Distinguishing Features of Korea's Traditional Music

Basic Compositions Jeong-ak Minsogak Beompae and Ritual Music Organizations

Developed over the course of several millenniums, traditional Korean music possesses a number of distinguishing features. Korean music influenced that of China or Japan in ancient times, and later, it was in turn significantly influenced by Chinese or Central Asian music. During the 20th century, Western-style music was introduced to Korea and in terms of quantity, became more pervasive than traditional music forms.

Historically, Korean music has developed through frequent exchanges with neighboring nations; yet, it has preserved and developed a number of features that are unique.

First, a leisurely tempo is a general feature of Korean music. In particular, most of the music that makes up the genre known as Jeong-ak has a slow tempo. The Korean musical sound can last as long as three seconds. Such a slow tempo gives music a distinctly calm, meditative character. The leisurely pace of some Korean music is due to the importance placed on breathing, with each beat being matched to the player's inhalation and exhalation. In this respect, Korean music differs markedly from Western music in which the beats occur at a tempo similar to the beating of the heart. In other words, Western music, based on a heart-beat tempo, tends (like the heart) to be active and progressive, whereas Korea's Jeong-ak genre of music, based on breathing, is sedate and contemplative.

Second, the tone color of Korean music in general, and the Jeong-ak genre in particular is warm and soft. In fact, the timbre is so gentle that the fusion of tones and melodies does not result in discord. The gentle timbre of the music can be attributed to the fact that Korean instruments are made of nonmetallic substances. In the West, wind instruments such as the flute or clarinet are made of metal. In Korea, on the other hand, the wind instruments tend to be made of wood; even the stringed instruments have silk strings instead of wire. To this extent, Koreans like the warm and gentle feeling of natural materials.

Third, Korean music is characterized by spontaneity. This is more evident in folk music genres, with their emphasis on feeling, than in the Jeong-ak style which seeks to control emotional expression. Most would agree that Koreans tend to be emotional rather than intellectual. This emotional exuberance makes it easy for Koreans to enter into religious ecstasy. Hence, in the past, there were numerous ecstatic shamans in Korea who would pass into an ecstatic state until their exuberance had completely run its course. In music, too, emotions can reach such heights that they transcend the music's formal elements. Indeed, when emotion plays a central role, precise formal elements have no raison d'etre. Within such spontaneous genres, there is only a general framework with the precise contents primarily determined by the feelings of the moment. The music genres known as sanjo (solo instrument and drum accompaniment) and pansori (solo vocalist with drum accompaniment) amply demonstrate this. Unlike the numerous musical forms that have been fixed in musical scores, these genres have an open form that encourages spontaneous creativity. Even when the exact same sanjo piece is performed, different artists may interpret it quite differently. In fact, the same artist may give a significantly varied performance according to the time or location. Thus, the same piece might be condensed into 10 minutes or extended to 20 or 30 minutes. Likewise, folk singers who wish to extend a song due to extra enthusiasm, or, for other reasons, will often spontaneously ad-lib.

Fourth, Korean musical pieces are usually linked together when performed. This phenomenon is evident in gagok, a Korean genre similar to the Western songs. A good example is Yeongsan hoesang, a composition that resembles a Western suite. Gagok consists of over 20 long vocal pieces that are accompanied by a small chamber ensemble. When sung, each piece is run into the composition that follows without any clear break. Yeongsan hoesang is a representative instrumental composition consisting of nine pieces with absolutely no pause between each part. It is thus impossible to figure out which piece is being performed unless one is familiar with the composition. The lack of a hiatus between musical pieces is associated with the unique character of the Korean people who are outwardly gentle but inwardly tenacious. This aspect of the Korean character is best exemplified in the vocal genre known as pansori. In the pansori epic Chunhyangga, for example the vocalist assumes numerous roles while singing nonstop for over eight hours.

Fifth, the tempo distribution of traditional Korean music is unique. Unlike Western music, which alternates between slow and fast movements, Korean music normally begins with a slow tempo that gradually speeds up as a piece progresses.

The often-performed sanjo genre, for example, begins with a slow movement known as jinyangjo, which is followed by the jungmori (appropriate speed) movement. This, in turn, is followed by a rapid movement called jajinmori. Such a gradual progression is not limited to sanjo, which involves a relatively unified composition, but is also evident in suites made up of numerous separate pieces. In suites, the initial pieces are performed at a slow tempo which gradually picks up in the pieces that follow. This phenomenon can perhaps be attributed to the emotional character of the Korean people. The gradually increasing tempo leads to self-absorption which finally culminates in an ecstatic state beyond the confines of ego as in Korean shamanistic performances.

Lastly, in order to understand Korean music, one cannot disregard the prominent role of eum-yang (yin-yang) and five elements theory in ritual music. Botaepyeong, a type of music performed at Jongmyo (the royal ancestral shrine), serves as a good example. In Botaepyeong, two instruments, called a chuk and an eo, are used. The chuk, which is only played in the beginning, is always situated in the east and is painted blue (symbolic of the east), while the eo, which is played at the music's conclusion, is situated in the west and is painted white (symbolic of the west). Thus, one cannot understand such music through merely listening: to fully appreciate it, one must be aware of its underlying philosophical significance.


