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      <image:caption>Jean Ahn, composer</image:caption>
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      <image:caption>Archimedes’ Principle for gayageum and marimba</image:caption>
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      <image:caption>Fingerdance for piano four hands</image:caption>
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      <image:title>Ensemble Ari - Make it stand out</image:title>
      <image:caption>Whatever it is, the way you tell your story online can make all the difference.</image:caption>
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      <image:caption>Sarah Hong, Cello Acclaimed by music critics as “free, warm and a very expressive” performer, cellist Sarah Hong was born in Seoul, Korea. She began studying cello at the age of six and was selected as most promising young cellist in the nation at the age of 16, with her performance broadcasted nationwide by KBS. She made her New York debut at Carnegie Hall as a winner of Artists International. Ms. Hong studied at the Juilliard School (B.M. &amp; M.M.) and finished her artist certificate in chamber music at the SF Conservatory under the direction of Bonnie Hampton. Ms. Hong lives in Los Altos where she balances a busy career as a soloist, collaborative artist, and teacher. Currently, she is a cellist of Le Due Muse with pianist Makiko Ooka, Ensemble Ari, and San Francisco Cello Quartet. She teaches string orchestra at the King's Academy and cello sections at CYS and KAMSA youth orchestras. She has started the ‘Phos (φῶς)’ Benefit Concert Series to help support various non-profit organizations serving children all over the world in 2014. (www.cellistsarahhong.com)</image:caption>
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      <image:caption>Joowon Kang, Baritone South Korean baritone Joo Won Kang continues to establish himself as one of the most talented baritones today, popular both with audience and critics. A member of the Merola Opera Program, he was an Adler Fellow and sang with SF Opera, Los Angeles Opera, North Carolina Opera, Seattle Opera, Arizona Opera (Figaro in Il Barbiere di Siviglia), Wolf Trap Opera and Opera Theatre of St. Louis (Germont in La Traviata). He will sing with The Metropolitan Opera next season. He was the first-prize winner of Fort Worth Opera’s 2014 McCammon Voice Competition, which led to recital appearances both in Fort Worth and New York City. He has also garnered top prizes in such important vocal competitions as the Gerda Lissner International Competition, Opera Index Vocal Competition, Giulio Gari International Competition, Palm Beach International Competition, and the Ades Vocal Competition at Manhattan School of Music, as well as a Semi-Finalist placement in the Metropolitan Opera National Council Auditions.</image:caption>
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      <image:caption>Jean Ahn, Director/Composer Born in Korea, Jean Ahn finished her B.A. and M.M. at Seoul National University and Ph.D. at UC Berkeley. Her creative output includes works ranging from solo instruments to full orchestra, as well as choral, dance and electroacoustic music. Jean was the finalist for 2018 &amp; 2019 Women Composers Commissions by the League of American Orchestras and her music was performed by Oakland Symphony, Memphis Symphony, Berkeley Symphony, Earplay, Left Coast Ensemble, Volti, UC Davis Orchestra and more. She was featured at New Music Miami, New American Music Festival, Women Composers Conference (Australia), Aspen Music Festival, June in Buffalo, the Oregon Bach Festival, the Etchings Festival, IAWM Beijing Congress, SEAMUS and New York City Electronic Music Festival among others. She was the composer-in-residence with SF Choral Artists last season and she is currently working on a multimedia piano piece for New Arts Collaboration.  Jean's music often brings Asian traditional elements into western music. Her “Folksong Revisited” for piano and voice/piano collections are the ongoing projects that show her vision to introduce Korean songs and techniques to professional performers in the US. She is a Lecturer at UC Berkeley and Music Director at CHIM Studio. www.jeanahn.com</image:caption>
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    <lastmod>2026-02-19</lastmod>
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      <image:title>K-Folksong Revisited</image:title>
      <image:caption>Núcleo Música Nova, Brazil</image:caption>
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      <image:title>K-Folksong Revisited</image:title>
      <image:caption>Composers in Asia, University of Florida</image:caption>
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      <image:title>K-Folksong Revisited</image:title>
      <image:caption>CIA Symposium Korean Art Song Revisited: A Guide to Diction and Style</image:caption>
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      <image:title>K-Folksong Revisited</image:title>
      <image:caption>Purchase Digital Score Purchase a Hard Copy Contents 1) Performance of five re-composed Korean Folksong 2) Explanation of a proper style and diction for singing Korean Art Songs 3) IPA and word by word translations of the texts  Performance Notes Stylistic ornaments of the melody line are important elements in Korean music. These improvisational ornamentations of the melodic line are called the sigimsae in traditional Korean vocal music. Sigimsae can be understood as an idiomatic expression for ornamental techniques, and depends on an individual artist’s personal creativity and skill. [1] Below are the ornamentations that are used throughout this collection.  However, these are guidelines rather than a precise notation. The sigimsae used in each performance are dependent on the decision of the singers. While following the basic melodic shape of the ornamentation, the singers have freedom to interpret and execute according to their own mood, feeling, and the natural character of their voice, expressing their individuality.   [1] Kim, Heesun. (2009). Music of Sanjo. Y.Lee (Ed.). Sanjo. Seoul, Korea: The National Center for Korean Traditional Performing Arts</image:caption>
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