Topic 2 : The music of East Asia, the region -Korea-

Basic background of Korean traditional music

Geographically located between China and Japan, Korea is vast in terms of music culture.
Despite the influences from China, Korean music is also unique on its own. Koreans have the
unique characteristics of lyrical sensibility, using music to express their emotions. Traditional
korean music is referred to as ‘Gugak’, which means ‘national music’. Korean music can be
divided into 2 major categories, ‘Chongak’ (music for the ruling class) and ‘Sogak’ (music for
the common man). ‘Chong-ak also refers to ensemble music for men of high social status outside
of the court. ‘Chongak’ includes ritual music which are ‘Aak’(an imported form of Chinese ritual
music), ‘Hyang-ak’(a pure korean form) and ‘Dang-ak’(a combination of Korean and Chinese
influences). ‘Sogak’ are associated with the lower classes or the general public and are vibrant
and energetic. ‘Sogak’ includes shaman music, buddhist music, folk songs, farmer’s
music(nong’ak), a form of dramatic song called ‘pansori’ and an instrumental music called
‘sanjo’.

Korean Traditional musical instruments

There are more than 60 different Korean musical instruments today, and just like western
music, traditional Korean music can also be divided into 3 groups, which are string, wind and
percussion. Some of the popular Korean traditional musical instruments are the ‘Gayageum’(12-
stringed Korean zither), ‘Geomungo(6-stringed korean bass zither), , ‘Haegeum’ (2-stringed
vertical fiddle), ‘Sogum’(a small flute), ‘Piri’(a double reed bamboo oboe), ‘Daegeum’(bamboo
flute), ‘Janggu’(hourglass-shaped drum), ‘Buk’(barrel drum), and ‘Kkwaenggari’(a small flat
gong). ‘Gayageum’ is one of the most popular musical instruments in Korea. This instrument is
part of the string family, and is related to Japanese ‘koto’ and the chinese ‘guzheng’ among
others. Traditionally, we would only find 12 strings on the gayageum but more strings have been
added recently to play the more complex and contemporary pieces. To play it, you have to sit
cross legged on the floor and lay the instrument across your lap with the tail part resting on the
floor.

Rhythm and Style

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Many people think that gukak is slow and sad. However, the standard genres of
traditional Korean music are based on the idea of not expressing sadness in sad ways. This is
why the music sounds strong, bright and harmonious. Besides, there are also many songs in the
folk genres that have sad tones. For example, ‘Sanjo’ and ‘Sinawi’ are all deeply sad songs that
are known to bring an endless flow of tears but at the same time, the energetic rhythms of these
songs encourage listeners to get up and dance. This is because the basic nature of Korean people
is not based on ‘Han’(resentment, sorrow), but on ‘Heung’(excitement). Dancing to sad songs
and creating an energetic and upbeat mood even while singing of life’s sorrow is the most
attractive aspect of Korean traditional music. The basic rhythm in folk music is called
‘jangdan’(means tempo). It is expected that a skilled artist is able to improvise individually,
using the patterns as foundation. Most used patterns are ‘jinyang’(slow), ‘jungmori’(medium),
‘jungjungmori’(medium-fast), ‘jajinmori’(fast) and ‘hwimori’(very fast). Two basic modes in
Korean traditional music are called ‘gyemyeonjo’(sad style) and ‘ujo’(majestic).
The folk music genres in Korean traditional music can be divided into ‘Pansori’(vocal
folk “opera”), ‘Sanjo’(instrumental music)’, ‘Jeong-ak’(instrumental and vocal music),
‘Nong’ak’(farmer’s music), and Sinawi(shamanistic music).

