K-Traditional Music 2 Page > Little Korea

K-TRADITIONAL MUSIC

5,000 Years of Korean Soul

  • 2021.2.7
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    Ongheya
    Chan Giparang-ga (Ode to Giparang)
    Han Obaeknyeon (About 500 years)
    Bingbing (Park Soon-ah.Park Yi-seul. Shin Hye-mi.)
    Sapidity of Gung Taryeong ☆
  • 2021.2.13
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    ☆Cheolhyeongeum(CHG) was designed by Kim Young-chul, a master of Namsadangpae in the 1940s. It is played by pulling or tearing off eight iron strings with a bar.

    It has a strange sound like a combination of Geomungo, Gayageum, or Western guitar.

    Yoo Kyung-hwa, who played as a geomungo player and changed her direction to CHG, is said to have accepted CHG into her destiny since then after hearing a recording of Ahn Hyang-nyeon's performance with Lim Dong-sik, a master of geomungo.

    Sin Sacheolga(New four seasons' song) is a piece of music that sings about the scenery in all four seasons, and in this performance, you can see it playing around instrumental music.
  • 2021.2.17
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    ☆ Sinawi came from dosalpuri and salpuri. The word 'sinawi' originated from 'sinak'(new music).

    It is also called Sin-awi, Sinoi, Sinnori, Sinbanggok, and Simbanggok.

    Originally it is an instrumental ensemble but today's performance will feature a piri solo.
  • 2021.2.23
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    ☆The sound of Daego and Yonggo rings the heart informing heaven and earth about the birth of human life and pray for blessings.

    The various drum rhythms, which have subsided and swept away, express the dizziness and beauty of the world and allow the audience to feel excited and nervous by the dynamic and fragmented ensemble of the batters.
  • 2021.2.27
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    ☆It is a creative percussion piece that expresses the colorful and dynamic rhythm of traditional musical instruments with assorted drum ensemble, and features a circular composition in which the assorted drums of three generations of large, medium, and small make their own tones.

    The colorful performances of daego, the grand power of junggo, and the exhilarating rhythm of janggu combined to serve as a link between the audience and the stage and create an exciting atmosphere.
  • 2021.3.3
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    ♡ Cheolhyeongeum was designed by Kim Young-chul, a master of Namsadangpae, in the 1940s. To play by pulling or tearing off eight bars with a bar.

    The sound of geomungo, gayageum, or Western guitars is unique.

    Yoo Kyung-hwa, who played as a geomungo player and changed her direction to iron cash, is said to have accepted iron cash into her destiny since then after hearing a recording of Ahn Hyang-nyeon's performance with Lim Dong-sik, a master of geomungo.

    Iron cash: oil-curing
    Zhang Gu: Lee Tae-baek
  • 2021.3.7
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    ☆Kim Juk-pa (1911-1989), a master craftsman from Yeongam, Jeollanam-do, was born in the late 19th century as a granddaughter of Kim Chang-jo, who first made gayageum sanjo, and learned gayageum from him, and learned pungnyu, sanjo and byeongchang(sing along with playing) from his disciple Han Seong-gi.

    Later, Kim Jukpa refined the gayageum sanjo rhythms learned from his grandfather and master Han Seong-gi, and added her own melody and rhythm to complete the 55-minute-long Kim Jukpa ryu(style) Gayageum Sanjo.

    Kim Juk-pa ryu(style) Gayageum Sanjo is characterized by a soft, stable tone and delicate and profound Nonghyeon refined over the years by a master of a woman Kim Juk-pa.

    It was designated as Important Intangible Cultural Property No. 23 in 1978 as the tune currently played by the largest number of performers. Today, the performer will play using 'Gyeopcheong Johyeon Beop' that led to master Kim Juk-pa and master Moon Jae-sook.

    ○ Gayageum/Lee Seulgi, Janggu/Kim Cheongman
  • 2021.3.13
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    ☆'Han Gap Deuk-ryu' Geomungo Sanjo is known for its exquisite joys, lively tones and free sensibility.
  • 2021.3.17
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    ☆It has a very strong and solemn feeling, and it features a powerful touch with a masculine feel, especially strong impromptu features this style of sanjo.

    It is now passed down by master Kang Jeong-sook.
  • 2021.3.23
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    ☆Kang Tae-hong was taught by Kim Chang-jo and added the melody himself. It's Jangdan was composed of Jinyangjo, Jungmori, Jungjungmori, Jajinmori, and Hwimori. After 1950, Sesanjoshi (also known as Danmori) was added.

    This music feel more cheerful compared to other styles of sanjos by producing a 'e' as 'f' in most Ujo melodies, and pressing 'd' a pitch or one and a half pitch higher in Gyemyeonjo melodies (if expressed as a musical note of Western music for convenience.)

    It's differentiated by complicated and irregular melody and frequent offbeat.
  • 2021.3.27
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    ☆Sanjo is a term referring to the form of folk instrumental solo music, and each instrument has different types of rhythms, called "OOO ryu" and "OOO je" after the person who made the melody.

    In the 1960s, Han Il-seop (1929-1973) began playing the Ajaeng Sanjo. The ㄴstyle of Han Il-seop was passed down to Park Jong-seon, while the melody of Jeong Cheol-ho was played to Seo Yong-seok and Jang-Wol jung-seon to Kim Il-gu.

    The style of Jang-wol Jung-seon consists of short Dasreum, Jinyangjo, Jungmori, Jungjungmori, and Jajinmori, and the chung is changed more frequently than that of Park Jong-seon.
  • 2021.4.3
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    ☆Han Il-seob ryu(style) has handed down to Park Jong-seon and Yoon Yoon-seok, so now called "Han Il-seob je(root) Park Jong-seon ryu(style) Ajaeng Sanjo."
    This record was restored through the sound source of Han Il-seop's lifetime and played for 16 minutes.
  • 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."
  • 2021.4.17
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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.