Abstract
For centuries, Gregorian chant has served as a monophonic song written for the religious services of the Roman Catholic Church, but Korean Catholics first encountered this chant in the early nineteenth century. Korean Catholics ultimately became more attracted to the Korean translations of these chants, as opposed to the original Latin versions. This article introduces some issues related to the language translation of Gregorian chant, especially for chants performed in Holy Week. The issues include discrepancies in the number of syllables, shifts in melismatic emphasis, difficult diction in vocalization, briefer singing parts because of space limitations, challenging melodic lines, and translation losses from neumes to modern notes.
Highlights
Gregorian chant has served as a monophonic song written for the religious services of the Roman Catholic Church, but Korean Catholics first encountered this chant in the early nineteenth century
We recognize the prominence of scholarly literature that describes Gregorian chant translation processes as processes of indigenization
This essay briefly showed the history of the Korean Catholic Church and musical This essay briefly showed the history of the Korean Catholic Church and musical aspects of that history
Summary
Among devout Catholic Christians and the members of the Catholic hierarchy, Gregorian chant undoubtedly holds a special place in the liturgical tradition. Augustus Topthis assurance, the Protestant church in Korea could more thrive These missionary lady wrote verse 1 of the hymn in 1776, the Korean translator remains unknown. Protestantism, Protestant feeling in a spectrum of attitudes ranging from sentiments of cross-denominational fraternity of spiritual attraction for hymns essentially Catholic and Latin in origin has resulted in a (ecumenism, in other ranging words) to desires to convert to Roman Catholicism. (In this particular case and analogous cases, one can argue that Korea’s religious syncretism indirectly foreshadowed the Second Vatican Council’s initiatives in attempting to reconcile traditional ancient church practices with the practices of local cultures.) As they arranged the Cheonjugasa, Korean converts likely borrowed musical conventions found in preexisting Buddhist melodies.
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