Taepyeongso
Encyclopedia
The taepyeongso is a Korean double reed
wind instrument
in the shawm
or oboe
family, probably descended from the Persian zurna and closely related to the Chinese suona. It has a conical wooden body made from yuja
(citron), daechu (jujube
), or yellow mulberry
wood, with a metal mouthpiece and cup-shaped metal bell. It came to Korea from China during the Goryeo period
(918 – 1392).
The loud and piercing sound it produces has kept it confined mostly to Korean folk music (especially "farmer's band music") and to marching band
s, the latter performed for royalty in the genre known as daechwita
. It is, however, also used sparingly in other genres, including Confucian, Buddhist and Shamanist ritual musics and neo-traditional/fusion music.
ceremonial music and dance, as well as some important details about the players.
Maria Seo, in Hanyang Gut (2002), and Lee Yong-Shik in Shaman Ritual Music in Korea (2004), provide some context for taepyeongso playing in shaman rituals. Keith Howard has an interesting, although speculative, discussion on daechwita—royal processional music usually featuring two taepyeongso in Bands, Songs and Shamanistic Rituals (1989), and further context for
taepyeongso in court music is provided by Song Kyong-Rin in “Korean Musical Instruments” (in Survey of Korean Arts: Traditional Music, 1973).
to Bell of Taepyeongso Based on Acoustical Analysis” (2007). Master's theses are more numerous. The list includes: A study of Buddhist ritual and taepyeongso (불교 의식과 태평소에 관한 연구) by Jeong Namgeun in 2001; "영산재에 연주되는 태평소 가락 분석" [analysis of taepyeongso melodies for yeongsanje] by Kim Wonseon (1999); "태평소 시나위 선율분석 연구:박종선류를 중심으로" [analysis of Bak Jongseon's sinawi] by Bak Gyeonghyeon (2004); "태평소와 사물놀이를 위한 관현악: '푸리'" [“puri” for taepyeongso and samulnori] by Hwang Uijong (1991); "한국 전통음악의 연구: 박범훈류 피리산조, 대풍류, 태평소시나위를 중심으로" [study of Korean 15 traditional music: connections between Bak Beomhun's taepyeongso sinawi, piri sanjo, and daepungnyu] by Yu Gyeongsu (1998); "대취타 변천과정에 대한 연구:태평소 선율을 중심으로" [study of the evolution of taepyeongso melody in daechwita] by Kang Yeonggeun (1998); "능게굿거리 선율 비교 분석 :지영희, 최경만 선율을 중심으로" [comparison of Choi Gyeongman’s and Ji Yeonghi's neunggye gutgeori] by Kim Seongyeop (2005); and "동 서양의 겹 리드악기의 발전과 역사적 고찰" [development and history of double reed instruments in Korea and the west] by Kim Gi-nam (2004).
: "great peace pipe"), hojeok (hanja: "reed instrument of the Xianjiang people"), saenap/swenap (probably a transliteration of suona
, the Chinese version of the instrument), and nallari/nalnari (pure Korean; onomatopoeic). The term saenap was adopted as the official term for educational use by the National Centre for the Traditional Korean Arts, but is currently the least commonly encountered, and NCKTPA’s website now uses the term taepyeongso. The term nallari/nalnari tends to be associated with popular entertainment (especially pungmul
), rather than ritual use.
, taepyeongso would be designated 422.112: an oboe with a conical bore. Indigenous classification systems in Korea categorize instruments by use/origin and by material. Classification by materials—called pal eum, or “eight tones”—is based on Chinese classification theory, and was used as the basis of the oftcited 1908 document Jeungbo munheonbigo. In this document, taepyeongso is classified as bamboo
, perhaps to reflect its similarity to piri
, another double reed instrument. In later classifications based on pal eum, however, such as Kim Gi-su’s Gugak Ipmun (1983), taepyeongso is sometimes reclassified as wood. The remaining six materials in this system are metal, silk, skin, stone, gourd
, and clay. ‘Classification by use’ derives from the Goryeosa
("History of Goryeo
", 1451) in which instruments were categorized according to whether they were used in aak
20 (ritual music of Chinese origin), dangak
(secular music of Chinese origin), and/or sogak
(indigenous music), with some instruments being included in more than one category. Meanwhile, in the Akhak gwebeom
, the encyclopedic 1493 treatise on music, instruments are similarly classified under the categories aak
, dangak
, and hyangak
(indigenous music), but here instruments are placed in only one category, suggesting an ‘origin’-based scheme rather than a ‘use’-based scheme.