Pansori
‘Pansori’ is a long vocal and percussive music played by a drummer(gosu) and a singer-
narrator(kwangdae). It is a Korean solo opera music performance in which the singer matches
their voice to the beat of the drum. Pansori was formerly considered as an entertainment for the
lower class, until the patronage by the upper class made pansori popular. Today, there are 5
surviving pansori, ‘Chunhyangga’, ‘Simcheongga’, ‘Heungbuga’, ‘Sugungga’ and
‘Jeokbyeokka’. Each conveys a different message to the audience. For example, ‘Chunhyangga’
is a romantic love story about a woman who endures hardships and stays faithful until her lover
returns; while ‘Simcheongga’ is a story about the sacrifice the girl Simcheong made to give her
blind father his eyesight back. With a fan in hand, the singer uses a combination of song,
narration and dramatic gesture to tell a story. Meanwhile, the drummer provides the appropriate
rhythmic setting for each song. A considerable amount of improvised interaction occurs between
the drummer and the singer throughout the performance.
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The various metric frameworks of pansori are called jangdan. Each jangdan is
distinguished by the number and subdivision of beats within a metric unit, by the pattern of
accents, and by general tempo specifications. One of the most important things in a pansori
performance is the interaction with the audience. The audience are encouraged to participate to
the music through ‘chuimsae’(encouragement), for example by shouting ‘eolshigu!’ and ‘joota!’,
both means ‘great’, ‘good’ and general agreement to the scene the musician describes. Pansori
became internationally recognized in 2003 as a Masterpiece of the Oral and Intangible Heritage
of Humanity by the UNESCO.

Sanjo
‘Sanjo’(literally meaning “scattered melodies”) is a solo instrumental music and one of
the most popular genres of Korean music. When court musicians first heard these sanjo pieces,
they didn’t think of it as music but rather a disorganised collection of scattered notes. The music
relies heavily on improvisation and the most prominent musical characteristics is that the piece
increases in tempo as it progresses through the various rhythmic modes. The general style of the
sanjo is marked by slides in slow movements and rhythmic complexity in faster movements. The
janggu(hourglass-shaped drum) is also important in establishing the rhythmic foundation for the
instrumentalist. Gayageum(12-stringed zither) are the main instrument in sanjo, followed by
other instruments such as Geomun-go(6-stringed plucked zither), Haegum(2-stringed spike
fiddle), Ajaeng(bowed zither), Daegum(bamboo flute), Piri(double-reed oboe), Danso(vertical
flute) and Taepyeongso(double-reed oboe).
The ‘early sanjo’ is strongly improvisational without certain fixed melodies, whereas the
‘late sanjo’ is more or less prepared by relatively fixed ones. The most crucial element of Korean
music including sanjo is ‘jangdan’ (“long and short”), a cycle of rhythmic patterns. ‘Jangdan’
can also refer to beat, tempo, a certain type of meter, accent, specific drumming techniques, or
the name of a movement. In performing sanjo, the janggu plays the jangdan, though the buk does
on rare occasions. Usually sanjo starts with a slow rhythm, then becomes faster, ending with a
very fast rhythm like a ‘danmori’ rhythm and creating enthusiasm in the audience. Same with
pansori, the practice of ‘Chuimsae’, vocal calls of encouragement and appreciation given by the
drummer and the audience. The Gayageum strings are relatively slack and thus permit wide
pitch-bending by pressing with the left hand on the non-sounding portion beyond the movable
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bridges. These pitch-bends, along with various forms of vibrato allow the use of melodic modes
(cho/jo) not limited to the pentatonic tuning of the strings. They also allow recognizable
differences of personal style in the width, speed, and timing of the pitch-bending.

Sinawi
Sinawi is an improvisational genre of Korean folk music that originated in the
southwestern regions of South Korea. It serves as a musical accompaniment to Korean shamanic
rituals. Shamanism is a religious phenomenon centred on the shaman, a person believed to
achieve various powers through trance or ecstatic religious experience. They are typically
thought to have the ability to heal the sick, to communicate with the otherworld, and often to
escort the souls of the dead to that otherworld. This genre is performed by an instrumental
ensemble. The instrumentation for sinawi normally consists of the geomungo (6-stringed
plucked zither), gayageum (12-stringed plucked zither), ajaeng (bowed zither), haegeum (2-
stringed spike fiddle), piri (cylindrical double-reed bamboo oboe), daegeum (transverse bamboo
flute), janggu (hourglass-shaped drum), and jing (gong). Each of these instruments produces a
somewhat sorrowful sound. A singer sometimes joins the ensemble singing non-lexical vocables
called ‘gueum’.
Sinawi requires the most extensive improvisation among Korean musical genres and
showcases the highly developed artistic creativity and competence of the musicians. As the
accompanying music for the songs and dances performed by shamans, sinawi naturally resulted
in improvisation. The major element that regulates sinawi during an improvisation is the
jangdan(rhythmic cycle). Unlike Korean court music, Sinawi music has no law of harmony, and
does not use sheet music. It has no regular measure of musical timing. It lacks the concept of the
metronome as used in western music theory. Sinawi usually begins with slow jinyangjo,
gradually processes to a moderate jungmori, followed by a moderate salpuri and concludes with
a fast jajinmori. Within the prescribed jangdan framework and abstract modal configuration, the
melody flows with heterophonic and polyphonic lines.

