang songs of Gangwon Province in order to investigate the origin of Arirang.
minister, Ootori Keisuke, intruded upon the palace in 1893, it was before the time that “Arirang The number of Arirang songs transmitted in Korean communities overseas and inside Korea is
taryeong” was played. estimated to be over 100. Most of these songs use similar melodies, while the lyrics differ from one to
Homer B. Hulbert (1863 - 1949) first notated Arirang in staff notation in 1896. He included an another. Therefore, it is necessary to compare these songs and classify them into several types by their
analysis of his transcription of Arirang in an article in English titled “Korean Vocal Music” in the melodies.
magazine The Korean Repository, for which he worked as the editor.
Classification of the Arirang Songs Yangsan Arirang Yangyang Arari Yangpyeong Arirang
Eolssu Arirang Yeoju Arirang Yeongbyeon Arirang
What is generally called “Arirang” in Korea today indicates “Bonjo Arirang,” the popular folk Yeongwol Arari Yeongil Arirang Yeongcheon Arirang
song performed by master folksingers. In addition to the songs sung by professionals, there are many Yecheon Arirang Okcheon Arirang Onseong Arirang
other songs with “Arirang” or “arari” in the titles that are transmitted either as local folk songs or Wanju Arirang Ulleungdo Arirang Wonsan Arirang
popular folk songs, including “Gujo Arirang” and “Gin Arirang.” These Arirang songs are widespread Wonju Arirang Wonhyeong Arirang Eumseong Eoreoriseong
not only in Korea but also in Korean communities in foreign countries. Inje Ddenmok Arirang Inje Arari(Inje Arirang) Jajin Ari
Lately, albums containing Arirang transmitted in Korean communities overseas and some other Sae Arirang by Jang Baek Jangheung Arirang Jajeun Arirang
sound sources of North Korea have been introduced in Korea, which has resulted in an increase in the Jeongseon Arari Jeongseon Yeokkeum Arari Jeongeup Arirang
tally of Arirang songs, with different titles now numbering over 100. The list of titles of Arirang songs, Jejudo Arirang Jeju Aririri Dongdong Jeju Jocheon Arirang
excluding duplicate songs reported from multiple regions, popular music, songs that were created by Jecheon Arirang taryeong Jecheon Eoreori Jungwon Araseong
foreign musicians, and those hardly considered a song of Arirang, now totals about 120 pieces2: Jeungpyeong Arari Jindo Arirang Jjokbak Arirang
Jjokbagui Arirang Changnyeong Arirang Changwon Arirang
Gnagneung Jajeun Arirang Gangwondo Goseong Arirang Gangwondo Arirang Cheongjin Arirang Chodong Arirang Chuncheon Arirang
Gyeonggido Arirang Gyeongsangdo Gin Arirang Gyeongsangdo Arirang Chuncheon Uibyeong Arirang Chungju Arirang taryeong Taebaek Arari
Goseong Arirang Goheung Arirang Gongju Arirang Taepyeong Arirang Tongcheon Arirang Pyeongchang Arari
Gwangbokgun Arirang Gurye Arirang Gu Arirang Hadong Arirang Hamgyeongdo Dancheon Arirang Hamgyeongdo Onseong Arirang
Gippeumui Arirang Gin Ari Gin Arirang Haenam Arirang Haebangga Arirang Haeju Arirang
Gimcheon Arirang Ggolmangtae Arirang Naui Arirang Hulbert Arirang Hongcheon Arirang Hwagae Arirang
Namwon Arirang Danyang Arari Dancheon Arirang Hoengseong Eoreori Hoengseong Eorirang taryeong
Daegu Arirang Dokdo Arirang Dongnipgun Arirang

Ddenmok Arirang Langsan mopan Keunaegi Arirang Myeongju Jajin Arari Some of the above songs are difficult to verify through sound sources or scores, as they have been
Mudeung Arirang Musan Arirang Muju Arirang taryeong but partially transmitted, with titles and lyrics only. I have thus examined those Arirang songs that could
Mungyeong Arirang Miryang Arirang Byeoljo Arirang be verified through actual sound sources. I have limited the sound source for this study to recently
Bogildo Arirang Bonjo Arirang Bonghwa Arirang (Sangju Arirang) produced CDs, which include folk songs by master folk song singers of Korea, local folk songs by local
Busan Arirang Sahalin Bonjo Arirang Sam Arirang folksong singers, and some songs recorded in Korean communities in foreign countries, including in the
Samilpo Arirang Sangju Arirang Sanghang Arirang Yanbian Korean Autonomous Prefecture of China, as well as the songs of North Korea, collected
Sae Arirang Seodo Arirang Seobuk Arirang through various channels. They are listed below.
Seosan Arirrang Seoul Arirang Seoul-je Jeongseon Arirang
Soyanggang Ddenmok Arirang Suwon Arirang taryeong Sunchang Arirang ① Arirang Legends of the South and North Korea (14 songs)
Sin Arirang Sinan Arirang Arongtaryeong ② The Unstoppable Arirang (2 CDs: 11 songs on CD 1; 13 songs on CD 2)
Arirang Ariranggogae Arirang Manghyangga ③ The Songs of the Korean People (13 songs)
Arirang Bbongddareo gase Arirangsesang Arirang Yeokkeum ④ Arirang of North Korea (16 songs)
Arirangtaryeong Seodo Arirang Arirong Seorirong ⑤ Arirang of North Korea: Master Singers' Collection (3 CDs: 15 songs on CD 1; 15 songs on CD 2; 16 songs on CD 3)
Anseong Arirang taryeong Anju Arirang Yanggu Eoleoji ⑥ Rediscovery of Yeongnam Arirang (2 CDs: 13 songs on CD 1; 7 songs on CD 2)
⑦ Arirang of the Korean Peninsula (4 CDs: 6 songs on CD 1, 5 on CD 2, 18 on CD 3; 4 on CD 4)

⑧ Arirang of Koreans Abroad (17 songs) Gyeongsangdo Arirang Tae Yeong-suk Arirang of North Korea
Gyeongsangdo Arirang Kim Jong-deok Arirang of North Korea
The list includes representative popular folksongs, local folksongs, and many other songs that are Dongnipgun Arirang Jeong Eun-ha Rediscovery of Yeongnam Arirang
actually more or less identical to each other in spite of their different titles. Most of them are Dongnipgun Arirang Cha Byeong-geol Arirang of Koreans Abroad
arrangements or variations of the representative Arirang songs, and only a few are newly composed. Ddenmok Arirang Jeong Eun-ha Rediscovery of Yeongnam Arirang (2)
Thus, although the songs recorded on the above-listed CDs number about 183, there are actually only Gangwon
Langsan mopan Keunaegi Arirang Legends of the South and
Province
about 40 songs if the redundant pieces are excluded. Arirang North Korea
Arirang
The song titles are generally used in the field of traditional Korean music, such as in “Gin (Jajin Arari) Myeongju Jajin Arari Arirang of the Korean Peninsula (1)
Arirang” or “Gangwondo Arirang.” However, there are also some songs with unfamiliar titles, such as Kim Jong-deok Arirang Legends of the South and
Yeongcheon Arirang
“Jjokbak(small gourd, figuratively meant for bankruptcy) Arirang” or “Ulleung Island Arirang.” In the (North Korean) North Korea
case of the former, it is not difficult to distinguish the type of songs they are as they were part variations Yecheon Arirang Arirang of the Korean Peninsula (1)
or arrangements of the original songs, and only vary according to the time of the recording, the place of Inje Ddenmok Arirang Arirang of the Korean Peninsula (2)
recording, and the singers. On the other hand, it is difficult to determine what the songs of the latter Jeju Island Arirang Go Un-san Arirang of the Korean Peninsula (4)
examples are like and what they might be variations or arrangements of. In the table below, I have
Jjokbak Arirang Cha Byeong-geol Arirang of Koreans Abroad
associated the songs with their original “mother tunes.”
Arirang Legends of the South and
Chodong Arirang Kim Ok-seong (North Korean)
North Korea
Ulleung Island Arirang Jeong Eun-ha Rediscovery of Yeongnam Arirang (1)
Mother Tunes Title of Songs Played by CD Title
Inje Arirang Arirang of the Korean Peninsula (2)
Sae Arirang Yanbian University of Arts Arirang of Koreans Abroad
Jeongseon Arirang Cha Byeong-geol Arirang of Koreans Abroad
Sin Arirang Lee Aerisu The Songs of the Korean People
Jeongseon Chuncheon Uibyeong
Arirang of North Korea: Master Gin Arirang Arirang The Unstoppable Arirang
Sin Arirang Go Myeong-hi
Singers' Collection
Taebaek Arari Arirang of the Korean Peninsula (1)
Gujo Arirang Arirang Cha Byeong-geol Arirang of the Korean Peninsula (3)
Arirang taryeong Tongchen Arirang Arirang of North Korea: Master
Arirang of North Korea: Master
(Seodo Arirang) Kye Chun-i Singers' Collection (2)
Singers' Collection (2) Hoengseong Eorirang
taryeong Arirang of the Korean Peninsula (2)
Hulbert Arirang Arirang of North Korea: Master
Bae Yun-hi
Singers' Collection (2) Gyeongsangdo Gin Arirang of North Korea: Master
Arirang Gye Chun-i Singers' Collection (2)
Miryang Gwangbokgun Arirang Lee Man-deuk Arirang of the Korean Peninsula (4)
Arirang The Unstoppable Arirang Gippeumui Arirang Kim Se-yeong Arirang of the Korean Peninsula (3)
Gwangbokgun Arirang
Newly Ggolmantae Arirang Kim Yong-hwan The Songs of the Korean People
Gangwondo Arirang Cha Byeong-geol Arirang of the Korean Peninsula (3)
Composed Arirang
Lee Ok-hwa The Songs of the Korean People Naui Arirang Nam Hun Arirang of North Korea
Gangwondo Arirang
Arirang of North Korea: Master Dancheon Arirang Kye Chun-i Arirang of North Korea: Master
Gyeongsangdo Arirang Kim Jeong-hwa Singers' Collection (2)
Singers' Collection (1)
Gyeongsangdo Arirang Heo Sun-ok Arirang of Koreans Abroad Daegu Arirang Jeong Eun-ha Rediscovery of Yeongnam Arirang
Dokdo Arirang Rediscovery of Yeongnam Arirang (1)

