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Music for Modern Korea: Bandmasters Franz Eckert and Baek U-yong

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Musical Entanglements between Germany and East Asia

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Abstract

Emperor Gojong’s Western-style military band, organized in 1901, significantly influenced the development of Western music in Korea. This chapter traces the history of the band across three decades, from its creation as an official organization of the imperial guard to its final incarnation as a private association, under the guidance of its first bandleader, Franz Eckert (1852–1916), and his successor Baek U-yong (1883–1930). The chapter reveals that, regardless of its name or function, the band was musically unrivaled in Korea and helped to familiarize residents of the capital with Western art music. Furthermore, its members contributed to the performance and education of Western music in Korea even after the band’s dissolution.

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Notes

  1. 1.

    Gyeong-chan Min, “Hanguk yangaksa gaeron [Introduction to Korean Western music history],” in Dongasia wa seoyang eumak ui suyong (Paju: Eumak segye, 2008), 16–48.

  2. 2.

    Siwidae Gunakdae had been established prior to 1901, but this was when it was reorganized as a full-fledged Western military ensemble.

  3. 3.

    Dong-eun No, “Hanguk gwanak ui yeoksa – geundae gwanaksa reul jungsimeuro [A history of Korean wind music – focusing on modern wind music history],” Yesul munhwa 4 (2001): 50–55, 69; Yun-jeong Gang, “Hanguk seoyang giak eumak suyongsa [The reception of Western instrumental music in Korea]” (master’s thesis, Seoul National University, 2012), 9–22; Jin-yeong Yu, “Daehan Jeguk sigi dogirin gunak daejang Franz Eckert (1852–1916) ui hwaldong e gwanhan yeongu [A study on the activities of the German bandmaster Franz Eckert in the Daehan Empire],” Dogil yeongu 23 (2012): 85. After learning the cornet along with military training at the school, Yi Eun-dol started training buglers in his homeland from April 1883. His efforts were short-lived, and he was dismissed within several months as the political climate in late Joseon Korea became more conservative. He later sought asylum in Japan due to his involvement in a failed coup by radical reformists, called the Gapsin Jeongbyeon, in 1884.

  4. 4.

    No, “Hanguk gwanak ui yeoksa,” 69.

  5. 5.

    Ibid., 68–69; Gang, “Hanguk seoyang giak eumak suyongsa,” 20–22.

  6. 6.

    Hwanseong sinmun, December 24, 1900, accessed July 28, 2020, http://nl.go.kr/newspaper/sub0101.do?dir_q_paperIndex=%E3%85%8E&dir_paper=%ED%99%A9%EC%84%B1%EC%8B%A0%EB%AC%B8_%E7%9A%87%E5%9F%8E%E6%96%B0%E8%81%9E

  7. 7.

    Hermann Gottschewski et al., Franz Eckert, Musikmeister des modernen Asien: Aus der preußischen Provinz nach Tokyo und Seoul (The University of Tokyo. June 2016), 2–3. This is a German pamphlet prepared for the special exhibition on the hundredth anniversary of Franz Eckert’s death. http://fusehime.c.u-tokyo.ac.jp/gottschewski/eckert/de/Ausstellungstexte.pdf

  8. 8.

    Hans-Alexander Kneider, “Franz Eckert and Richard Wunsch: Two Prussians in Korean Service,” in Transnational Encounters between Germany and Korea: Affinity in Culture and Politics since the 1880s, ed. Joanne Miyang Cho and Lee M. Roberts (New York: Palgrave Macmillan, 2018), 81.

  9. 9.

    Gottschewski et al., Franz Eckert, 2–3.

  10. 10.

    Ibid., 9. The advertisement is available as a photo in the pamphlet.

  11. 11.

    Ibid., 3.

  12. 12.

    “Kimigayo” was recognized as the official national anthem of Japan in 1999.

  13. 13.

    Gyeong-bun Yi and Hermann Gottschewski, “Franz Eckert neun Daehan Jeguk aegukga ui jakgokga inga [Was Franz Eckert the composer of the anthem of the Daehan Empire?],” Yeokbi nondan 101 (2012): 373–401; Kneider, “Franz Eckert and Richard Wunsch,” 83–84; and Yu, “Daehanjeguk sigi dogirin gunak daejang Franz Eckert (1852–1916),” 78–80.

  14. 14.

    Yu, “Daehanjeguk sigi dogirin gunak daejang Franz Eckert (1852–1916),” 87.

  15. 15.

    Yun-yeong Jo, “Eumak, geundae geurigo gyemong: Baek U-yong (1883–1930) eun nuguinga [Music, the modern, and enlightenment: Who was Baek U-yong?]” (Master’s thesis, Ewha Womans University, 2013), 7–8.

  16. 16.

    No, “Hanguk gwanak ui yeoksa,” 72.

  17. 17.

    Gyu-do Gim, “Daehan Jeguk gunakdae ui heungmang gwa japji Dongmyeong gejae ui jeonmo [The ups and downs of the military band of the Korean Empire and a full account of the articles on it in Dongmyeong],” Gugagwon nonmunjip 36 (2017): 414.