Basic Compositions

Traditional Korean music consists of the Jeong-ak and Minsogak genres.

As the music was enjoyed by the intelligentsia, Jeong-ak roughly corresponds to classical music in the West, whereas Minsogak, as the music of the common people, corresponds to Western folk music and popular music.

As a general rule, the Jeong-ak style of music has a spiritual, contemplative quality, while Minsogak openly celebrates emotions in a lively fashion. The latter thus leads the listener toward an ecstatic state of mind. In Western terms, the former is close to Classicism while the latter resembles Romanticism. The representative compositions of Jeong-ak include Sujecheon, Yeongsan hoesang and gagok, while those of Minsogak include sanjo, samul nori and pansori.


Jeong-ak

Sujecheon is a traditional wind ensemble in which the piri (bamboo flute) and daegeum (large transverse bamboo flute) are played in a long, revolving rhythm. This ensemble is thought to have been in existence for several thousand years. As a highly refined musical form, it exemplifies the uninterrupted, continuous character of traditional Korean music. Fluid yet full of strength, sober yet vibrant, Sujecheon reminds one of a long, broad river. Foreigners who hear this music for the first time often describe it as a "heavenly sound" or "divine revelation." Indeed, this natural-sounding music seems to echo forth from the distant past.

Derived from Buddhist music, Yeongsan hoesang has now become purely instrumental. This suite, consisting of nine pieces, can be played in its entirety or several pieces can be performed separately. In terms of instrumentation, it can be performed either as a solo, string ensemble or wind ensemble. The slow tempo of the initial pieces creates a calm, sedate atmosphere which gradually gives way to a quicker tempo and more lively feeling. As one of the most common musical styles seen at traditional concerts, this musical form is used for solos performed by a number of instruments and ensembles.

Yeomillak, created by King Sejong, was originally an elaborate musical performance that combined singing and dance, but the dance and vocal forms gradually fell into decline and it is thus performed only as an instrumental ensemble piece today. During its development, Yeomillak spawned a number of variants such as the Yeomillaknyeong, Yeomillakman and Haeryeong. Such variants were also seen in other traditional forms - an indication of the conservative character of the Korean people and their respect for tradition. Particularly in Jeong-ak music, musicians traditionally would not dare to create a completely new form. As a result, a limited repertoire was repeated for centuries, gradually changing over time so as to give birth to new variations.

There are three forms of traditional vocal performances in Korea: sijo, gasa and gagok. In the sijo, or sijo chang, a standardized three-lined poem is sung to a fixed melody. The sijo chang was previously a very popular form. With its slow tempo and calm feeling, it appeals to common people as elegant music that is easy to sing.

Gasa music, on the other hand, is sung in a spirited prose style. The length of each song is not fixed, and the main emphasis is on the literary content of the piece rather than its melody. As a result, this musical form tends to be simple and pure. At present, 12 traditional gasa compositions are extant.

Among the Jeong-ak vocal styles, gagok is the most developed and requires the greatest amount of technical ability. Gagok use the three-line, 45 character form of sijo poetry. However, gagok, unlike sijo chang, are sung in precisely divided movements with a minor wind accompaniment. More than 20 traditional gagok pieces still exist and these have diverse melodies and themes. Taken as a whole, gagok has a sober yet leisurely, profound atmosphere. Expressed in visual terms, gasa music can be compared to the simple purity of Joseon-era white-glaze pottery while gagok music embodies the profound, contemplative quality of Goryeo celadon.


Minsogak

Unlike Jeong-ak, with its sense of emotional composure and control, Minsogak is characterized by a rapid tempo and unrestrained, exuberant emotional expression. Minsogak vocal music includes the unique form known as pansori as well as minyo and miscellaneous other types. In pansori, a single vocalist tells a long story in which she or he assumes a number of different roles. At present, there are five complete, traditional pansori compositions in existence. The songs tend to be very long, with compositions such as Chunhyangjeon (Tale of Chunhyang) requiring more than eight hours to perform and Sugungga (Song of the Underwater Palace) requiring more than four hours. Combining a number of diverse formal elements, pansori alternates between a slow and fast tempo, the quiet and dramatic, and melodic passages and passages rendered in everyday speech. The music elicits numerous emotions, ranging from sidesplitting laughter to profuse tears. Performed with the sole accompaniment of a drummer, pansori, like most genres of folk music, is performed with numerous ad-libs and improvisation.