It is not known how much detail of the actual song Hulbert intended with his notation, but the
melody of the song mostly agrees with that of Kim Juk-pa, except for the absence of some ornaments.
Newly Arirang Legends of the South and
Sam Arirang This little difference is presumably due to the fact that the song Hulbert notated was close to the local
Composed Arirang North Korea
Arirang of North Korea: Master folk song, while Kim Juk-pa, as a professional musican, added some ornaments to the song during
Onseong Arirang Hong In-geuk
Singers' Collection (3) recording. Considering that the two songs agree in their melodies, Hulbert's Arirang notated in 1896
Sae Arirang by Jang Baek Jeon Hwa-ja Arirang of the Korean Peninsula (3) must be the “Gujo Arirang” of today.
Bonghwa Arirang Arirang Legends of the South and Although it is considered a typical Arirang song of Gyeongsang Province today, the tonal system
Kim So-hi
(Sangju Arirang) North Korea of “Miryang Arirang” is different than that of “menari tori” mode8 or “eosayong tori” mode9 the tonal
Mungyeong Arirang Jeong Eun-ha Rediscovery of Yeongnam Arirang structures that show the regional characteristics of Gyeongsang Province. It is rather close to
“bangyeongtori” mode.10 Also, this song is occasionally sung in the la mode or mi mode. Therefore,
<Table 1> Arirang Songs Classified according to "Mother Tunes"
there is no firm ground to consider “Miryang Arirang” a folk song of Gyeongsang Province, in terms of
its musical characteristics. In fact, the refrain of this song has a lot in common with that of today's
The “Gujo Arirang” in the above table are also called “Gu Arirang,” which are actually the same “Haeju Arirang” in its melody, as in “Score 3”; specifically, the latter part of the refrain is almost the
songs as “Sae Arirang” from China's Yanbian Korean Autonomous Prefecture, “Sin Arirang” by Lee same. In addition, “Mirang Arirang” is generally included in the repertoires of performances by master
Aerisu & Go Myeong-hi (North Korea), “Arirang taryeong” (Seodo Arirang) by Kye Chun-I of North singers of Gyeonggi folksongs. While “Kwaejina ching-ching nane” [the meaning is unidentified] and
Korea, and “Arirang” by Cha Byeong-geol, a Korean from Heilongjiang Province, China, although the “Ongheya” are local folksongs of Gyeongsang Province and are found in the repertoires of the master
titles of the songs differ from one to another. In contrast to “Bonjo Arirang,” which is made of the singers of Namdo southern style folksongs, the new folksong “Ulsan agassi” (“Ulsan girl”) is usually
“plagal mode of do,”3 “Gujo Arirang” is made of the “authentic mode of sol,”'4 which is the same as the sung by master singers of the Gyeonggi Province style. Presumably, “Miryang Arirang” is included in
pyeongjo of the traditional Korean music and shares the same tonal structure as jingyeong tori.5 This the performance repertoires of Gyeonggi singers because its musical characteristics are similar to those
music was once recorded by Kim Juk-pa (1911-1989)6 in the form of gayageum byeongchang [伽倻琴 of the folksongs of Gyeonggi. “Gwangbokgun Arirang” (Arirang of the Korean Liberation Army),
竝唱, singing while playing gayageum], in the era of Japanese rule,7 and is the same song as the shown in <Table 1>, is a song with a new lyric set to the tune of “Miryang Arirang.”
“Ararung taryeong” (as in “Score 2”), which was notated on the staff by Homer B. Hulbert (1863-
1949) in 1896.
<Score 2> Comparison of Refrains of “Gujo Arirang” by Kim Juk-pa and “Ararung taryeong” by Hulbert <Score 3> Comparison of the Refrains from “Haeju Arirang” and “Miryang Arirang”
Examining “Gangwondo Arirang,” we can see it is the same as “Jajin Arari.” The popular Classification Title of Arirang Tori (tonal system) Remarks
folksong sung by professional singers is known as “Gangwondo Arirang,” while the local folksong of
popular folksong by master singers of Gyeonggi
Gangwon Province is called “Jajin Arari.” “Jajin Arari,” which is sung in the provinces of Gangwon- Gujo Arirang Jingyeong tori
folk songs
do, Chungcheong-do, and Gyeongsang-do, consists of a combined rhythmic pattern of three small beats theme song of Film, currently popular folksong by
(Bonjo) Arirang Singyeong tori11
and two small beats, and a refrain of “ari-ari ssri-ssri arariyo.” It is interesting that, among the songs Folksongs of master singers of Gyeonggi folksongs
recorded on Arirang CD compilations, “Gangwondo Arirang” (“Jajin Arari”) appear most frequently. Gyeonggi popular folksong by master singers of Gyeonggi
Gin Arirang Jingyeong tori
Especially given that a combined rhythmic pattern of small beats is not typically found in traditional folksongs
Korean music today, it is interesting to find that this particular song has spawned diverse titles and lyrics popular folksong by master singers of Gyeonggi
Miryang Arirang Bangyeong tori
folksongs12
among the Arirang songs listed in <Table 1>.
Folksongs of the
“Gangwondo Arirang” (again, based on the local folksong “Jajin Arari”) is called popular folksong by master singers of Namdo
Southern Yukjabaegi tori13
“Gyeongsangdo Arirang” in North Korea. All of the “Dongnipgun Arirang,” “Inje Ddenmok Arirang,” Jindo Arirang
Provinces, folk songs
“Langsan Keunaegi Arirang,” “Yeongcheon Arirang,” “Yecheon Arirang,” “Jejudo Arirang,” “Jjokbak Namdo
Arirang,” “Chodong Arirang” are either the same as this song or a variant of it. Among these, mother songs of "Hanobaegnyeon"(500 years of
Jeongseon Gin Arirang Menari tori grief)a popular folksong by master singers of
“Gyeongsangdo Arirang,” “Yeongcheon Arirang” and “Langsan Keunaegi Arirang” seem to be very (Gin Arari) Gyeonggi folksongs
popular in North Korea.
Local folksongs mother songs of "(Seoul-je) Jeongseon Arirang," a
“Jeongseon Gin Arirang,” a local folksong sung in almost all areas of Gangwon Province, is Jeongseon Yeokkeum
of Gangwon Menari tori popular folksong by master singers of Gyeonggi
Arirang
generally titled according to the name of the region of the province first, e.g., “Inje Arirang,” “Taebaek Province folksongs
Arirang,” “Tongcheon Arirang,” “Hoengseong Eorirang taryeong” in Table 1. “Ulleungdo Arirang,” mother songs of "(Seoul-je) Jeongseon Arirang," a
which seems not to be transmitted in Ulleung Island as a local folksong, appears to be an exception. Jajin Arari Menari tori popular folksong by master singers of Gyeonggi
folksongs
“Chunchen Uibyeong Arirang” is also a song that is arranged with new lyrics, but is still transmitted in
the Gangwon region. Therefore, it can be said that “Jeongseon Gin Arirang” type of Arirang songs
from the CDs of Arirang are mostly transmitted in Gangwon Province. In this respect, “Jeongseon Gin
<Table 2> Significant Arirang Songs Currently Transmitted
Arirang” more resembles the Gangwon Province style than “Jajin Arari,” which is widely known as
“Gangwondo Arirang.”
The newly composed Arirang songs include those songs created in North Korea and in Korean
communities abroad, those created by popular folksong musicians in order to meet the demand of Among the Arirang songs in <Table 2>, all of the five songs classified under either Gyeonggi
regional communities, songs composed in the pop song style since the spread of the film theme song folksongs or Namdo folksongs have been included in the repertoires of the master folksong singers and
“Bonjo Arirang,” and the composition of “Miryang Arirang”/”Jindo Arirang.” Although the titles of the widely transmitted, whereas the songs that remain the local music of common people are the three local
new compositions contain the word “Arirang,” they have a different musical identity than Arirang. For folksongs of Gangwon Province. These three songs, on the one hand, are sung by nonprofessional
example, a similarity of melody is not found. musicians in the form of a local folk song in Gangwon Province; on the other hand, they are refined and
As examined above, the “mother tunes” of Arirang transmitted with diverse titles can be included in the repertoires of the master singers of Gyeonggi folksongs. This has led scholars to
categorized into “Gujo Arirang,” “Miryang Arirang,” “Gangwondo Arirang,” and “Jeongseon Gin consider the Gangwon region, where Arirang songs remain local folk songs, as the place of origin of
Arirang.” “(Bonjo) Arirang,” “(Gyeonggi) Gin Arirang,” “Jindo Arirang,” which leave no room for Arirang songs. Researchers also often infer that Arirang songs of Gangwon Province were spread in the
confusion due to the lack of diversity in their titles, are also considered significant Arirang songs. Seoul region and developed into those Arirang songs of today in two ways-one view is that the local
folksongs of Gangwon Province were introduced in Gyeonggi Province and formed into “Gujo
Arirang,” “Bonjo Arirang,” or “Gin Arirang,” by a change of the musical grammar into the gyeong-tori Among these songs, those with the musical grammar of Gangwon Province descended from the local
of Gyeonggi folksongs; the other is that the local folksongs of Gangwon Province, with menari tori folk song-type Arirang and were polished by master folksong singers to become popular folksongs. The
