Missa Arirang: A fusion of Korean and Western Music
This article examines Korean nationalism in Cool-Jae Huh’s Missa Arirang; this sense of nationalism is an extension of a movement that began in the late 19th century. Missa Arirang utilizes elements from Arirang, a popular Korean folk song, in the context of a Missa, or Mass; the work consequently follows the typical structure of a Mass Ordinary. Th e fi rst movement, Kyrie, morphs from Western to contemporary Korean style using predominantly Western techniques. Th e Gloria, which follows, symbolically brings peace between two feuding provinces by blending together their respective Arirang traditions, and the Credo continues to allude to provinces by using the Jeongsun-arirang variation, meant to symbolize the mountainous region of Korea. Th e Sanctus movement uses a fast tempo and uses the Shingosan-taryung variation. Perhaps the most interesting movement, the Agnus Dei, incorporates both the traditional Korean operatic tradition and funeral service. Th e style of the Arirang varies between provinces and provides a glimpse into the lifestyle of each. Huh’s style in Missa Arirang points back to the nationalist reunifi cation movement that has dwelled in Korea for many years; the composer appears to be advocating peace in his work. Th is shows that Missa Arirang is a valuable addition to the ethnic Christian choral repertoire because it contains rhythmic challenges with diff erent types of rhythm, uses multicultural folk song modes and scales, and is a sacred major work using secular music and transforming it into