  18. 18.

    Jeong-hi Yi, “Daehan Jegukgi gunakdae gochal [A study on military bands in the age of the Daehan Empire],” Hanguk eumak yeongu 44 (2008): 172–73.

  19. 19.

    Ibid., 174–75.

  20. 20.

    Gang, “Hanguk seoyang giak eumak suyongsa,” 24; Chang-eon Choe, “Siwi Gunakdae ui cheot seon gwa daewondeul [The debut of the Siwi Military Band and its members],” Eumank jeoneol, May 2010, 76–77.

  21. 21.

    Gim, “Daehan Jeguk gunakdae ui heungmang gwa japji Dongmyeong gejae ui jeonmo,” 415.

  22. 22.

    Hiroshi Yasuda, “Ilbon e isseoseo seoyang eumak suyong gwajeong [The adoption process of Western music in Japan],” trans. Gyeong-chan Min, Eumank iron yeongu 3 (1998): 242–43.

  23. 23.

    Gim, “Daehan Jeguk gunakdae ui heungmang gwa japji Dongmyeong gejae ui jeonmo,” 416; Yi, “Daehan Jegukgi gunakdae gochal,” 181.

  24. 24.

    Geong-mi Yi et al., “Daehan Jeguk 1901nyeon gunakdae boksik jaehyeon eul wihan gojeung gwa dijain yeongu [A study on the historical research and design of the 1901 Daehan Empire military band’s uniform],” Bosik 68, no. 5 (2018): 128–42, https://doi.org/10.7233/jksc.2018.68.5.128.

  25. 25.

    Sa-hun Jang, Yeomyeong ui Dongseo eumak [The dawn of Eastern and Western music] (Seoul: Bojinjae, 1974), 200–202.

  26. 26.

    Homer Hulbert, The Korea Review, 1901, vol. 1 (Seoul: Methodist Publishing House, 1902), 413. Available at anthony.sogang.ac.kr › KoreaReview › KoreaReviewFulltextVolume1.

  27. 27.

    Yi and Gottschewski, “Franz Eckert neun Daehan Jeguk aegukga ui jakgokga inga,” 385.

  28. 28.

    Gim, “Daehan Jeguk gunakdae ui heungmang gwa japji Dongmyeong gejae ui jeonmo,” 417.

  29. 29.

    Yi, “Daehan Jegukgi gunakdae gochal,” 174.

  30. 30.

    Su-jeong Yi, “Yiwangjik Yangakdae ui hwaldong i geundae eumaksa e kkichin yeonghyang [The influence of the activities of Yiwangjik Yangakdae in modern music history],” Eumak gwa minjok 57 (2019): 17–18. More specifically, a suborganization of Jesil, called Jangnyewon, managed the military band. Jangnyewon was in charge of rituals, ceremonies, protocols, and music for the Department of the Royal Household.

  31. 31.

    Daehan maeil sinbo, November 13, 1907.

  32. 32.

    Wang-mu Yi, “Daehan Jegukgi Sunjong ui seosunhaeng yeongu [A study on the Emperor’s progress of his Majesty Sunjong in the Northern Provinces of the Daehan Empire],” Dongbuga yeoksa nonchong 31 (2011): 286; Wang-mu Yi, “Daehan Jegukgi Sunjong ui namsunhaeng yeongu [A study on the Emperor’s progress of his Majesty Sunjong in the Southern Provinces of the Daehan Empire],” Jeongsin munhwa yeongu 30, no. 2 (2007): 60–61.

  33. 33.

    Yi, “Yiwangjik Yangakdae ui hwaldong i geundae eumaksa e kkichin yeonghyang,” 19.

  34. 34.

    Yi, “Daehan Jegukgi Sunjong ui seosunhaeng yeongu,” 304.

  35. 35.

    Ibid., 301–303.

  36. 36.

    Yi and Gottschewski, “Franz Eckert neun Daehan Jeguk aegukga ui jakgokga inga,” 377–80.

  37. 37.

    Jo, “Eumak, geundae geurigo gyemong,” 16.

  38. 38.

    Baek U-yong received a gold wristwatch for earning the highest score on a test. See Hwangseong sinmun, June 28, 1900.

  39. 39.

    Yo-yeol Namgung, Gaehwagi ui hanguk eumak: Franz Eckert reul jungsim euro [Korean music in the Enlightenment period: Focusing on Franz Eckert] (Seoul: Segwang Eumak Chulpan, 1987), 63–64.

  40. 40.

    Choe, “Siwi Gunakdae ui cheot seon gwa daewondeul,” 77.

  41. 41.

    Cited in Jo, “Eumak, geundae geurigo gyemong,” 16.

  42. 42.

    Ibid., 34; Hanguk Munhwa Yeonguwon, Daehan jeguksa yeongu, 1999, 82.

  43. 43.

    Meaning “long song,” nagauta is a traditional Japanese music genre which accompanied kabuki theater. It was very popular in Japan in the early twentieth century.

  44. 44.