mode maintained as the original musical grammar of Gangwon Province, were transformed into three local Arirang folksongs of Gangwon Province are “Gin Arari,”14 “Yeokkeum Arari,” and “Jajin
popular folk songs such as “Gangwondo Arirang,” “Seoul-je Jeongseon Arirang,” and Arari”; the folksongs that turned into the “popular folksongs” of the Gyeonggi region are “Han obaeng
“Hanobaengnyeon,” which are in the repertoires the professional Gyeonggi folk singers. nyeon,” “[Seoul-je] Jeongseon Arirang,” and “Gangwondo Arirang.” In this chapter, I have compared
One purpose of this paper is to explore the sources of Arirang and its early stages of development. the three local folksong-type of Arirang transmitted in Gangwon Province and the three popular
Therefore, I have not only looked at how the local folksongs of Gangwon Province, as the music of folksong-type of Arirang derived from other provinces, in order to examine how they have changed
common people, developed into popular folksongs by the master singers of Gyeonggi folksongs, but musically.
also at how they were introduced in Gyeonggi Province and formed a new type of Arirang with the
musical grammar of Gyeonggi Province, finally giving rise to the theme song of the film Arirang- 1) The Local Folksong-type “Arari” vs. the Popular Folksong-type “Hanobaengnyeon”
”Bonjo Arirang”-which represents a number of Arirang songs today. A song widely sung in Gangwon Province, “Arari,” was mainly sung during rice planting and
also often sung for entertainment. This song has other titles, depending on the region, e.g., it is called
The Evolution of Local Folksongs of Gangwon Province into Popular Folksongs “Eoleoji” in Yanggu and “Eoreori” in Hoengseong. These songs are also called “Jeongseon Arari” or
“Jeongseon Arirang” outside of Jeongseon. Jeongseon’s “Arari” was designated as the Intangible
Gangwon Province, the mid-eastern region of the Korean peninsula, is located to the east of Cultural Heritage of Gangwon Province No. 1. “Jeongseon Arirang” is transmitted with two kinds of
Gyeonggi Province. While Gyeonggi Province lies on the plains, Gangwon Province is the tunes, “Gin Arirang” and “Yeokkeum Arirang.”
mountainous area adjoining Hamgyeong Province to the north. Gyeongsang Province is to the south
and North Chungcheong Province lies to the southwest. As its periphery is also mountainous, Gangwon
Province and its peripheral zones were not highly populated and did not share in the economic affluence
of Korea’s traditional agrarian society. And, because professional musicians did not perform there, the
three Arirang songs of Gangwon Province were transmitted as local folksongs. The repertoires that
contained the regional characteristics of the western part of the Korean peninsula were sung by
professional musicians: Seodo-sori (the “sounds of the western provinces") with Pyeongyang at the
center, Gyeonggi-sori (the “sound of the capital region”) with Seoul at the center, and Namdo-sori (the
“sounds of the southern provinces”) in the southern region. Singers from these areas are called Seodo
myeongchang, Gyeonggi myeongchang, and Namdo myeongchang, respectively.
Myeongchang [名唱] indicates a singer good enough to have made a name for him or herself-
someone who knows the whole repertoire. The folksongs myeongchang sing are “popular folksongs,”
and, among them, the Arirang songs are most intensively sung in the Gyeonggi region. That is, there are
two types of folksong in the repertoires of Gyeonggi myeongchang singers: those with the musical
grammar of Gyeonggi Province and those with the musical grammar of Gangwon Province. There are
three songs with the musical grammar of Gyeonggi Province: “Gujo Arirang,” “Bonjo Arirang,” and
<Score 4> The “Gin Arirang” version of “Jeongseon Arirang,” Intangible Cultural Heritage of Gangwon Province No.1
“Gin Arirang,” two songs with the musical grammar of Gangwon Province: “Gangwondo Arirang” and
“Jeongseon Arirang,” and one more song, titled “Hanobaengnyeon” (Some 500 years) is a variation of
an Arirang song when considered musically, though it is not generally classified as an Arirang song.
<Score 4> is “Gin Arirang,” sung by the holders of the intangible cultural heritage of Jeongseon, Year of
and <Score 5> is “Arari,” sung for rice-planting in Ibam-li, Hyeonnam-myeon, and Yangyang-gun in Disc No. Title Lyrics Singer Remarks
Release
Gangwon Province. While the “Arari” of Jeongseon contains a refrain, the “Arari” sung for rice- ajutgari dongbaega
Nipbonohong yeojimara(I wish the
planting in Yangyang has no refrain, but it does contain the lyrics “Simeojuge simeojuge- simeojuge, K158-A
Nannan taryeong Lee Yu-saek et, al. 1928 (Gangwondo Arirang)
camellia never bore the
wonangui julmoreul simeoreul juge(Let’s plant young rice plants, let’s plant them in lines)” in a verse. fruit.)
The tonal system of both songs is menari tori mode with the closing note mi. nega jalna
Nipbonohong
K158-B Nannan taryeong ilsaeginya(you are so Lee Yu-saek et, al. 1928 (Gangwondo Arirang)
Ilchyuk K158-B good looking)
cheogtyeonilwori
Victor 49124-B Gangwondo Arirang Park Wol-jeong 1932 unidentified
geoulgatgo bomyeon
Regal C198-B Gangwondo Arirang mannabose mannabose Lee Ok-hwa 1934 (Gangwondo Arirang)
Polydor 19307-B Gangwondo Arirang negajalna naegajalna Guak San-wol 1936 unidentified
Hoeryeong Cheongjin
Okeh 1711-A GangwondoArirang Park Bu-yong 1936 Gin Yeokkeum Arari
gasin nangguneun
Okeh 31034-B Gangwondo Arirang imjadangsin na siltago Lee Hwa-ja 1943 Yeokkeum Gin Arari
<Score 5> The 1st verse of “Arari” for Rice-planting in Ibam-ri, Hyeonnam-myeon, Yangyang-gun
Victor KJ-1139-B Hanobaengnyeon baeksajang saemoraebate Kim Nan-hong 1938
No song titled “Arari” is found among the current popular folksongs performed by the master
singers of Gyeonggi. “Jeongseon Arirang,” which will be discussed in detail later, is the folksong that <Table 3> Popular Folksongs of Gangwon Province on Phonograph Records
was transformed from Gangwon Province’s “Yeokkeum Arari” into popular song.
In general, “popular folksong” is considered to have emerged in the early 20th century. In order to
examine how Ganwon Province “local folksong” was transformed into popular folksong, it is necessary
to studying phonograph recordings from the period (listed in <Table 3>).15 Two songs among these, “Gangwondo Arirang” (Okeh 1711-A) in <Table 3> has the lyrics of “Gin Arari”: Hoeryeong
recorded under the titles “Gangwondo Arirang” and, in the Japanese ruling era, “Hoeryeong Cheongjin Cheongjin gasin nangguneun (my lover, who went to Hoeryeong, Cheongjin)... in the 1st verse, but has
gasin nangguneun . . . ,” [my lover, who went to Cheongjin in Hoeryeong....] (Okeh 1711-A) (1936) the lyrics of “Yeokkeum Arari”: Jeongseon emnae mulaejibe mulebanganeun sasijangcheol mulsareul
and “Imjadangsin na siltago . . . ,” [you have left me saying you don’t love me anymore....] (Okeh ango . . . in the 2nd verse following the refrain. This song has the lyrics of “Gin Arari” in the 3rd verse,
31034-B) (1943), are the local folksongs “Gin Arari” and “Yeokkeum Arari,” though this is not and has the lyrics of “Yeokkeum Arari” in the 4th verse. The combination of the lyrics of “Gin Arari”
indicated in the titles. and “Yeokkeum Arari” is also found in “Jeongseon Arirang,” which was designated an intangible
cultural heritage of Gangwon Province.
<Score 7> Part of “Gangwondo Arirang” by Lee Hwa-ja
<Score 6> Part of “Gangwondo Arirang” by Park Bu-yong The note mi is used to connect the two different songs together. That is, the 2nd verse of the song
by Park Bu-yong (<Score 6>) amply employs the lower pitch mi, while the 2nd verse of the song by Lee
Hwa-ja begins with mi and ends with la. In this way, “Gin Arari” and “Yeokkeum Arari” are mixed and
In contrast, the “Gangwondo Arirang (Okeh 31034-B)” by Lee Hwa-ja, see <Score 7>, has a sung in turns under the title of a song, which leads us to understand that the “Gangwondo Arirang”
refrain preceding the 1st verse16 and the lyrics of “Gin Arari” in the 1st and 3rd verses (hwaryugye recorded in the phonograph recordings is not the “popular folk song-type” Gangwon Province Arirang
golmogeun don sseuneun golmok . . .; eolguri jalna cheonhailsaeginga ...; ) while containing the lyrics of today but rather the same song as “Jeongseon Arirang,” a local folk song of Gangwon Province.
of “Yeokkeum Arari” (imjadangsin na siltago . . .) in the 2nd verse. .(you have left me saying that you Although they are both recorded as “Gangwondo Arirang,” the local folksongs of Gangwon Province,
didn’t love me anymore....) “Gin Arari” and “Yeokkeum Arari,” were recorded on the album by the master folksong singers.
However, these two local Gangwon Province folksongs are not transmitted as “popular folksong” by
the master folk singers of Gyeonggi Province at present.
As discussed above, if the Arirang songs are identified by a refrain repeating “arirang” or
“arari,” there is a popular song that cannot be identified as Arirang: “Hanobaengnyeon.” Lee Chang-
