(Jrt)
Music of Korea
Korean music is a hybrid of influences Chinese (and Japanese) and indigenous elements.
Despite having always been an independent state until 1910, Korea is now split into two, but his music and its traditional culture remains the same. The only difference comes from Western influence in modern music in the south, and the ideological influence in the north.
The Korean Traditional Music (gugak) has been developed according to the vicissitudes of history and from the seventh century, during the Silla dynasty, ele was split into court music and folk music, the instruments of that time is still in use.
Music by Court
Court's music is a reflection of viscissitude the country. Following the Chinese influence, it was divided up into three types by 1425:
Aak: It is the Chinese Confucian ritual munmyo cheryeak, imported in 1116. It has almost disappeared today.
Tangak: It is the secular music of the Tang Dynasty of China, mèlée to elements Korean. It also has virtually disappeared.
Hyangak: It is the Korean secular music dating back to the sixth century. During the Koryo dynasty, the influence Sung replaced that of Tang. The haegum and Chango, instruments typical today appeared. This influence declined with the Yi Dynasty. It is with the King Sejong, musician, that the Chinese ritual was abandoned and replaced by elements Korean thanks to a new musical notation (1454). It is still widely used, including dances.
Music aristocratic jeongak
The jeongak or chongak ( "proper music") is a complementary range, corresponding to the chamber music or the noble aristocrats. It is slow, solemn and sophisticated. Most of this music was composed to accompany dance, banquets or military parades (daechwita), inter alia through the komungo.
Chamber music and dance held in the following instrumental Yongsan Hoesang in nine parts with his orchestral variations:
* Hyonak yongsang hoesan for strings.
* Kwanak yongsang hoesan or manbangjigok for winds.
* P'yongo yongsang hesan, two tons less than the first, for strings and winds.
The vocal music is of three types:
* Kagok is a long cycle along with former lyrical instruments (strings, winds and percussion). Divided into five sections, it is sung by men (26 songs) and women (15 songs) alternately.
* Kasa is a compendium of twelve songs accompanied by slow instruments (wind and percussion). The voice alternates between normal and falsetto.
* Sijo or shijo is a song reserved for the slow narrative poetry or moral sentences, accompanied by instruments (piri, tanso and changgo simple beat or hands). The voice also uses vibrato and falsetto.
All pungnyu is the one that accompanies these expressions voice.
The traditional song Arirang, including several regional versions have been developed over the centuries, can be seen as the synthesis of national heritage Korean classical music.
It was in the sixteenth century that the Korean music himself from the Chinese by adopting non-metre double, but triple (three beats per measure) and sometimes five, and opting for the range pentatonic. Only two pentatonic modes have been used since the fifteenth century: p'yongjo and kyemyonjo, played in Bb and Eb, the latter becoming the favorite of the Court. Meanwhile, folk traditions developed: pansori and sanjo.
The notes are guères fixed, and are subject to large vibrato, and similarly, the intervals are subject to the mood of the musicians, according to the desired effect. Hence it is difficult to transcribe their music with the Western system. There was no polyphony, but sets hétérophoniques, where each instrument plays its version of the air.
After Japan's 1910 annexation, music experienced a decline until 1951, when the National Institute of classical music was founded in order to preserve the music of Court.
Ritual
The chongmyo cheryak a ritual is celebrated annually at the Shrine ancestral (Chongmyo) in Seoul. Major orchestras perform with flutes, oboes, lithophone, drums and gongs to change. Many dancers accompany these ceremonies.
Two suites ritual (Pot'aep'yong and Chongdaeop) consisting of 22 pieces of inspiration Chinese and Korean are executed pae organized into two sets antiphonie.
The munmyo cheryeak is a ritual also become rare and occurs twice yearly at the Temple of Confucius at the University of Songgyun'gwan. These are music aak which are performed by two sets too.
For Buddhist instrumental music, a series called chorach'i includes the following instruments: hojok, nabal or nap'al, nagak or sora, chabara, and yonggo ching.
Folk Music minsokak
In oral tradition and music derived from peasant (pungmulnori and nong-ak) and shamanistic (sinawi), it is fast and dynamic. These are virtually the same ensembles that play folk music where the double meter is used and where each musician has his own version of the air.
The sinawi is an improvisational music of all aimed at influencing people's minds during the shamanistic ceremonies. Performed on how kyemyon on a pace for 12 / 8, it is inspired by the pansori and sanjo.
The kayagum pyongch'ang and kayagum sanjo songs are derived from pansori and tangas (preludes to pansori). The singer accompanied himself kayagum, a popular instrument, improvising between the vocal parts. It is possible that this style is related to kisaengs ( "geisha").
The samulnori or samullori, is a predominantly percussive music (and kkwaenggwari ching gongs and drums and changgo puk) founded in 1978 by Kim Duk-Soo from ancient traditions; she accompanies dances and shamanistic rituals.
The sanjo is an instrumental piece dating from the nineteenth century design by Kim Ch'angjo the kayagum and improvised on various rhythmic cycles (changdan) going crescendo. There are various schools and styles depending on the instrument performed.
The vocal music is represented by:
* Pansori, opera and folk epic narrative, which can last up to eight hours.
* Minyo, simple folk song (close to the minyo Japanese), which many alternatives exist (kyonggi minyo the east namdo minyo southern and northern minyo soda) and whose song Arirang is there also a reference.
* Suhdosori, song of lamentation.
* Tul nori, or nori poong Mool nong ak, chanting propiciation land near the sinawi.
Musical Instruments
There are a hundred different instruments in Korea. All sets include instruments: piri, taegum, haegum and changgo.
All samhyon yukkak a piri more and puk.
The orchestra Court has doubled and increased the tang jok, ajaeng and chwago.
The chamber orchestra Court includes all basic and tanso, kayagum, komungo and yanggum.
The suffix gum is sometimes transcribes geum or keum.
* Wind Instruments
O piri
O hojok (or t'aep'yongso or nallari)
O taegum
O Tang-jok (or sogum)
O tanso
There are a hundred different instruments in Korea. All sets include instruments: piri, taegum, haegum and changgo.
All samhyon yukkak a piri more and puk.
The orchestra Court has doubled and increased the tang jok, ajaeng and chwago.
The chamber orchestra Court includes all basic and tanso, kayagum, komungo and yanggum.
The suffix gum is sometimes transcribes geum or keum.
* * Wind Instruments
O haegum (string, but ranked among the winds Korea)
O ajaeng (ditto)
* String Instruments
O kayagum
O komungo
O yanggum
* Percussion instruments
O pyonjong
O panghyang
O changgo
O puk
O chwago
O yonggo
O Pak
O Ching
O kkwaenggwari
O para or chabara
O mokt'ak
Read also Music of Korea
wikipedia
