K-Traditional Music 8 Page > Little Korea

K-TRADITIONAL MUSIC

5,000 Years of Korean Soul

  • 2021.4.12
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    It vividly depicts the joy of Heungbo riding a gourd.
  • 2021.4.13
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    ☆Sinawi is generally played freely with several scattered gyemyeonjo melodies.
    It is emphasized by the beauty of tightening and loosening without having a complete structure which makes it similar to Sanjo.
    Ajaeng is the leading instrument in Sinawi that is played by several instruments together due to it's affectionate feeling fits the sentiment of Shinawi.

    Usually, the beginning is played with some familiar melodies, and then improvised tunes appear only when the emotions are somewhat mature.
    The melodramatic yet splendid melody is a charm that can only be felt in improvisation.
    This improvisation gives us an idea of the condition of the performer, and it is only when we guess the performer's emotions that the performer meets with the audience.

    Sinawi is simply the music of harmony - it's mingled rhythm are exquisite.
    Especially, the technique of waiting for beat and then coming in, or cutting in before beat is so cool.

    The expression "wait for the beat and come in" is not appropriate because Ajaeng makes a sound with a bow. However Ajaeng has the structure of the paradox that it is not a negative while making a note. That's why it is said that "eat a beat and make a sound."
  • 2021.4.14
    Recommended dance
    Cheoyongmu, National Intangible Cultural Property No. 39

    ○ Dance/Choi Byung-jae, Park Sung-ho, Kim Chung-woo, Jeong Hyun-do, Kim Jin-woo, Map/Lee Jong-ho
    ○ Jipbak/Lee Sang-won, Flute/Kim Sung-joon/Lee Jong-moo, Daegeum/Lee Seung-yeop/Lee Oh-hoon, Haegeum/Sa Hyun-wook/Han Gap-soo, Janggu/Hong Seok-bok, Jwa/An Seong-il, Changsha/Moonhyun/Kim Byung-oh

    ○ Hosting and filming/National Gukak Center
  • 2021.4.15
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    ♡ Nolbo came to Heungbojip, where he became rich, was treated well, and sang a scene where he took a flower garden with him on his way.

    This is a comic story about visiting Heungbo's house, taking away Heungbo's plant and returning with it on his back, and forgetting the name of the ark when he crossed the street.

    It is one of the representative jokes of Heungboga, which evokes laughter by putting the greedy Nolbo's mindfulness in the cheerful Jungjungmori rhythm.
  • 2021.4.16
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    ☆World-caught folk song band 'Singsing' - Lee Hee-moon, Choo Da-hye, Shin Seung-tae (Sori), Jang Young-kyu (Base), Itaewon (Other), and Lee Chul-hee (Drum)
  • 2021.4.17
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    ☆Park Jong-seon ryu Ajaeng Sanjo is composed of Jinyangjo, Jungmori, Jungjungmori, and Jajinmori, which are commonly called 'Sorije Sanjo (a sanjo more influenced by pansori)'.

    Master Park Jong-seon had been playing his own Sanjo before taking classes from Master Han Il-seop. After learning various rhythms from Han Il-seop at the age of 24, he added his own melodies to play the Park Jong-seon Ajaeng Sanjo, which is almost twice as long as the Sanjo he learned from his teacher.
  • 2021.4.17
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    ☆'Neungge' is a marching music played by a group of Chwigosu, sung during a big event in a farm or village, and has a cheerful and cool characteristic.

    This song was created by master Choi Kyung-man himself to leave the Taepyeongso performance to his students before it was forgotten while most of hojeok pungnyus are Namdo-je.
  • 2021.4.19
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    ☆Noraet Garak is a representative popular folk song of Gyeonggi Province, drived from shaman songs around Seoul.

    Because of this, it was also called "Mu-nyeo Yuga" (a song enjoyed by female shamans).

    The song was originally sung after the shaman's exorcism in Gyeonggi Province and Gongsu's (talking to God) and King Gojong's court ladies sang Sijo peom on top of the royal exorcism ceremony to present it to the king, which became widespread among the people.

    Noraet Garak is a unique song that combines the characteristics of shaman songs, Sijo and folk songs.
  • 2021.4.20
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    The song won the grand prize at the 32nd Creative Korean Traditional Children's Music Contest 2018.

    Composed by Park Eun-do
    Lyrics by Park Yoon-hee
    Arranged by Kim Baek-chan
    Song by Son Hee-soo, Lee Sa-bin, Jang Yu-kyung, Jeon Ho-min
  • 2021.4.21
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    Unlike other sijo forms, Gaksijo has flexibility in its length depending on the length of the lyrics, and in particular, five or eight beats are repeated several times in the middle chapter. The first chapter(chojang) is similar to ordinary sijo, but in the middle chapter is chirped with a high note.☆
  • 2021.4.22
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    ☆World-caught folk song band 'Singsing' - Lee Hee-moon, Chu Da-hye, Shin Seung-tae (Sori), Jang Young-kyu (Bass), Lee tae-won (Guitar), and Lee Chul-hee (Drum)
  • 2021.4.23
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    ☆"Hojeokpungryu" is a taepyeongso Sinawi accompanied by samulnori or pungmul, which is remade in a way that is carried and received in accordance with instrumental accompaniment.

    Most of the Hojeok Pungnyu play Namdo-je Taepyeongso Sinawi in the accompaniment of Samul(nori).
  • 2021.4.24
    Recommended dance
    ☆ Jukganja/Lee Yoon-jung/Lee Do-kyung
    Hyeopmu/Kim Chung-woo, Jung Hyun-do, Kim Seo-ryang, Kim Jin-woo, Kim Hyun-woo

    It was one of the newly created Dangak Jeongjae during the reign of King Sunjo of the Joseon Dynasty. Prince Hyomyeong named after Jangsaengboyeonji-ak(music) from Song dynasty in 1829 (the 29th year of King Sunjo's reign). There are four dances that Jukkanja leads Dancers to enter and exit, including "Jangsaengboyeonji-mu."
  • 2021.4.25
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    ☆Jeokbyeokga is one of pansori repertoire about the old stories from Romance of the three kingdoms.

    Jeokbyeokga is a song with a strong will and masculine character, and among them, Zhao Yun's Bow Shooting scene is a part of which is musically well-organized, lively, and requires considerable power.

    It is sung by a solemn sound that causes dramatic tension on Ujo, and is a representative part (nun-daemok) of the Jeokbyeokga.

    The significance of this passage lies in the fact that it best embodies the pansori beauty of the magnificent Jeokbyeokga.
  • 2021.4.26
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    The "Pungryubang" culture, which played a major role in the occurrence and transmission of major music pieces of current traditional music, expressed the feelings conveyed to musicians living in this era as chamber music.