bae has described “Hanobaengnyeon” as “a song with the characteristic sorrowful feeling of Gangwon
Province . . . it is made of something in between ‘Gangwondo Arirang’ and ‘Jeongseon Arirang.’”17
Since no songs similar or identical to “Hanobaengnyeon” actually exist as local folksongs in Gangwon
Province, it seems obvious that “Hanobaengnyeon,” as Lee Chang-bae mentioned, is a newly created
song.
“Hanobaengnyeon” was introduced as a popular folksong on the album Victor KJ-1139-B, and However, in “Hanobaengnyeon” (see <Score 8>) by Kim Nan-hong in 1938, the refrain is “amuryeom
was sung by Kim Nan-hong with daegeum flute accompaniment by Kim Gye-seon, and released in geureotji geureotku malgu hanobaengnyeon sajaneunde wenseonghwango(I knew it, yes, I knew it, I
1938. With <Score 8> of this song, I examine which factors display the characteristics of Gangwon meant to live with you for 500 years and what are you irritated by?)”, instead of the refrain beginning
Province and which parts of this song are derived from “Gangwondo Arirang” and “Jeongseon with “arirang . . .” This was once pointed out by Lee Bo-hyeong.19 As noted, it is difficult to find a
Arirang.” relationship between “Hanobaengnyeon” and “Arirang sesang”20 (which is in new gyeong-tori mode),
in terms of musical characteristics such melody and tonal system. “Hanobaengnyeon” by Kim Nan-
hong, as shown in <Score 8>, consists of 3 small beats and 3 regular beats in a bar, with 8 bars in the
refrain, and each verse begins with re’, which is similar to the “raising type”21 of “Jeongseon Arirang.”
Meanwhile, its similarity to “Gangwondo Arirang” can be found in the “Gangwondo Arirang” by Lee
Ok-hwa seen in <Score 9>.
<Score 8> “Han obaeng-nyeon” by Kim Nan-hong
From the score, we can see that this song is in menari-tori mode and that its closing note is la.
Featuring a rhythmic pattern of 3 small beats and 3 beats per bar, it has 8 bars in each refrain and verse.
Each verse consistently begins with a high re’, and has more or less the same melody, showing none of
the improvisatori variations often found in local folksong. These are significant clues in support of the
argument that “Hanobaengnyeon” is a newly created song. In addition, the refrain, “amuryeom
geureotji geureotku malgu, hanobaengnyeoneul sajaneunde wenseonghwango(I knew it, yes, I knew it,
I meant to live with you for 500 years and what are you irritated by?)” is never found in other local
folksongs of Gangwon Province, which is also telling.
The relationship of “Hanobaengnyeon” to the new folksong “Arirang sesang” (Arirang world) is
revealed in Gugakgaeyo(Overview of Gugak) by Jang Sa-hun. In this book, the refrain of “Arirang
sesang” is “arirang arirang arariyo arirang gogaero domangeul ganda,” (I’m running away to the
Arirang ridge) and the latter part of the main lyric is “amuryeom geureotji geureotku malgu jipsin
<Score 9> “Gangwondo Arirang” by Lee Ok-hwa
jangsa kim cheomji bap gumneunda (I knew it, yes I knew it, the shoe-seller Mr.Kim is starving)”
which is changed in the 2nd verse to “amuryeom geureotji geurotku malgu hanobaengnyeon sajatdeoni
wae domanghaenna(I knew it, yes, I knew it, I said to live together for 5oo years and you ran away).”18
In the “Gangwondo Arirang” of <Score 9>, the second bars of each line end with mi and the elements to the existing characteristics of “Gangwondo Arirang” and “Jeongseon Arirang.”
fourth bars end with la. This type of melody system, with the former part ending with mi and the latter “Gangwondo Arirang,” which influenced the formation of “Hanobaengnyeon,” is a song that was
part ending with la, also appears in “Hanobaengnyeon” -that is, the 4th and 12th bars end with mi, and the transformed into a popular folksong originating from the local folksong “Jajin Arari.” “Jeongseon
8th and 16th bars end with la (see <Score 8>). “Hanobaengnyeon” in <Score 8> and “Gangwondo Arirang,” which also influenced the formation of “Hanobaengnyeon,” can be considered a local
Arirang” in <Score 9> are similar in that mi is used for the half cadence and la for the closing note, folksong and is now being ransmitted in Gangwon Province. However, it is difficult to verify for certain
which is a distinct difference from “Jeongseon Arirang,” which has mi for the closing note. that the local folksongs of Jeongseon and other regions of Gangwon Province directly influenced
Another similarity between “Hanobaengnyeon” and “Gangwondo Arirang” is found in their “Hanobaengnyeon,” or that it was influenced by the early popular songs of professional musicians in
refrains. As is generally known, the identity of the verses of folk songs is often revealed in the refrain. Seoul, as examined above in the songs by Park Bu-yong・Lee Hwa-ja on Okeh phonograph recordings
While the “call(leading part)” has many changes in its lyrics and melody, the refrain or “response” is from the 1930s to the 1940s.
usually fixed. <Score 10> shows how these two songs are similar. The 2nd bar of the refrain beginning a
4th higher than the 1st bar reveals that the refrain of “Hanobaengnyeon” was influenced by “Gangwondo 2) The Local Folksong-type “Yeokkeum Arari” vs. the Popular Folksong-type “(Seoul-je)
Arirang.” However, the local folksong-type “Jeongseon Arirang” has the repeated melody in the first Jeongseon Arirang”
two bars, as shown in <Score 4>. Among the Gangwon Province Jeongseon “Arari”, “Yeokkeum Arirang” which has densely
connected verses, was transformed into a popular folksong and was recorded and widely spread by
master Gyeonggi folk singers under the title “Jeongseon Arirang.” Jang Sa-hun once stated that “one
must sing ‘Gangwondo Arirang’ first, followed by [Jeongseon Arirang].”22 Lee Chang-bae wrote, “it is
sung with short verse as if it were the ending part of “Gangwondo Arirang,” and is called “Yeokkeum
Arirang” in the place of its origin, ‘Jeongseon.’”23 In Lee Chang-bae’s Hanguk Gachang Daegye (The
Outline of Korean Vocal Music), all the 14 verses of “Jeongseon Arirang” are taken from “Yeokkem
Arirang.” Also, “Jeongseon Arirang,” which is one of the songs of the current repertoires of master
Gyeonggi folk singers is a combined song. Recently “Yeokkeum Arirang” has come to be called
“Seoul-je [or Seoul system] Jeongseon Arirang” to distinguish it from the Gangwon Province local
folksong-type “Jeongseon Arirang.”
The addendum of “Jeongseon Arirang (Yeokkeum)” as an appendage to “Gangwondo Arirang” is
curious. Occasionally, Gyeonggi province master folk singers sing folksongs in the menari-tori mode,
such as the slow “Jeongseon Arirang” or “Hanobaengnyeon,” before “Gangwondo Arirang.” But it is
<Score 10> Comparison of the Refrains of “Gangwondo Arirang” and “Han obaeng-nyeon” difficult to make the case that “Jeongseon Arirang” is sung after the more lively “Gangwondo Arirang.”
This opinion appears to be based on something other than the current situation, as it runs counter to the
general performance practice for both local and popular folksong, in which the slow songs precede the
As illustrated above, the popular folksong “Hanobaengnyeon” is similar to the local Gangwon fast songs. It would be more plausible if the “Gangwondo Arirang” to which Jang Sa-hun and Lee
folk song “Jeongseon Gin Arirang” in that it consists of a rhythmic pattern of 3 small beats and 3 Chang-bae refer indicates the “Gangwondo Arirang” from the phonograph recordings of the 1930s-
regular beats and 8 bars in both the main verse and the refrain with re’ for the key note, as in the song 1940s-that is to say, the current local folksong-type “Jeongseon Arirang,” and not the current popular
by Kim Nan-hong. It is similar to “Gangwondo Arirang” in that mi is used for the half cadence, and la folksong-type “Gangwondo Arirang.” If this were to be the case, the argument that “‘Gwangwondo
is used for the closing note, in addition to beginning with the 4th higher note in the 2nd bar of the refrain Arirang’ precedes ‘Jeongseon Arirang’ in performances” could be understood to mean that Jeongseon’s
than in the 1st bar. Therefore, “Hanobaengnyeon” can be said to have been created by adding new “Gin Arirang” actually precedes “Yeokkeum Arirang,” as the current popular folksong “Jeongseon
Arirang” is so different from the local folksong “Jeongseon Arirang” that it is now called “Seoul-je
Jeongseon Arirang.”
In performances, “Gin Arirang” and “Yeokkeum Arirang” are widely rendered as the local
folksong-type “Jeongseon Arirang,” while only “Yeokkeum Arirang” is rendered as popular folksong,
which is very different. Also, the regular rhythmic pattern of two small beats and three regular beats is
maintained in the refrain of the local folksong, as well as in the part where the combined stories slows
down in combining, as shown in <Score 11>, whereas the rhythmic pattern is somewhat flexible in
popular folksong, as shown in <Score 12>. Such characteristics came about because professional master
Gyeonggi folk singers, extended and varied the rhythms, adding fine ornaments. Thus, it is generally
understood that the popular folksong-type “Jeongseon Arirang” began to gain public recognition when
