Jin Hi Kim (born February 6, 1957 in Incheon, South Korea) is a composer and performer of ''geomungo, komungo'' and electric komungo, and a Korean music specialist. Kim is known as a pioneer for introducing ''geomungo'' (거문고, a Korean fretted board zither, also spelled ''komungo'') to American contemporary classical music scene through her own cross-cultural chamber and orchestral compositions and her extensive solo work in avant-garde, as well as cross-cultural free improvisation. She is a Guggenheim Fellowship, Guggenheim fellow in composition and her recent works include the development of ''komungobot'' (algorithmic robotic instrument) and solo performances of the world's only electric ''komungo'' with live interactive MIDI, MIDI computer system in her large-scale multimedia performance pieces. Kim has received commissions from the American Composers Orchestra, Kronos Quartet, and Tan Dun, Tan Dun's New Generation of East for Chamber Music Society of Lincoln Center for the Performing Arts, Lincoln Center, among others. During the last three decades Kim has performed as a ''komungo'' soloist in her own compositions at Carnegie Hall, Lincoln Center, John F. Kennedy Center for the Performing Arts, Kennedy Center (Washington, D.C.), Smithsonian Freer Gallery of Art (Washington, DC), Metropolitan Museum of Art, Asia Society (NYC), Haus der Kulturen der Welt (Berlin), and for collaborative improvisations at Royal Festival Hall (London), Venice Biennale, Moers Festival (Germany) and many significant international festivals throughout the United States, USA, Europe, Canada, Latin America, South America, Russia, Asia, New Zealand, and Australia.

Biography

Early life

She began studies of traditional Korean music in South Korea in 1973, at her father's recommendation. She received a full scholarship to study at South Korea's first National High School for Korean Traditional Music (국립국악고등학교), one of 60 students accepted in the first year. The school was established under Ministry of Culture in association with the prestigious National Gugak Center for Korean Traditional Performing Arts (국립국악원). There, she practiced court orchestra music, learned both court and folk styles of singing (가곡 kagok, 판소리 pansori, 민요 folk song), drumming (장고 Janggu, janggo) and bamboo flutes (단소 danso, 소금 sogeum), and selected the ''geomungo'' (거문고, a six feet long board zither with sixteen frets and six silk strings that are plucked with a thin bamboo stick) as her major instrument. Her selection of the instrument was audacious; dating to the fourth century, the ''geomungo'' had been favored particularly by male Korean Confucianism, Confucian scholars, and was generally not played by women. Upon graduation she received Ministry of Culture's Outstanding Student Award (문화공보부장관상). She continued her studies with Korea's leading Ethnomusicology, ethnomusicologists earning a B.A. degree in Korean traditional music theory and composition from Seoul National University in 1980. Upon graduation she received an award for rising new musicians and her composition was premiered for Korean Broadcasting System, KBS-TV national broadcasting.

Move to the United States

Interested in learning more about the musics of other cultures but aware that this would not be possible in Korea, Kim emigrated in August 1980 to the United States, where she immersed herself in world music. She first attended the San Francisco Conservatory of Music and studied composition with John Adams (composer), John Adams for one year then transferred to Mills College in Oakland, California, where she studied with Lou Harrison, Terry Riley, David Rosenboom, and Larry Polansky and received an MFA in electronic music and recording media in 1985. She was awarded Paul Merrit Henry Prize upon graduation. While in California, she also studied the Chinese ''guqin'' (an ancient 7-stringed zither) and Indian ''bansuri'' (bamboo flute) from G. S. Sachdev, and began to investigate the possibility of cross-cultural creative music. During the 1980s, she regularly attended the New Music America festival, where she met many noted contemporary composers including John Cage, La Monte Young, Steve Reich, Philip Glass, Terry Riley, Lou Harrison, Laurie Anderson, Pauline Oliveros, Joan La Barbara, Morton Subotnick, Meredith Monk, Joseph Celli, Malcolm Goldstein, David Moss (musician), David Moss, Elliott Sharp, John Zorn and many others. From 1982 to 1988, she worked as a correspondent, interviewing and writing over 30 articles about those contemporary American composers for ''Eumak Dong-A'', a Korean monthly music magazine published by the ''Dong-A Daily News.'' Plunged into the American avant-garde music scene, she was invited to the Composer-to-Composer festival directed by Charles Amirkhanian in Telluride, Colorado in 1989 and joined the one-week residency with John Cage and selected leading composers. Kim premiered her commissioned works predominately in New York City and travels worldwide performing. Kim lives in Connecticut and teaches in the Music Department at Wesleyan University.

