Trot (music)

It was intentionally revived during Kim Jung Il administration: in the late 2000s, Korean Central Television aired a TV program that introduced those "Enlightenment songs".

In addition to the elegiac rhythm and the content of the lyrics, the 'new stream' in the theater (신파극), introduced in the 1910s from Japan, has also contributed to the fact that trot is dominated by the moods of compassion and pain.

[nb 1] In the 1920s the name yuhaeng-changga (Korean: 유행창가; Hanja: 流行唱歌) was in use;[16] this name comes from the fact that yuhaeng means "trend, fashion, popular", and all sorts of western music, e.g. hymn, nursery rhyme, folksong, etc., as well as Japanese enka, which were introduced to the Korean people at the end of the 19th century, were called changga;[17] popular music in the western style was called yuhaeng-changga, later abbreviated yuhaengga (유행가; 流行歌).

Calling trot jeontong-gayo may implicitly refer to national self-confidence and give people a sense of self-esteem,[clarification needed] so that the uncomfortable suspicion of foreign origin would be eased.

[19] There is an investigation showing that the songs that were published in Korea and Japan between 1945 and 1950 used in both countries pretty much the same amount of duple metre rhythm in a minor scale.

[30] This probably one-sided statement was answered by musicians and critics who saw things differently and responded; the claim on the part of Korean classical music that trot is Japanese-tinged and thus such songs should be forbidden, is a useless judgment of the colonial victim mentality.

She had an affair with a married man, with whom she ran away and escaped: on a boat trip to Japan in 1927, she threw herself into the sea with the lover - there is a Korean film about this story.

The song was not originally composed, but Yun Sim-deok wrote lyrics and then transferred it to the waltz melody of "Waves of the Danube" by Ion Ivanovici.

It is noteworthy that a manyo "Pleasant Old Man From The Country" (유쾌한 시골 영감), recorded in 1936 by Gang Hong-sik (강홍식), was an adaption of George W. Johnson's "The Laughing Song" (1895).

Lee Aerisu (이 애리수) recorded "Traces of Castle Ruins" (황성의 적) in 1931(released 1932),[38] later remade under the title "황성 옛터" by many trot singers.

These included: the ode to soldiers that was "A Serenade of the Front Line" (전선 야곡, 1952), stories of separations during the Hungnam evacuation told in "Be Strong Geum-sun" (굳세어라 금순아, 1953), and the joy and sorrow of refugees in "Farewell Busan Station" (이별의 부산 정거장, 1953) by Nam In-su (남인수).

[51] On the other hand, private clubs were opened around the garrisons, the so-called 'military camp town' (기지촌), e.g. in Dongducheon, Paju, Itaewon, where both soldiers and civilians could enter.

Some trot singers who started their career there are Choi Hee-jun (최희준), Bae Ho, Han Myeong-suk (한명숙), Hyeon Mi, Cho Yong-pil.

During this time, songwriters came up with songs by giving newfangled titles in English: e.g. "Shoeshine Boy" (슈샤인 보이, 1952), "Tango In The Night" (밤의 탱고, 1953), "Evening Rain Blues" (밤비의 블루스, 1956), "Nilliri Mambo" (닐리리 맘보, 1957), '"Avec Youth" (청춘아베크, 1957), "Arizona Cowboy" (아리조나 카우보이, 1959), "Daejeon Blues" (대전 블루스, 1959).

[ko] She recorded a lot of hit songs in the 1960s like "Yellow Robe Mast" (황포돛대, 1964), "Cry Fever" (울어라 열풍아, 1965), "Heuksando Lady" (흑산도 아가씨, 1967), "A Woman's Life" (여자의 일생, 1968), "A Father Goose" (기러기 아빠, 1969).

The image of the "Yellow Shirt Man" bursting with vitality was portrayed, but "Camellia Lady" was the traditional female figure in Korea who practices patience and fidelity in marriage.

Examples include "My Lover Is Old Miss" (우리 애인은 올드 미쓰, 1961), "Barefooted Youth" (맨발의 청춘, 1964), "Student Boarder" (하숙생, 1965), "Palto-Gangsan" (팔도강산, 1967).

Bae Ho (배호),[61] then a drummer in Camp Market club, recorded his debut song "Arrow Of Love" (사랑의 화살, 1963) with tango rhythm.

In 1967, he released two significant songs "Return to Samgakji" (돌아가는 삼각지) and "Foggy Jangchungdan Park" (안개 낀 장충단 공원).

Examples of the 'happy songs' in the second half of the 1960s are: "Southern Village Over The Mountain" (산 너머 남촌에는, 1965), "Beanpole Mr. Kim" (키다리 미스터 김, 1966), "Baldy Man" (대머리 총각, 1967), "Honey!"

(님아, 1968), "Song Of Seoul" (서울의 찬가, 1969), "Sergeant Kim From Vietnam" (월남에서 돌아온 김 상사, 1969), "Seosan Seaside Village" (서산 갯마을, 1969).

Mass media such as radio and TV made trot widespread across the country - the household ownership of televisions rose rapidly from 6.4% in 1971 to 83.1% in 1980,[65] so the pop artists gained more space to present themselves to the public.

Among them, Kim Hun was successful with "Leaving Me Behind, Arirang" (나를 두고 아리랑, 1975), Cho Yong-pil with "Come Back To Busan Harbor" (돌아와요 부산항에, 1975), Choi Heon with "Leaves Of Paulownia" (오동잎, 1976), Song Dae-gwan with "Suddenly, Sunny Day Comes" (쨍하고 해 뜰 날, 1976), Yun Su-il with "But Never Want To Love" (사랑만은 않겠어요, 1977) and others.

After all, Trot-go-go has contributed to the enrichment of trot by combining style, which is based on the traditional duple or quadruple metre scheme, with the syncopation elements of dance music.

In 1975, a 'marijuana scandal' occurred; 18 popular artists - mostly singers from group sounds including Cho and Shin Jung-hyeon - were rebuked for cannabis consumption and banished from public and private broadcastings several years.

Precisely by their subculture, even in outward appearances such as acoustic guitar, long hair, jeans, and the like, they could feel differentiated from the elder generation.

[17] The lyrics of her songs like "Sinsa-dong And The Man", "Tears Blues" (눈물의 블루스, 1986), "Unrequited Love" (짝사랑, 1989), evoked a certain milieu of hostess clubs.

"A Yoke" garnered above all sympathetic acceptance from those women who engaged in bars and clubs because its lyric reflected images of their quotidian hardships and solace.

[89] Over 184 songs from artists such as Na Hun-a, Jang Yoon-jeong and Park Hyun-bin, were broadcast through FM radio programs targeting North Korean soldiers.

In recent years, trot, a genre traditionally associated with older generations in Korea, has experienced a significant resurgence, gaining widespread popularity among younger audiences and evolving within the broader music industry.