it was recorded by Kim Ok-sim and was widely spread through performances and broadcast media.24
<Score 12> The Popular Folksong of Gyeonggi “(Seoul-je) Jeongseon Arirang” by Kim Ok-sim
Though it is said that “Jeongseon Arirang” was recorded on a Kingstar album by Kim Ok-sim
around the late-1940s, this cannot be ascertained from the actual recording.25 The popular folksong
musicians call this song “Seoul-je Jeongseon Arirang.” Through excavating and collecting new
references, we will eventually come to know who arranged this song based on the local folksong and
who first sang and played this song. What is clear is that the popular folksong “Jeongseon Arirang” is a
professional variant “Yeokkeum Arirang,” which features the following differences: first, when singing
the local folksong-type, singers sing “Gin Arirang” and “Yeokkeum Arirang,” while they sing only
“Yeokkeum Arirang” when singing in the popular folksong style; second, the local folksong mainly uses
mi, while the popular folksong is based on la and uses mi and sol ornamentally; third, the stories are
connected in a quick tempo in the local folksong, while they are connected in a rather slow tempo in the
popular folksong so that the listeners can feel the melodic connection; and, fourth, as in local folksong,
popular folksong largely follows a regular rhythmic pattern of three small beats and three regular beats
in the melody of the refrain and in the part where the rhythm slows down to its own pace-however, its
<Score 11> “Yeokkeum Arirang” of “Jeongseon Arirang,” Intangible Cultural Heritage of Gangwon Province No.1 rhythmic pattern is not considered to be as regular as that of the local folksong-type “Yeokkeum
Arirang,” since it has lengthened notes and irregular rhythmic pattern partly.
3) The Local Folksong “Jajin Arari” vs. the Popular Folksong “Gangwondo Arirang”
The local folksong “Jajin Arari” features a combined rhythmic pattern of three small beats and
two small beats (jajin-mori rhythm pattern). “Jajin Arari,” the song for rice-planting of Haksan-li,
Gujeong-myeon, Gangneung City, is shown in <Score 15>. Largely with the rhythmic pattern of 3-2
beat, it is not in full beat in the last part of each clause. Displaying its function as a rice-planting song,
the lyric “simeojuge simeojuge, wonange julmoreul simeojuge(Let's plant young rice plants, let's plant
along the lines)” is sung first, which is also sung in the first bar in “Arari” of Yangyang “Jajin Arari” is
in the menari-tori mode, and ranges an octave. The closing note of the lead (call) is la, and the closing
note of the “response” is la. The lead(call) is sung in solo and the response in chorus.
<Score 13> “Jeongseon Arirang” by Kim Ok-sim (Kingstar K6611)
<Score 15> “Mosimneun Sori (Rice planting song),” Haksan-li, Gujeong-myeon of Gangneung City
It is not known when the Gangwon Province “Jajin Arari,” with its obvious function as a rice
planting song, was transformed into the popular folksong now sung by master singers. However, there
is a song titled “Nannan taryeong26 on Nipbonohong K158 “ (1928), among the phonograph recordings
produced in the era of Japanese rule. The song has the lyrics “ajutgari dongbaega yeojimara” (I wish
the camellia tree didn’t bear fruit) (A), and “nega jalna ilsaeginya” (You are such good looking.) (B).
This album was re-released with the title “Japga Gangwon Province Arirang taryeong” on Ilchyuk
K158. Both releases were sung by Lee Yu-saek, Yu Un-seon, and Park Chae-seon. Considering the
lyrics of A, the “Jajin Arari” of Gangwon Province is presumed to be the same song as the current
“Gangwondo Arirang.”27 Also, the lyrics “areureong gogae dyeonggeodyang jitgo” (I hope that a
station is built in the Arirang ridge) in “Nannan taryeong” on Nipbonohong K137-A is similar to the 8th
<Score 14> The Local Folksong “Jeongseon Arirang (Yeokkeum)” (Yu Yeong-lan, et al.)
verse in the Hanguk Gachang Daegye, “arirang gogaeda jumakjip jitgo(I hope that a tavern is built in
the Arirang ridge . . .” In this respect, the “Jajin Arari” type of songs, currently known as “Gangwondo refrain, however, is almost the same as that of “Jajin Arari” transmitted as a local Gangwon folksong
Arirang,” are considered to have been interpreted by master folk singers sometime before 1928 when today, except for the underlined “ariari”: “ariari ariari arariyo, arari gogaero neomeoganda.” It is
“Nannan taryeong” was released. questionable that why the lyrics of “Bonjo Arirang” was used for the 1st refrain, while the 2nd refrain is
The “Gangwondo Arirang” (1936) by Park Bu-yong and “Gangwondo Arirang” (1943) by Lee considered the main refrain in this song which has the combined rhythmic pattern of 2 small beats. It
Hwa-ja in <Table 3> share melodies with the current local Jeongseon folksongs “Gin Arari” and could be that even the professional musicians did not distinguish the diverse Arirang songs from one
“Yeokkeum Arari,” as explained above. “Gangwondo Arirang” (1934) by Lee Ok-hwa, however, is another in terms of their local identities and musical characteristics in 1934, when this album was
apparently the current “Gangwondo Arirang,” with combined rhythmic pattern shown in <Score 16>. produced. The “Gangwondo Arirang” by Lee Ok-hwa on Regal C 198-B is in menari-tori mode,
ending with la in both the main verse (lead) or the refrain (response). What makes it slightly different
from the current “Gangwondo Arirang” is the melody of the refrain. In <Score 17>, I have compared
the refrains of “Jajin Arari,” the rice planting song of Haksan-li Gujeong-myeon Gangneung city,
“Gangwon Province Arirang” by Lee Ok-hwa on Regal C198-B, to the “Gangwondo Arirang”
currently sung by the master Gyeonggi folk singers. The four refrains are considered to belong to the
same song considering their shared eotmori rhythm pattern (10/8), their lyrics beginning with “ariari . .
.” their descending melodies (la-sol-mi) and the half cadence with mi, their tonal structures in the latter
part, and their closing note of la.30 Only the tonality of the beginning parts of the refrains differ from
one another. That is, the first refrain by Lee Ok-hwa and the current popular song by An Bi-chwi et al.
feature the “dropping type” (low-piched song; one of the three different types of folksongs categorized
by the pitches) , while the second refrain by Lee Ok-hwa is “the plain type”(middle pitched song) and
“Jajin Arari” is the “raising type,” (high pitched song). It is typical that the tonality in the beginning
parts of a melody is different from one another in traditional Korean music.
<Score 16> “Gangwondo Arirang” by Lee Ok-hwa, Recorded in 1934
Among the songs recorded on phonograph records that are the same as the current “Gangwondo
Arirang” by Lee Ok-hwa in 1934 on Regal C198-B is the only one I have verified the sound source of.
As shown in <Score 16>, this song begins with the refrain,28 followed by the 1st verse, “manabose
mannabose . . .”(let me meet, let me meet...) and the refrain, then followed by the 2nd verse, “ultari
busimyeon naondan nimi . . . ,”(my lover will be found if the wall is torn down) and the 3rd verse
“damneomeo galjeoge . . . .” (when I was climbing over the wall...) All of the verses are in the ten-beat
eotmori rhythm cycle. Each verse lasts eight cycles and the refrain lasts four. What is outstanding in this
song is that there are two parts of the refrain. The first refrain is “arirang arirang arariyo, arirang
gogaero neomeoganda,”(I’m passing over the Arirang ridge) but the one following the 1st verse is
“ariari ariari arariyo, ariari eolssigu neomeo ganda.”(I'm so excited to pass over the Arirang ridge.)
These begin with slightly different melodies, as shown in <Score 16>. The lyrics of the first refrain are
the same as those of “Theme Song of the film Arirang (Bonjo Arirang),” which is verified through the
<Score 17> A Comparison of the Local Folksong “Jajin Arari”, “Gangwondo Arirang” by Lee Ok-hwa, and the Popular
lyrics of Arirang in “Novel of Film Arirang”29published by Bakmunseogwan in 1928. The second Folksong “Gangwondo Arirang”
By comparing the scores, I have shown that “Ganwondo Arirang” by Lee Ok-hwa is the same as In this excerpt, the songs considered to be seminal in the formation and development of Arirang
the current popular folksong “Gangwondo Arirang,” which reveals that the singers of popular folksongs are the local folksongs of Gangwon Province, “Jajin Arari,” “Gin Arari,” and “Yeokkeum Arari,” and
incorporated “Jajin Arari,” the rice-planting song from Gangneung, into their repertoires. In the case of the main repertoires of the master singers of Gyeonggi folk song, “Gin Arirang,” “Gujo Arirang (Jajin
“Gangwondo Arirang,” the current popular folksong by An Bi-chwi et al., the song has the note sol in Arirang),” “Bonjo Arirang,” and “Arong taryeong,” “Miryang Arirang,” “Namdo Arirang,” and “Jindo
the ascending melody mi-sol-la in the first bar, which does not appear in most of the music in menari- Arirang.”