Instruments

Jin Hi Kim's primary instrument is the ''geomungo'', though she also plays Korean percussion instruments such as Janggu, ''janggo'' and ''Barrel drum, dancer’s barrel drum set''. With the Toronto instrument builder Joseph Yanuziello in 1998 Kim co-designed and now plays the electric ''komungo'', for which she has created numerous interactive pieces with a MIDI computer system using Max (software), MAX/MSP programmed by Alex Noyes. In collaboration with Alex Noyes Kim is developing ''komungobot'', an algorithmic robotic instrument.

Career and works

Kim has released 15 CDs, including ''Living Tones'', ''Komungo'', ''Pulses'', ''Komunguitar'', ''Sargeng'', ''No World Improvisations'', and ''Sound Universe''.

Cross-cultural compositions: Living Tones

Jin Hi Kim's compositions for Korean and Western instruments (both alone and in combination) have as their central focus the exploration of the Korean concept of ''shigimse'' (시김새), the technique of ornamentation used in traditional vocal and instrumental music. Although the term's literal meaning is not known, in 1985 Kim began to use the term "living tones" to describe this attitude toward melodic material as she applied it in her work. Thus, her compositions use newly developed forms of Musical notation, notation to indicate various types of vibrato, Portamento, pitch bends, etc. in order that, as in Korean traditional music, each musical tone is given a unique expression and development. Kim's Living Tones CD features her signature bi-cultural compositions ''Nong Rock'' for string quartet and ''komungo,'' ''Tchong'' for flute and ''Daegeum, daegum, Piri Quartet'' for oboe/Cor anglais, English horn with three ''piri''(s) and ''Yoeum'' for ''kagok'' singer and baritone. In 1986 she began to be recognized as a composer when she was commissioned by the Kronos Quartet for her work ''Linking''. Jin Hi Kim is both composer and soloist for the following compositions: ''Nong Rock'' for the Kronos Quartet premiered at Alice Tully Hall, Alice Tully Hall'','' Lincoln Center in 1992; ''Voices of Sigimse'' for Chamber Music Society of Lincoln Center premiered at the Lincoln Center Summer Festival 1996 with Tan Dun conducting; ''Eternal Rock'' (2001) for American Composers Orchestra premiered at Carnegie Hall; and ''Tilings'' (2013) for Either/Or Ensemble conducted by Richard Carrick premiered at The Kitchen (NYC). Kim also has introduced Korean tall and colorful barrel drums in the orchestra. ''Eternal Rock II'' (2006) was commissioned and premiered by the Boston Modern Orchestra Project, conducted by Gil Rose with Gerry Hemingway as soloist on drums. ''Monk Dance'' (2007) was commissioned and premiered by the New Haven Symphony Orchestra with Kim as soloist on the drums and Jung-Ho Pak conducting. Kim was Music Alive Composer-in-Residence with New Haven Symphony Orchestra (2009-2011) for which she premiered her commissioned ''Nori III'' for electric ''komungo'' and percussion quartet. In 1998 Kim was featured composer for the Festival Nieuwe Muziek and ''Agate Slice'' was commissioned for Xenakis Ensemble (the Netherlands). Kim also performed her compositions as soloist with Empire State Youth Orchestra, Stanford Symphony Orchestra, Stanford Symphony, KBS Symphony Orchestra, KBS Symphony (Korea), Zeitgeist (new music group), Zeitgeist, and Kairos String Quartet (Berlin).