In this treatise, noteworthy for containing the earliest written mention of taepyeongso in Korea, taepyeongso appears—together with janggu
, haegeum
(spiked fiddle), ajaeng
(bowed zither
) and other instruments widely used in Korean folk traditions today—under dangak.
-era King Yejeong by Emperor Huizong of Song in 1114, although similar instruments are mentioned, including “twenty oboes…with thin wooden tablets bound with gold and silver threads, red silk mattresses, and purple silk hyoppokcha”. As indicated, the earliest mention of taepyeongso is in the 1493 Akhak gwebeom
. The alternative name hojeok—referring to the peoples of the Xinjiang
region of Northwest China from where the instrument is believed to have been introduced to East Asia during the third to fifth centuries—suggests a possible route for the instrument's introduction to Korea.
) seems, like the shehnai
of India and the Cambodia
n sralai
, to be a transliteration of zurna
, the Persian
shawm
. As suggested above, the Sino-Korean term "saenap" is likely another variation of this term. In any case, similar instruments have traveled widely from their purported roots in Persia—to Cuba
, where it is known as the trompeta china and is used in carnival festivities (see Trompeta china
); to Spain
, where it is known as the dulzaina
; to Kenya, where it is the bung’o or nzumari; to Croatia, where it is the sopila
, and so on.
The instrument's loud, wailing cry lends itself to outdoor, public occasions, and it tends to be accompanied—in Korea and elsewhere—by drums and other percussion instruments. In North Korea
, a new jang-saenap with oboe-like keys, a mellower sound, and an extended range has been developed. There is at least one CD available in the South of this instrument — Choi Yeong-deok's Jang-saenap Dokju-kogjip — whose tracks include renditions of "Amazing Grace" and "Polovetsian Dances
" by Alexander Borodin
.
normally used, and one in the back, which the left thumb nearly always covers (the main exception to this is daechwita, where all eight holes are played).
Various types of wood are used, including jujube (Howard 1995, 55), citron wood, yellow mulberry wood (Yun 1998, 33), and ebony. Construction today is standardized, and
most are imported from China, although one might imagine that in the past there
must have been considerable variations in the construction. More expensive
instruments can usually be taken completely apart for cleaning or replacement,
while with cheaper instruments, normally only the bell and tassel can be removed.
repeatedly steamed and dried, sanded down and shaped, and bound at the
bottom with thread to hold it firmly to the mouthpiece. Today, most players use
pieces of plastic drinking straws.
longer reeds make a lower sound and shorter reeds a higher sound.
2. Cut the corners off the top.
3. Flatten the reed in order to make two sharp edges.
4. Wrap a piece of fine grain sandpaper around the index finger or the instrument
(to make a curved surface).
5. Gently sand the flat part of the straw. Count how many strokes you execute on
each side to maintain consistency. Test and sand as needed. Generally, a softer,
thinner reed will be easier to produce sounds initially, but a certain degree of
firmness is required to hit higher notes and manipulate the sound fully.
) following.
. Maria Seo reports that the taepyeongso is not a traditional part of Hanyang Gut (ritual) of Seoul
and is used only in specific situations: “The instrument is often played when several gut are in progress simultaneously. The piri
player often switches to taepyeongso, producing a louder sound so that his own group of ritual specialists can follow the music better”. Seo also mentions "ssang hojeok" (two taepyeongso played simultaneously), and the use of seven taepyeongso played simultaneously during a portion of the ritual in which her informant walked on knife blades. Lee Yong-Shik makes similar observations with regards to Hwanghae
region rituals:
Lee further points out that the taepyeongso is not included in the samhyeonyukgak chamber ensemble used to accompany both shaman rituals and court dances in Seoul and Gyeonggi province.
In the southwest (Jeolla province), the taepyeongso is again an optional instrument in the sinawi ensemble of the southwestern region of Jeolla's shaman ritual. In the east, the taepyeongso was reintroduced into, and used frequently by, Kim Seok-chul in Donghae-an Byeolsingut (east coast purification ritual), but has been discontinued since his passing. In brief, the taepyeongso is used more as an effect than a core instrument in shaman ritual music, a situation made possible by the fact that the professional musicians who accompany shaman rituals are multi-instrumentalists, able to easily switch from one instrument to another.30
and other Namsadang
(professional travelling entertainment troupe) activities, such as tightrope-walking
and acrobatics. There is considerable overlap in the repertoire used for pungmul-based taepyeongso playing with shamanist and Buddhist ritual
taepyeongso playing—indeed, it is often the same musicians involved.
The instrument has been used in contemporary popular music; Seo Tai-ji & Boys
combined it with heavy metal
music in the 1993 song "Hayeoga."