tori mode, including local folksongs. This variant may have resulted from Gyeonggi master folk What caused the Arirang songs of Gangwon Province to spread throughout the nation is that after
singers, who were familiar with the melodies in sequential order, adding that characteristic element to Arirang reached Seoul it was adapted for the theme song of the film Arirang. During the transition of
the song while taking the songs in menari-tori mode, although sol is usually left out when proceeding a this local folksong into the theme song for the film, the tonal system of menari-tori mode from
4th up from mi-la in menari mode. Gangwon Province turned into jingyeong-tori mode of Gyeonggi Province. Whether the local folksong
In this chapter, I have revealed that the three songs among the numerous “mother tunes” of “Gin Arirang” of Gangwon Province resulted in “Gin Arirang” of Gyeonggi Province, as Lee Bo-
Arirang, including “Gangwondo Arirang” and “(Seoul-je) Jeongseon Arirang,” which are included in hyeong argued, or “Jajin Arari” of Gangwon Province resulted in “Jajin Arari” (“Gujo Arirang”) of
the repertories of the master folk singers of Gyeonggi province, and “Hanobaengnyeon,” which is Gyeonggi Province, as Lee Yong-shik argued,32 in either case there was a change of mode from menari-
excluded in the songs of Arirang, are songs that were polished in Gangwon Province by professional tori to jingyeong-tori.
singers of popular folksong. What is most notable in the development of these three songs is that they In my opinion, the local folksong “Gin Arari,” rather than “Gin Arirang” of Gyeonggi province,
have maintained the original tonal system of Gangwon Province, since they are sung by professional resulted in the “Gujo Arirang” (“Jajin Arirang”) of Gyeonggi province. To summarize the different
singers. This is a distinct characteristic that can be considered in comparison with the transition of the opinions:
tonal system to be discussed in the next chapter.
Lee Bo-hyeong: Gin Arirang, the local folksong of Gangwon Province →
The Formation of the Arirang that is part of the Gyeonggi folk song repertoire, Gyeonggi Gin Arirang → Gyeonggi Jajin Arirang (Gujo Arirang)
or “Gyeonggido Arirang” Lee Yong-shik: Jajin Arari, the local folksong of Gangwon Province, →
Gyeonggi Jajin Arirang (Gujo Arirang)
Of the writers that have taken a musical approach to the formation of the diversity of Arirang Gin Arari → Gyeonggi Gin Arirang
songs transmitted today, the study conducted by Lee Bo-hyeong seems to be the most extensive and in- Kim Young-woon: Gin Arari, the local folksong of Gangwon Province → Gyeonggi Jajin
depth. Others have either supplemented or reiterated his opinion. In this chapter, I will introduce Lee Arirang (Gujo Arirang)
Bo-hyeong’s research and discuss areas in which his findings differ from mine. In his dissertation, “A
Musical Approach to the Origin of Arirang and Its Transition,”31 Lee Bo-hyeong explains the formation Among these opinions on how the local Arari folksong of Gangwon Province was spread to the
of the current Arirang songs: Gyeonggi area and resulted in Gyeonggido Arirang, all three scholars regard “Gin Arirang” (Gin Arari)
Jajin Arari and Gin Arari, transmitted as a farming songs in Gangwon Province and vicinity, and “Jajin Arari” of Gangwon Province as “mother tunes” and regard “Gin Arirang” and “Jajin
developed into professional repertoire. During this development, Yeokkeum Arari and Arirang sesang Arirang” of Gyeonggi Province as derivatives.
derived from Gin Arari, while Hanobaengnyeon derived from Arirang sesang. Meanwhile, the Lee Bo-hyeong bases his opinion that Gyeonggi’s “Gin Arirang” derived from “Gin Arari”
Gyeonggi Gin Arirang derived from that of Gangwon Province, which also gave birth to the Gyeonggi (Gin Arirang) of Gangwon Province on the following:
Jajin Arirang which has a slightly faster rhythm than its “mother.” Arong taryeong, Namdo Arirang, ① Testimony by Jeong Deuk-man and An Bi-chwi that Gin Arirang is the oldest among the
and Bonjo Arirang all derived from this Gyeonggi Jajin Arirang, while Miryang Arirang derived from Arirang songs of Gyeonggi province and all others are composed.
Arong taryeong, Jindo Arirang from Namdo Arirang, and Seongcheon Arirang, Onseong Arirang and ② Although altered to be very slow in tempo, Gyeonggi’s Gin Arirang is the same as Gangwon’s
Sam Arirang derived from Bonjo Arirang. Gin Arari in its rhythmic pattern(3 small beat-3 beat-2 large beat) but different from Gujo Arirang and
Bonjo Arirang, which have 2 small beat-3 beat-2 large beat. Gangwon’s Gin Arari and Gyeonggi’s Gin Third, the refrain of “Jeongseon Arirang” in menari-tori mode turned into jingyeong-tori mode
Arirang have similar tonal structures despite the differing tori modes. and became the refrain of “Gujo Arirang.” The musical identity of a folksong generally appears in the
However, for the following reasons, I wonder if Gyeonggi’s “Jajin Arirang” (“Gujo Arirang”) melody of its refrain. The lead (call) can be varied by dropping or raising tones, whereas the response
originated from “Gin Arari” (Gin Arirang), the local folksong of Gangwon Province. (refrain) has a fixed melody and the lyrics, the identity of each song, are clearly revealed in the refrain.
First, “Jeongseon Arirang” (Gangwon’s “Gin Arari”) is originally found in the repertory of The fact that the refrain of the local folksong “Jeongseon Arirang,” which is Gangwon’s “Gin Arari,” is
nonprofessional musicians, but Gyeonggi’s “Gin Arirang,” in contrast, is part of the repertory of changed from that of Gyeonggi’s “Gujo Arirang” in its tonal system clearly reveals a relationship
professional musicians. “Gin Arirang” features a wide range of pitches, often employs high pitches, has between the two songs. According not only to Lee Bo-hyeong’s research, but also to general
fine ornaments, and requires long breath, all associated with professional versions. The local folksong understanding, the Arirang songs of Gyeonggi Province are considered to have derived from Gangwon
“Gin Arari,” in menari-tori mode, which professional musicians have no difficulty applying, thus Province’s Arari, thus these two songs should show a very close relationship if certain rules could be
requires no change in the tonal system, as found in the popular folksongs “Hanobaengnyeon,” found in the transition of the tonal system, or tori mode, which represents the musical character of a
“Ganwondo Arirang,” and “Jeongseon Arirang.” region. To see how the refrain of the local folksong “Jeongseon Arirang,” which is Gangwon’s “Gin
Therefore, if the tonal system were changed into jingyeong-tori from menari-tori, it must have Arari,” changed into that of “Gujo Arirang,” take a look at <Score 18>.
been changed by nonprofessional musicians. On the other hand, “Gujo Arirang” can be verified by
Hulbert’s late 19th century notation. Jeong Deuk-man and An Bi-chwi were professional singers of
Gyeonggi folk songs, and supposedly, “Gujo Arirang” was not popular by the time they were actively
working, when instead, “Gin Arirang” and “Bonjo Arirang” were considered the Arirang songs. Their
testimony that “Gyeonggi’s Gin Arirang is the oldest Arirang” may be based on knowledge of only
“Gin Arirang” and “Bonjo Arirang.”
Second, Gangwon’s “Gin Arari” has a rather slow in tempo, while Gyeonggi’s “Gin Arirang” is
also very slow, but “Gujo Arirang,” rather faster, as found in the gayageum byeongchang version by
Kim Juk-pa. “Gin Arari” (Gin Arirang), which is the same in rhythmic pattern and structure, cannot
turn into a song with combined rhythm of 2 small beats and 3 beats, as the 3 small beats can turn into 2
small beats if quickened. Also, it is natural that the ornaments would be reduced during the transition
<Score 18> The Refrains of “Jeongseon Arirang” and “Gujo Arirang” in Comparison
from the slower to the faster tempo; however, it is difficult to consider it natural that Gangwon’s “Gin
Arari” (Gin Arirang) turned into Gyeonggi’s “Gin Arirang.” Lee Bo-hyeong regarded the transition of
“Jeongseon Arirang,” that is Gangwon’s “Gin Arari,” into Gyeonggi’s “Gin Arirang” to be the result of The <Score 18> comparison shows that the melody of each of the two songs follows a certain
“the sentiment of the time [being] reflected in a tune in which the melodies became exaggerated and rule. When compared on the basis of the major tones excluding the ornaments added during the
complicated, and the rhythms turned irregular” during the transition. However, such changes in tonal transition, sol the transient note out of the three lower pitches of mi-sol-la in menari-tori, was left out
system and rhythm pattern, tempo, and singing style are not considered to have resulted from natural and the fourth interval mi-la changed into the second interval sol-la in jingyeong-tori. The three higher
changes but from the intervention of intentional creation. Considering the time of the transitions, there is pitches of la-do'-re' in menari-tori changed into do’-re'-mi in jingyeongtori.
a 30-year difference: Gangwon’s Arari was introduced to the Seoul region in 1860 during the When compared this way, the refrain of the local folksong “Jeongseon Arirang” has a melody