Minyo are broadly classified into three types according to region, namely, Gyeonggi, Namdo, Seodo and Dongbu minyo. Gyeonggi minyo were traditionally popular in the central area around Seoul, while Namdo minyo were popular in the southern area around Jeolla-do province and Seodo minyo were popular in the northwestern area (present-day North Korea) situated around Pyeong-an-do province. Gyeonggi minyo are generally characterized by a frantic tempo and cheerful mood. As the music progresses, one feels happy and uplifted. Namdo minyo has a relatively slow tempo and a crude, dark timbre. Its sharply alternating melody gives one the sense of deep, inward pathos. Seodo minyo, with its clear nasal tones and fine vibrato, reminds one of fine ripples spreading outward on a lake. In contrast with Gyeonggi minyo, it has a slow tempo and pure, tranquil feeling reminiscent of a cool autumn sky.

In addition to the above, there are a number of unique singing styles, generally classified as japga (miscellaneous songs), found in different regions throughout Korea. In terms of melody and structure, these songs tend to be technically weak. Most are based on an old text or story, and they are sometimes recited as if from a book.

Among Minsogak instrumental music, the most famous compositions are Sanjo and Sinawi. Sanjo basically consists of three movements known as jinyangjo, jungmori and jajinmori. It is widely performed as the basic repertoire of traditional solo instrumentalists. Examples include the Gayageum (Gaya zither), Geomun-go (stringed zither), Piri (bamboo flute), Daegeum (large transverse bamboo flute) and Ajaeng (seven-stringed zither) sanjo.

Although sanjo performers follow the basic three movements, they tend to freely give the music their own unique interpretation. However, with the introduction of Western-style notation, the music has recently become more rigidly fixed. Sanjo music is popular as a style which allows the performer to demonstrate his or her technical expertise while giving free rein to his or her creative expression.

Sinawi, on the other hand, is normally performed by a traditional instrument ensemble. Within the form's loose structure, musicians freely display their individual skill while harmonizing with the other members of the group. Like stars in the night sky which shine individually yet are ultimately part of the cosmic order, this musical form allows the maximum freedom for each musician's unique expression within the context of group harmony. As a musical form embodying Korean sentiment and timbre, this music, along with sanjo, is easy to appreciate.

Samul nori is one of a traditional instrumental music that has won international acclaim. The term Samul means "four" while "nori" means to play or perform; hence the name Samul nori signifies a performance using four instruments, namely, small and large gongs made of bronze and leather and double-headed hourglass and barrel drums. These four instruments were used in Nong-ak, a traditional, outdoor musical performance which goes back into Korea's remote past. In Samul nori, Nong-ak has been adapted for indoor performances. Samul nori is a percussion instrument ensemble. It was created in the 1970s based on traditional Korean farmer's music and rhythms suitable for the four instruments included. The genre's subtle charm comes from its free employment of the numerous rhythms found in Korean traditional music. The four percussion instruments used in this style of music have their own unique function and tone colors. The instruments are distinctly different in terms of musical range, timbre and resonance; yet their sounds are brought together to form a harmonious whole.


Beompae and Ritual Music

In addition to the Jeong-ak and Minsog-ak styles, there are several other important traditional music genres such as the Buddhist Beompae, ritual music and Jongmyo ceremonial music. Beompae, with its long, drawn-out notes, is occasionally played at Buddhist ceremonies, but is rarely performed at concerts. As a result, the group of musicians able to perform Beompae is limited to a few monks. Ritual music includes pieces that are played during rites honoring Confucian sages as well as those played during Jongmyo ceremonial music during rites honoring Joseon Dynasty kings. The former is known as Eung-anjiak while the latter consists of two repertoires known as Botaepyeong and Jeongdae-eop. Botaepyeong and Jeongdae-eop the music played especially during the Jongmyo ritual, has a mysterious and inspirational quality. When performed for the solemn rites at the Jongmyo complex (a unique architectural masterpiece that has been registered on the UNESCO World Cultural Heritage List), Botaepyeong and Jeongdae-eop music evokes a feeling of tremendous artistic purity. The harmonious quality of the music is remarkable in itself; yet, even more amazing is the meticulous use of instrumental arrangement to symbolize the East Asian philosophy of eum-yang and the five elements.


Organizations

The National Center for Korean Traditional Performing Arts (founded and operated by the government) has over 170 performers and dancers, while the Korean Folk Performing Arts Center in Namwon in Jeollabuk-do province has approximately 100 performers. The former primarily organizes performances, promotes educational activities related to traditional performing arts and publishes related research reports. Its performances include regular annual concerts, domestic tours, international tours and participation in national events. Its vast repertoire includes Jeong-ak, Minsogak and dance, and ranges from classical works to more modern productions. At 5:00 p.m. every Saturday, it offers regular performances, all of which feature the main genres of Korean traditional music.

At present, there are six high schools specializing in traditional music. About 20 traditional music orchestras are active in Seoul and regional cities. The state-run Korean Broadcasting System operates an FM channel wholly devoted to traditional music. Regional organizations have also joined the trend, offering various classes and lectures on traditional music. Lastly, there are over 500 small and large-scale, traditional music societies and institutes throughout the country.