Distinguishing Features of Korea's Traditional Music
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 CompositionsTraditional 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-akSujecheon 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.
MinsogakUnlike
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 MusicIn 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.
OrganizationsThe 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.