reconstruction of Gyeongbok Palace, Hulbert transcribed Arirang in 1896, and Na Un-gyu’s film structure similar to the refrain of “Gujo Arirang” (Gyeonggi’s “Jajin Arirang”), whereas the refrain of
Arirang was released in 1926. As Arirang, with 3 beats and 2 large beats, must have been sung Gyeonggi’s “Gin Arirang,” as shown in <Score 19>, has a very complicated melodic structure, which
continuously in Seoul during this period, there seems to be a link between Gangwon’s “Gin Arari” eventually departs from the melody of Gyeonggi’s “Gujo Arirang,” even as the former part seems to
(“Gin Arirang”) and Gyeonggi’s “Gujo Arirang” to some degree. have a similar melodic structure.
On the basis of the above analysis, I believe Gangwon’s “Gin Arari” (Gin Arirang) called
“Jeongseon Arirang,” the local folksong, was transformed into Gyeonggi’s “Gujo Arirang” (Jajin
Arirang) after being introduced to Gyeonggi Province and its musical grammar. As the “Arurang-
taryeong” transcribed in 1896 by Hulbert is the same song as “Gujo Arirang” by Kim Juk-pa, “Gujo
Arirang” is considered to have been formed sometime before the late 19th century. How the Arirang
songs of Gangwon Province, and the local folksong “Jeongseon Arirang,” in particular, which was
transmitted to the Seoul area, seems to be related to the reconstruction of Gyeongbok Palace. A large
amount of wood must have been needed to reconstruct the wooden palace, and wood from Gangwon
Province was traditionally famous for use in such construction. Wood from Gangwon Province was
transported in rafts along the south and north sections of the Han River. One of the points of transit
through the south Han River was Auraji, located in Jeongseon, Gangwon Province, from which the
<Score 19> The Refrain of “Gujo Arirang” by Lee Eun-ju laborers of Jeongseon are believed to have transported the rafts to Seoul. Many of the local folksongs of
Gangwon Province, titled “Ddenmok Arirang,”(Raft Arirang) reveal such circumstances well. For the
For these reasons, I surmise that the local folksong “Jeongseon Arirang,” which is Gangwon’s dangerous work, the laborers must have been rewarded with visits to places for entertainment, in which
“Gin Arari” (Gin Arirang), was introduced to Seoul, and that “Gujo Arirang” was formed during the the songs spread, finally transforming into the musical grammar of Gyeonggi Province, leading to the
development of the Arirang songs in the musical grammar of Gyeonggi, which were then polished and “Jajin Arirang” that was scored by Hulbert in the late-19th century and recorded on an SP album in
added to according to the expertise of professional singers to form the new song “Gin Arirang.” 1930, with Kim Juk-pa singing and accompanying herself on gayageum.
Speaking to the development of the local folk Arirang songs of Gangwon Province into Gyeonggi The theme song of the film Arirang, which is “Bonjo Arirang” and representative of the Arirang
folk song, Lee Yong-shik mentioned that Gyeonggi’s “Jajin Arirang” (Gujo Arirang) originated from song of today, seems to have derived from “Gujo Arirang” in jingyeong-tori mode,34 which was
“Jajin Arari,” and Gyeonggi’s “Gin Arirang” originated from Gangwon’s “Gin Arari.”33 It is difficult to changed into new gyeong-tori mode,35 in which the 2nd bar of the refrain is a 4th higher than in the first
agree with this opinion for the reasons already stated above. In addition, the first part of Gangwon’s bar. During this development, it is likely that “Jajin Arirang” was also considered significantly.36
“Jajin Arirang” refrain, “ariari sseurisseuri” appears to have an interval of a 4th, which is different from
the interval found in Gyeonggi’s “Jajin Arirang” (Gujo Arirang) in the refrain “arirang arirang,”
which is sung with the same tones. Also, the closing note of Gangwon’s “Jajin Arari,” middle la, is a
low sol in Gyeonggi’s “Jajin Arirang” (Gujo Arirang). Therefore, the opinion that Gyeonggi’s “Jajin
Arirang” (Gujo Arirang) derived from Gangwon’s “Jajin Arari” requires reconsideration.
It is also difficult to agree with Lee Yong-shik’s opinion that Gangwon’s “Gin Arari” was
transformed into Gyeonggi’s “Gin Arirang.” One reason is that there was no change in mode (tori)
during the transition when I examined “Hanobaengnyeon,” which changed into popular folksong of
Gyeonggi from Gangwon’s “Gin Arari.” The reason there has been no change in tori may be that
professional musicians, such as the master Gyeonggi folk singers, can sing diverse modes without any
problem. Thus, if they transformed Gangwon’s “Gin Arari” into Gyeonggi’s “Gin Arirang,” there must
not have been a change in mode. Gyeonggi’s “Gin Arirang,” however, is a song sung in the jingyeong-
tori mode. The idea that the nonprofessional musicians may have changed the tori does not seem
plausible, given that Gyeonggi’s “Gin Arirang” is a song that demands a professional singing style. <Score 20> A Comparison of the Refrains of Gujo Arirang, Jajin Arari, and Bonjo Arirang
In <Score 20>, the second bar begins with 4th higher note than the first bar in “Bonjo Arirang.” Korean “new folk song” (sinminyo) since the beginning of the 20th century. These “mother tunes” of
This characteristic is typically found in Gangwon’s “Jajin Arari.” In addition, “Bonjo Ariang” and Arirang songs spread across Korea, into North Korea, and among the Korean communities overseas,
“Jajin Arari” have in common that they are in a plagal mode in which the middle pitch is used for the and they were born again into new Arirang through diverse lyrics and variations in melodies. Also,
closing note. “The song heard from the laborers who came from the south,” that Na Un-gyu mentioned many songs possessing regional characteristics were created by the time the theme song for the film
while explaining how he decided to make the theme song for his film Arirang, is possibly Gangwon’s Arirang was composed and “Bonjo Arirang” was widely spread throughout the country.
“Jajin Arari” derived from the local Gin Arari that made its way to Seoul from Gangwon. On the basis of the above discussion, a summary showing how the Arirang songs developed
Based on the above reasoning, I believe that the local folksong “Jeongseon Arirang” (Gangwon’s into the forms that are transmitted today is presented in <Table 6>.
Gin Arari/Arirang) spread to Gyeonggi province to form Gyeonggi’s “Gujo Arirang” (Jajin Arirang),
and this changed into new gyeong-tori mode to form “Bonjo Arirang” (Theme Song of the film
Arirang), while being influenced by the Gangwon’s local folksong “Jajin Arari” (the mother tune of Gangwondo Popular Folksongs
the popular folksong Gangwondo Arirang). Jajin Arari
Local folksongs
Conclusion
Gangwondo
Arirang
This paper is intended to examine the provenance of “Bonjo Arirang,” which is considered the
representative Arirang of Korea, from among numerous Arirang songs transmitted today. I first
examined the meaning of “Arirang” or “Arari” on the basis of earlier studies. The dominant view Gangwon Province Gangwon Province
Jeongseon Gin Arari Jeongseon Yeokkeum Arari
among the various opinions is that arirang is meaningless-a kind of a scat often used in refrains. The
dominant opinion on the origin of Arirang, held in common by many scholars, is that it arose in the
context of the reconstruction of the Gyeongbok Palace in the mid to late-19th century. Hanobaengnyeon Jeongseon Arirang
Next, I investigated the “mother tunes” of some of the Arirang songs, which, out of over 180
songs, could be verified by actual sound sources. For “local folksongs” the “mother songs” were “Gin
Gyeongi Gujo Arirang Gyeonggi
Arari” (“Gin Arirang”) and Gangwon’s “Jeongseon Arirang” (in other words, Jeongseon’s “Yeokkeum
(Jajin Arirang) Gin Arirang
Arirang” and “Jajin Arari,” which was a rice planting song in Gangwon Province). For the popular
folksongs, which were transformed from the former local songs by the professional musicians with the
musical grammar of Gangwon Province maintained, “Hanobaengnyeon,” “(Seoul-je) Jeongseon Bonjo Arirang
Arirang,” and “Gangwondo Arirang” were the “mother songs.”
I also found that the local folksong of Gangwon Province, “Gin Arari” (Gin Arirang), was
Haeju Arirang Miryang
transmitted to Gyeonggi Province and formed “Gujo Arirang” (Gyeonggi Jajin Arirang) by the time (Arong taryeong) Arirang
Gyeongbok Palace was reconstructed. During its development, the menari-tori mode, which is a
regional musical characteristic of Gangwon Province, was changed into the jingyeong-tori found in the
Jindo
musical grammar of the Seoul-Gyeonggi region, probably of nonprofessional musicians. (Namdo Arirang)
Arirang
“Bonjo Arirang,” which is the representative Arirang song today, is considered to have changed
from “Gujo Arirang” via changes in mode into new gyeongtori mode, which is the same as the
pentatonic scale of Western music, or the major scale of yonanuki and has been generally found in <Table 6> Diagram of the Arirang Songs According to Derivation
Yeon-hyeong, Dongguk University.