Sociopolitical compositions

Responding to two wars involving American military in Asia, Jin Hi Kim composed two pieces, ''Child of War'' (2014) and ''One Sky'' (2005). A mixed choral piece, ''Child of War'' was dedicated to Phan Thi Kim Phuc, Kim Phuc who is renowned for ‘the girl in the picture' during the Vietnam War, was commissioned by John Marshall Lee and world premiered by The Mendelssohn Choir of Connecticut and Kim, conducted by Carole Ann Maxwell at Quick Center, Fairfield University. ''One Sky'' (2005), for chamber string orchestra and electric ''komungo,'' is dedicated to the reunification of North and South Korea, which was commissioned and performed by the Great Mountain Music Festival Orchestra, with Kim as soloist, at the Korean Demilitarized Zone (DMZ); Kim was featured on BBC The World/Global Hit radio program directed by Marco Werman for her ''One Sky''; and the work was broadcast on Korean Broadcasting System, KBS TV. In collaboration with artist David Chung (artist), David Chung at the University of Michigan, Kim composed two soundtracks: ''Pyongyang'', a multimedia installation, and ''Koryo Saram'', an hour long documentary film about Korean refugees from Russia to Kazakhstan which was presented at Harvard University, Princeton University, Smithsonian Institution Freer Gallery of Art, and the Arthur M. Sackler Gallery, Sackler Gallery (Washington, DC) and international film festivals including São Paulo International Film Festival, Sãn Paulo International Film Festival, Toronto Reel Asian International Film Festival, San Francisco Asian American International Film Festival, Vancouver Asian Film Festival and European Film Festival.

Multimedia performances

Kim has created hour-long cross-cultural multimedia works that led to a new direction incorporating Asian cultural heritage interfaced with emerging Western interactive technology. * ''Ghost Komungobot'' (2015): a true experience of mystic birds, for ''komungobot'', electric ''komungo'' and visual design, in collaboration with Alex Noyes (interactive sound design) and Benton C Bainbridge (visual media) was co-produced by Harvestworks, Harvestworks Digital Media Arts Center and CultureHub, The Art & Technology Center at La MaMa in New York City. ''Ghost Komungobot'' is a reflection of emerging aspects of American culture including robots, artificial intelligence, and explorations of multidimensional space in the universe. * ''Digital Buddha'' (2007-2014): a cosmic meditation, for electric ''komungo'' and ''komungo'' with video art (of Benton C Bainbridge and Joel Cadman), was performed at Metropolitan Museum of Art in 2004 and again in conjunction of 2014 Exhibition Silla; Korea's Golden Kingdom, Expo Cibao (Dominican Republic), Expo 2008, Expo Zaragoza (Spain), Detroit Institute of Arts, Detroit Institute of Art, Korea Festival, Art & Ideas Festival (New Haven, Connecticut, New Haven, Conn.), Festival Salihara (Indonesia), Bandung International Digital Art Festival (Indonesia), Roulette (New York City, NY), Cornell University, Yale University, Stanford University, Stanford Pacific-Asia Music Festival and Michigan University. ''Digital Buddha'' contrast both the neurotic intensity of American life with daily Asian Meditation, meditative practice. * ''Touching The Moons'' (2000): a multi-media lunar ritual, interfaced electric ''komungo'', Indian ''tabla'', a Korean ''kagok'' singer, and an Indian ''kathak'' dancer with a computer-controlled MIDI system, sensors, and digital animation. ''Touching The Moons'', won Wolff Ebermann Prize of International Theater Institute (Germany), was commissioned and premiered by The Kitchen (NYC) and performed at the Kennedy Center for the Performing Arts. ''Touching The Moons'' challenges the duality of Asian mythology and American scientific exploration of the moon. * ''Sanjo Ecstasy':'' a 90-minute improvisational form for electric ''komungo'', ''gayageum'', ''haegum'', ''janggo'', Drum kit, drum set, and Korean shamanism, shaman trance dancer, was premiered at the Sanjo Festival in Jeonju, South Korea in 2003. * ''Dragon Bond Rite'' (1997): a masked dance and music, juxtaposed with diverse traditions from India, Indonesia, Korea, Japan, Tuva, and the United States. The work was commissioned and premiered at the Japan Society (Manhattan), Japan Society and performed at the John F. Kennedy Center for Performing Arts.