Korean folk song ‘Arirang’

Arirang is a popular form of Korean folk song, sometimes considered the unofficial
national anthem of Korea. Arirang is an ancient native Korean word with no direct modern
Topic 2 : The music of East Asia, the region -Korea-

meaning. It is the name of a Korean mountain pass. This song is classified as a love story, it has
been sung for over 600 years. Arirang is a simple song, which consists of the refrain ‘Arirang,
arirang, arariyo’ and two simple lines, which differ from region to region. Even though arirang
from each province evince different characters of style, all represent the people’s everyday lives
and their sorrows, humor, or bitterness of life. This musical composition invites improvisation,
imitation and singing in unison, encouraging its acceptance by different musical genres. The
main instrument for Arirang is the Janggu(hourglassed-drum). Sometimes it is also accompanied
by other instruments such as the ajaeng, gayageum, geomungo and buk. In western music, it is
played by only a guitar and a piano. The singing style in this song is straightforward, without any
embellishments or improvisation. Arirang is a song embodying the unique energy of the Korean
people. It has the strength to unite the Korean people and make communication possible through
its spirited and enlightening melody and lyrics.

Conclusion
Despite having influences from China, Korean traditional music is unique in its own way,
diverse and rich. Korean music is diverse in its style with distinct sounds that are made from
unique Korean instruments and those are what make Korean music different from others.
Traditional Korean music includes both the folk, vocal, religious and ritual music styles of
Korean people. Gugak can be divided into 2 major categories which are the upper class(chongak)
and the lower class(sogak).Some of the most significant Korean traditional musical instruments
are the gayageum, geomungo, haegeum, piri, janggu and buk. Almost all gukak maintain a set of
rhythms which are called ‘Jangdan’. Pansori, Sanjo and Sinawi are some of the most common
genres in Korean folk music. All of them are similar in terms of the rhythm and musical style.
Arirang is the most representative folk song of Korea, sometimes called the ‘unofficial national
anthem’ of Korea. Korean traditional music expresses an optimistic spirit that transforms sorrow
and despair into excitement and delight. Korean traditional music should always be preserved not
only by the older generations but also modern generations too. In recent days, more modern
Korean artists are taking things back to their cultural roots. They have included more elements of
Korean culture into their songs and MVs. For example, in one of BTS(a popular kpop idol
group) song, ‘Idol’ uses a rhythm found in pansori, a traditional style of Korean storytelling set
to music with a drum. ‘Idol’ also includes Korean instruments such as the kkwaenggwari,
Topic 2 : The music of East Asia, the region -Korea-

gakgung and janggu. The group makes use of the phrase ‘eolssu!’, an exclamation of
encouragement that is used in pansori, on the chorus. Besides, the circular leaping in their
choreography is derived from the Korean folk dance ‘pungmul’ dance, and the MV is full of
cultural references, from the traditional architecture to the members’ hanbok(Korean traditional
attire)-inspired clothes. Music is not a fixed or unchanging entity but an expression of the
everyday life of a certain period in time. Traditional Korean music, which has existed for
thousands of years, continues to evolve today through its blending with Western music.

(2009
words)

Group members :
1. Angela Goh Zeng Zhen (Group leader)
2. Lee Yeong Mun
3. Baek Gwanggyu
4. Yeong Oh Ko
5. Malcom Kho Cheok Kwang
6. Teo Qiao Er
7. Aoi Nakase
Topic 2 : The music of East Asia, the region -Korea-

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