    Geong-bun Yi, “Ilbon Jeguk sigi ui dongasia eumak: munhwa gwollyeok euroseo ui seoyang eumak [East Asian music during the Japanese Imperial era: Western classical music as cultural power]” (Incheon: Dongasia eumak, sangsaeng gwa yeondae, 2018), 6–7.

  45. 45.

    Yi, “Yiwangjik Yangakdae ui hwaldong i geundae eumaksa e kkichin yeonghyang,” 20–22.

  46. 46.

    Cited in Gim, “Daehan Jeguk gunakdae ui heungmang gwa japji Dongmyeong gejae ui jeonmo,” 411. According to the Imperial Household Ordinance, the Yi Royal Household (Yiwangjik) was placed under the administration of the Imperial Household Ministry, but the GGK had supervisory authority.

  47. 47.

    Yi, “Yiwangjik Yangakdae ui hwaldong i geundae eumaksa e kkichin yeonghyang,” 25.

  48. 48.

    Ibid., 26.

  49. 49.

    Ibid., 29.

  50. 50.

    Ibid., 32. Yi mentions that Yiwangjik Yangakdae’s playlist did not include “Kimigayo,” which might have been because playing it as a finale had become normalized. In any case, there is no record that Yiwangjik Yangakdae performed “Daehan Jeguk Aeguka” as Jesil Gunakdae had.

  51. 51.

    Sa-hun Jang, Yeomyeong ui yangakgye [The dawn of the Western music field] (Seoul: Segwang Eumak Chulpansa, 1988), 78. Choe Dong-jun’s essay titled “Gyeongseong ui cheot eumakheo” [The first music concerts in Gyeongseong] was originally published in Chungang magazine in March 1934 and reprinted in Jang’s edited volume, 78–81.

  52. 52.

    Yu-seon Yi, Hanguk yangak baengnyeonsa [The hundred-year history of Korean western

    music] (Seoul: Eumak Chunchusa, 1985), 126.

  53. 53.

    Yi, “Yiwangjik Yangakdae ui hwaldong i geundae eumaksa e kkichin yeonghyang,” 31–34.

  54. 54.

    Maeil sinbo, “Akgye eunin ui jangseo” [The death of the savior of the music field], August 8, 1916.

  55. 55.

    There is some debate about when Yiwangjik Yangakdae disbanded. Some scholars maintain that it was 1915, while many others argue for 1919. It is true that disbanding the group was seriously considered in 1915, and even the first group of scholars acknowledges that the band was still loosely affiliated with the court and performed for it when necessary. However, the second group, based on court documents, argues that the band persisted until 1919. Yu, “Daehanjeguk sigi dogirin gunak daejang Franz Eckert (1852–1916),” 96; Yi, “Yiwangjik Yangakdae ui hwaldong i geundae eumaksa e kkichin yeonghyang,” 26–28; Jo, “Eumak, geundae geurigo gyemong,” 118.

  56. 56.

    Gim, “Daehan Jeguk gunakdae ui heungmang gwa japji Dongmyeong gejae ui jeonmo,” 421.

  57. 57.

    Jo, “Eumak, geundae geurigo gyemong,” 51.

  58. 58.

    Mail sinbo, “Sam gongwon eseo namnyang eumak” [Summer evening music at three parks], August 6, 1923.

  59. 59.

    Gang, “Hanguk seoyang giak eumak suyongsa,” 99.

  60. 60.

    Mail sinbo, “Gyeongseong Akdae huwonhoe” [The supporting society of Gyeongseong Akdae], January 31, 1923.

  61. 61.

    Donga ilbo, “Gyeongseong Akdae huwonhoe balgi” [The foundation of the supporting society for Gyeongseong Akdae], March 3, 1924.

  62. 62.

    Joseon ilbo, Yangakgye e gwonwiin Gyeongseong Akdae ui bulgwahan unmyeong [The authority of Western art music, Gyeongseong Akdae and its precarious destiny], July 17, 1924.

  63. 63.

    Maeil sinbo, “Gyeongseong Akade eumakhoe” [A concert by Gyeongseong Akdae], September 26, 1924.

  64. 64.

    Donga ilbo, “Danseongsa e banju eumak wakchun” [Danseongsa expanded its music accompaniment], Jun 3, 1927.

  65. 65.

    Jo, “Eumak, geundae geurigo gyemong,” 102.

  66. 66.

    The collection is available through the National Library of Korea website at http://nl.go.kr/newspaper/sub0101.do.

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Acknowledgement

This work was supported by the Korean Foundation and the Seed Program for Korean Studies through the Ministry of Education of the Republic of Korea and the Korean Studies Promotion Service of the Academy of Korean Studies (AKS-2020-INC-2230001).

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  1. New York University Shanghai, Shanghai, China

    Hye Eun Choi

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    Joanne Miyang Cho

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Choi, H.E. (2021). Music for Modern Korea: Bandmasters Franz Eckert and Baek U-yong. In: Cho, J.M. (eds) Musical Entanglements between Germany and East Asia. Palgrave Series in Asian German Studies. Palgrave Macmillan, Cham. https://doi.org/10.1007/978-3-030-78209-2_3

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