Cross-cultural improvisations

In 1986 Kim met Henry Kaiser (musician), Henry Kaiser and was quickly introduced to many other leading guitarists in the United States and Europe. Since then, she has improvised at many international festivals with Elliott Sharp, Bill Frisell, Derek Bailey (guitarist), Derek Bailey, Hans Reichel, Eugene Chadbourne, James Newton, Evan Parker, Joseph Celli, Malcolm Goldstein, Oliver Lake, Billy Bang, William Parker (musician), William Parker, Leroy Jenkins (jazz musician), Leroy Jenkins, Peter Kowald, Reggie Workman, Mark Dresser, Joëlle Léandre, Jane Ira Bloom, Rüdiger Carl, Gerry Hemingway, and many other prominent figures in new music and avant-garde jazz. For her own compositions and for collective creativity, she has improvised with traditional master artists from Asia and Africa including Kongar-ol Ondar, Kongar-Ol Ondar, Min Xiaofen, Min Xiao-Fen, Wu Man, Samir Chatterjee, Mayumi Miyata, T. H. Vinayakram, Vikku Vinayakram, Abraham Adzenyah, and Mor Thiam.

Awards

Kim received a 2001 Foundation for Contemporary Arts Grants to Artists Award, which was created by John Cage and Jasper Johns. She is a recipient of the composer fellowship from Solomon R. Guggenheim Foundation, Guggenheim Foundation, American Composers Orchestra, National Endowment for the Arts, MAP fund from Rockefeller Foundation, McKnight Visiting Composer, Mary Flagler Cary Charitable Trust, Meet the Composer, Meet The Composer, Wolff Ebermann Prize of International Theater Institute, and Connecticut Commission on the Arts. She received the artist residence fellowship for the Rockefeller Foundation Bellagio Center (Italy), Asian Cultural Council to Japan and Indonesia, Fulbright Program, Fulbright Special Project to Vietnam, Djerassi Foundation (California), Composers Now Creative Residencies (Pocantico Center of Rockefeller Brothers Fund), and Freeman Artist-In-Residence at Cornell University.

Works about

An autobiography, ''Komungo Tango'' covering her 25-year performing career, was published (in the Korean language) in 2007. A retrospective interview about Kim's major works was archived in ''Oral History of American Music'' at Yale University Library. Kim is featured in ''Free Music Production, Free Music Production (FMP)-In Retrospect'', published in Berlin, Germany.

References

External links

Official site

Interviews

Interview by Lonny Shavelson, Voice of AmericaInterview from PRI's ''The World-Global Hit''

Listening

Korean Music Radio
October 2016
"Korean Music on Our Doorstep"
from WNYC, 2003
"Jin Hi Kim Blends Komungo Styles with Western Music"
Reported by Lonny Shavelson, PRI ''Global Hit'', 2005

Video

Jin Hi Kim, ''The Komungo''
BBC/PRI The World
Jin Hi Kim interview
from ''Exclamation!'' program, Arirang TV, MBC TV
Jin Hi Kim interview
from ''Heart to Heart'' program, Arirang TV *Korean Broadcasting System, KBS television program
Han Nation
' (한민족 리포트) * Munhwa Broadcasting Corporation, MBC TV national broadcast of the film ''100 Years of Sanjo''

Articles

* '
Asia as Silent Soul in the West
'' (November 1999) Written by Jin Hi Kim, published by Asian American Renaissance for "Dancing Mosaic: A Pan-Asian Performance Showcase" Handbook, MN (1999); published by La Folio Magazine. * '

'' (May 2000) * '

'' (March 2003) * Korean Identity in Cross-cultural Improvisation (October 2016) - Written by Jin Hi Kim Published by the Korea Society for World Music's Music and Culture Vol. 35 {{DEFAULTSORT:Kim, Jin-hi 1957 births Living people 20th-century classical composers 21st-century classical composers Contemporary classical music performers South Korean classical composers Seoul National University alumni Women classical composers Musicians from Incheon Women in electronic music 20th-century women composers 21st-century women composers Korean music