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Musical Entanglements: Ely Haimowitz and Orchestral Music under the US Army Military Government in Korea, 1945–1948
Published online by Cambridge University Press: 23 February 2021
Abstract
Shortly after Japan's surrender to Allied forces, the Soviet Union occupied the northern part of Korea, and the United States moved into the south, where it established the US Army Military Government in Southern Korea (USAMGIK, 1945–1948). In the American zone, music played a unique role in forging US hegemony over Korea. Young American pianist Ely Haimowitz (1920–2010) was the central figure in shaping that policy. Associated with “highbrow” culture, Western orchestral music helped restore Koreans’ ethnic pride damaged by Japanese colonial rule, while countering the Soviet emphasis on indigenous music. By fostering Western orchestral music in Korea, and supporting many individual musicians, Haimowitz succeeded in gaining widespread admiration and trust among Korean musicians. Based on unique access to Haimowitz's private archival collection, as well as diverse historical records from Korea, this article develops a complex picture of Haimowitz not merely as a cold-blooded US military officer and propagandist but also as an individual musician who shared friendships with Korean musicians, suffered ethical dilemmas, and often supported Korean voices against the USAMGIK. The relationships he forged provide indispensable context in understanding USAMGIK music policy, Korean musicians’ responses to it, and the post–World War II Korean reception of Western orchestral music overall.
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- Research Article
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- Copyright © The Author(s), 2021. Published by Cambridge University Press on behalf of the Society for American Music
Footnotes
Many thanks to Valerie Haimowitz for her generosity in sharing photographs of her father, Ely Haimowitz, and his private collection. This article has benefited from the support and advice from a number of scholars. Danielle Fosler-Lussier, Hyun Kyong Hannah Chang, and Martha Sprigge provided invaluable comments on my research and the manuscript. I thank David Garcia and the anonymous readers of JSAM for their suggestions. I am also grateful to Seon-doh Kim and Elizabeth Kirkendoll who helped smooth the challenging path of transcultural research.
References
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“Kongwich'ukhaŭmak” [Special concert in celebration of joint Soviet-American Commission]. Chungang Sinmun (Seoul), June 4, 1947.Google Scholar
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Min, Kyŏng-ch'an. Han'guk Ŭmaksa [Western music history in Korea]. Seoul: Turi Media, 2006.Google Scholar
Min, Kyŏng-ch'an. “Haebang Konggan'gi Yangakkye ŭi Yangsang: Ŭmak Tanch'e rŭl Chungsimŭro” [An aspect of Western music sectors during the post-liberation period: with a focus on musicians' organizations]. Han'gukŭmaksahakpo [Journal of the Society for Korean Historical Musicology] 53 (2014): 169–96.Google Scholar
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Pai, Hyung Il. Constructing “Korean” Origins: A Critical Review of Archaeology, Historiography, and Racial Myth in Korean State-Formation Theories. Cambridge, MA: Harvard University Press, 2000.CrossRefGoogle Scholar
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