1
Hwang Hyeon. Translated and Annotated Macheonyarok (vol. 1), translated and annotated by Im Hyeong-teak et 16
This song shown in <Score 7> begins with the refrain, followed by the 1st verse. The score is marked
al., Munhakgwa jiseongsa, pp. 344-335. “ jeollyeom,” meaning to sing in chorus first. However, I have used the more familiar word “refrain” in this paper.
2
The titles of the Arirang songs arranged by many scholars from the 1930s to the 1980s can be found in Lee Bo 17
Lee Chang-bae. Hanguk Gachang Daegye, Seoul, Hongin munhwasa, 1976, p. 826.
Hyeong, “A Musical Approach to the Origin of Arirang and Its Transition,” Hangukminyohak, vol. 5, the 18
Jang Sa-hun, Gugakgaeyo, Seoul, Jeongyeonsa, 1966, p. 152.
Society for Korean Folksongs, 1997, pp. 86-87. 19
Daehanminguk yesulwon, Hanguk Eumak Sajeon, Seoul, Daehanminguk yesulwon, 1985, p. 253.
3
A pentatonic scale of sol-la-do’-re’-mi,’ with do’ in the middle as the closing note. “ Arirangsesang” (by Lee Bo-hyeong).
4
A pentatonic scale of sol-la-do’-re’-mi,’ with ‘sol’ as the closing note. 20
Columbia 40440-B (21739) Sinminyo Arirang Sesang (by Jeon Gi-hyeon), Kim Seon-yeong, accompaniment
5
A term for the musical grammar found in the folksongs of Seoul and Gyeonggi Province, it refers to an authentic by Columbia Orchestra of Japan, Choson Ilbo: 7.20.1933 (August Special).
mode of a pentatonic scale with sol-la-do’-re’-mi’. 21
It is one of the three different types of the rhythmic sturucture of “Jeongseon Arirang”, the intangible cultural
6
With Kim Un-seon for a stage name, she was the holder for gayageum sanjo, an important intangible cultural heritage of Gangwon Province. Jeongseon Arirang Munhwajaedan (2009). Survey Report: Standard Music
heritage. Scores of Jeongseon Arirang, Jeongseon, Jeongseon Arirang Munhwajaedan, p. 87.
7
Polydor 19017-B, Popsong Arirang by Kim Un-seon (gayageum byeongchang): 22
Jang Sa-hun, Gugakgaeyo, Seoul, Jeongyeonsa, 1961, p. 164.
arirang arirang arariyo arirang gogaero bomnori gaja nareul beorigo gasineun nimeun simnido motga 23
Lee Chang-bae. Hanguk Gachang Daegye, Seoul, Hongin munhwasa, 1976, p. 828.
balbyeongi nanda arirang arirang arariyo arirang gogaero bomnorigaja [Let’s go on a picnic to Arirang ridge, 24
Though it is not verified in recordings or literature, there are two opinions related to the origin of this song
If you leave me behind, you’ll get sore feet only in a few miles, Let’s go on a picnic to Arirang ridge] among the master folk singers. Kim Yeon-gap introduced those two opinions: “it is known that it was first sung
Polydor, Maewolsinbo, 9.11. 1933, Polydor, advertised in the Dong-a Ilbo, 3.21.1933. by Kim Ok-sim in 1948, and there are two opinions on that. One of them is that Lee Chang-bae, during the
8
A term for the characteristic musical grammar found in the folksongs of Gyeongsang Province, it consists of mi- concert tour in Jeongseon in 1948, heard Jeongseon Arari and intended to set it on the stage and had Kim Ok-sim
la-do’-re’-mi’ when proceeding upwards and mi’-re’-do’-si-la-mi when proceeding downwards. sing that year (testimony by Han Seong-ja). The other is that Kim Ok-sim sang this song in front of Lee Chang-
9
A term for the characteristic musical grammar found in the folksongs of Gyeongsang Province that has the tonal bae, who said, “what a nice song,” then Kim Ok-sim began to sing it on the stage after that (Lee Chun-hi Lee
system of fa, in which the semitone of mi, the lowest pitch of the menari tori mode, is changed. Ho-yeon Kim Yeong-im also understand the story similarly).
10
A term for the characteristic musical grammar found in the folksongs of Seoul-Gyeonggi Province, indicating http://kin.naver.com/knowhow/detail.nhn?d1id=5&dirId=5&docId=428698&qb=
the plagal mode of a pentatonic scale with la-do’-re’-mi’-sol’. 6rmA7Iic64WAIOq5gOyXsOqwkQ==&enc=utf8&section=kin&rank=1&sort=0&spq=0&pid=
11
A term for the characteristic musical grammar of new folksongs that have been composed since the 20th century gcZstsoi5U4ssvLzLehsss--366816&sid=THD85ojncEwAADN5ER4
in the Seoul-Gyeonggi region, consisting of the plagal mode of a pentatonic scale with the closing note do’. 25
Considering that the Kingstar label first appeared in the mid 1950s, the album is estimated to have been released
12
It is often classified as a folksong of Gyeongsang Province due to the word “Miryang” in the title. Its musical in the late 1950s. Although the year of release is not known, the release of K5833, which includes “Jeongseon
characteristic, however, is not the same as that of the province but actually matches that of the repertoires of the Arirang” sung by Kim Ok-sim, is estimated to have come out in 1956-7, while the release of K6611 is
master singers of Gyeonggi folksongs. estimated to have been sometime between 1950-60, according to the opinions of those who specialize in popular
13
It refers to the characteristic musical grammar of the folksongs of Jeolla Province, which consists of mi-la-do’- songs and albums of the time. To add confusion, there is another album, K5833, that includes “Jeonseon
re’-mi’ when proceeding upwards and mi’-re’-do’-si-la-mi when proceeding downwards. It is in the plagal mode Arirang” sung by Lee Eun-ju.
with the ending note la. 26
“Nannantaryeong” seems to be “alaltaryeong=ariaritaryeong=alaritaryeong=araritaryeong” written in
14
“Arari” and “Arirang” are often confused in titles. “Arari” is more widely used for the title of local folksongs, Chinese characters.
although “Arirang” is officially preferred, as in “Jeongseon Arirang,” No. 1 Intangible Cultural Heritage of 27
The lyric “ajutgari dongbaega yeojimara” from K158-A is included in the 1st verse of “Gangwondo Arirang” in
Gangwondo. I have used both titles in respect. Hanguk Gachang Daegye by Lee Chang-bae.
15
The sound sources on SP records and other academic information in this paper were provided by Prof. Bae 28
The refrain is usually sung after a verse in a Western song but it is normal for it to lead and then come back from
the beginning of a Korean folksong. In “Gangwondo Arirang” shown in <Score 16>, “arirang arirang arariyo . . ,” References
is sung solo, which is apparently different from the refrain “ariari ariari . . .” that is sung in chorus.
29
Lee Jin-won, 2009, Yeonghwa Eumaksa Yeongu, Seoul, Minsogwon, 2007, p. 37. Kim Young-woon. 2010.
30
It is different in that only the local folksong “Jajin Arari” ends with la-sol. Musical Characteristics of Gangwondo Minyo, Urichum Yeongu, vol. 13. Research
31
Lee Bo-hyeong, Ibid. Institute of Korea Traditional Dance, Hanyang University, pp. 147-189.
32
Lee Yong-shik, 2009, “Musical Characteristics of Arari in Gangwon Province,” Hangukminyohak Kim Young-woon. 2011.
(Korean Folksong Studies), vol. 25, the Society for Korean Folksongs, 2009, pp. 225-251 Musical Approach to the Formation of “Arirang”, Hanguk munhakgwa Yesul , vol. 7,
33
Lee Yong-shik, Ibid, pp. 225-251. Institute of Korean Literature and Arts, Soongsil Univ, pp. 5-55.
34
See n. 5. Lee Bo-hyeong. 1997.
35
See n. 11. A Musical Approach to the Origin of Arirang and Its Transition, Hanguk minyohak, vol. 5,
36
Among the Arirang songs transmitted today, those songs in which the 2nd bar is sung a 4th higher than the 1st the Society for Korean Folksongs, pp. 81-120.
bar are the “Jajin Arari” type of songs of Gangwon Province and “Bonjo Arirang.” Other Arirang songs, such as Lee Yong-shik. 2009.
the local folksongs “Jeongseon Ariang,” Gyeonggi’s”Gujo Arirang,” “Gin Arirang,” “Miryang Arirang,” and Musical Characteristics of Arari in Gangwon-do Province, Hanguk minyohak, vol. 25, the
“ Jindo Ariang,” have the same melodies repeated at the 1st and the 2nd bar. Society for Korean Folksongs, pp. 225-251.
Kim Young-woon, Kim Hye-jeong, Lee Yun-jeong, Research Report. 2009.
Standard Music Scores of Jeongseon Arirang, Jeongseon, Jeongseon Arirang Munhwa jaedan.
Daehan minguk yesulwon. 1985.
Hanguk Eumak Sajeon, Seoul, Daehanminguk yesulwon.
Lee Jin-won. 2007.
Yeonghwa eumaksa Yeongu, Seoul, Minsogwon.
Lee Chang-bae. 1976.
Hanguk Gachang Daegye, Seoul, Hongin munhwasa.
Jang Sa-hun. 1966.
Gugakgaeyo, Seoul, Jeongyeonsa.
Jin Yong-seon. 2001.
Jeongseon Ddenmok, Jeongseon munhwawon.

Arirang History

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Chapter II

The Beginning of Arirang:

Daegu Arirang Dokdo Arirang Dongnipgun Arirang

⑦ Arirang of the Korean Peninsula (4 CDs: 6 songs on CD 1, 5 on CD 2, 18 on CD 3; 4 on CD 4)

Dokdo Arirang Rediscovery of Yeongnam Arirang (1)

<Score 7> Part of “Gangwondo Arirang” by Lee Hwa-ja

<Score 8> “Han obaeng-nyeon” by Kim Nan-hong

<Score 13> “Jeongseon Arirang” by Kim Ok-sim (Kingstar K6611)

Yeon-hyeong, Dongguk University.

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