Generally, the repertoire is described in reference to three regional styles: neunggye or gyeongtori (Central Region), Sinawi (Southwestern Region), and Menari (Eastern Region). While these styles were once presumably confined to their respective regions, players today are mostly familiar with each regional style and freely mix (or do not mix) the styles according to personal preference.
Describing these styles in terms of western musical theory is problematic insofar as tunings and formal characteristics differ among individual players. Unlike European art music, the taepyeongso repertoire has traditionally been transmitted directly from teacher to student without aid of written scores, resulting in widely varying interpretations of melodic forms.
Upper octave notes share the same names, although they assume different roles and functions from lower octave notes within melodic constructions. Identical or similar tones may be produced with a variety of different fingerings. Different fingerings may be used to produce different timbres; basic fingering patterns may also vary from teacher to teacher, depending on personal habits and preferences.
Compared with other regional styles, the gyeongtori style has a greater variety of individual melodies, but is more fixed in its formal characteristics. Below are listed the most common gyeongtori melodies for taepyeongso.
It shares basic melodic and formal characteristics with, and most likely is derived from, the folksong Taepyeongga and the related gyeonggi shaman song Changbutaryeong.
It has a fixed form consisting of three main sections, although this form is sometimes varied.
As the name indicates, it is played to gutgeori jangdan. In general, neunggye melodies feature a descending contour.
It is played to jajinmori jangdan.
It may be played with a variety of different jangdan.
When played with hwimori jangdan, it is commonly referred to as “Neunggye Hwimori”, or simply “Hwimori”.
Cheonsubara, a melody used by taepyeongso players to accompany Buddhist ceremonial dance, is essentially identical to Giltaryeong.
This melody is distinct from other taepyeongso melodies of the gyeonggi region in having Tae, rather than Im or Hwang, as its primary tone.
It has a non-fixed form which can be adapted to a wide range of jangdan, and is a popular vehicle for relatively free improvisation.
Here, however, each section is two, rather than four (as in Neunggye Gutgeori), rhythmic cycles in duration.
The melody is associated with shaman rituals, and is often performed together with a wind ensemble called samhyeonyukgak.
It is sometimes performed by ssang hojeok (two taepyeongso played simultaneously in approximate unison).
It is frequently performed by ssang hojeok, has a fixed form and, unlike most taepyeongso melodies, is rarely played outside of the original context (that is, one is very unlikely to hear it used for pungmul accompaniment, for example).
The most widely-played folksong on taepyeongso is undoubtedly Pungnyeonga, a ‘farming’ song which asks for a good harvest.
Other melodies in this category include Cheonnyeonmanse, Hangangsutaryeong, Taepyeongga, Yangsando, and Golpaetaryeong, among others.
According to Lee Bohyeong, the term sinawi is derived from sanoe or sanae, the religious folk music of the Shilla Dynasty (2002, 889).
He further differentiates between several types of sinawi: “the original sinawi, which accompanied shaman chants and dances; the non-ritual sinawi, which was performed solo or in an ensemble; the transitional sinawi, which still maintained its improvisational style but was changing into sanjo with influence from the narrative vocal genre p’ansori; and finally the fixed sinawi, which had formal rhythmic and modal schemes and fixed melodic structure” (890).
Taepyeongso sinawi would seem to fall somewhere between the second and last of these types—a solo, non-ritual form which frequently follows a fixed rhythmic progression.
Melodies based on sinawi are also commonly used to accompany pungmul ensembles.
From Kim Seonghak, “Taepyeongso eumgye iyagi gyemyeonjo (sinawi)”:
Double reed
A double reed is a type of reed used to produce sound in various wind instruments. The term double reed comes from the fact that there are two pieces of cane vibrating against each other. A single reed consists of one piece of cane which vibrates against a mouthpiece made of metal, hardened...
wind instrument
Wind instrument
A wind instrument is a musical instrument that contains some type of resonator , in which a column of air is set into vibration by the player blowing into a mouthpiece set at the end of the resonator. The pitch of the vibration is determined by the length of the tube and by manual modifications of...
in the shawm
Shawm
The shawm was a medieval and Renaissance musical instrument of the woodwind family made in Europe from the 12th century until the 17th century. It was developed from the oriental zurna and is the predecessor of the modern oboe. The body of the shawm was usually turned from a single piece of wood,...
or oboe
Oboe
The oboe is a double reed musical instrument of the woodwind family. In English, prior to 1770, the instrument was called "hautbois" , "hoboy", or "French hoboy". The spelling "oboe" was adopted into English ca...
family, probably descended from the Persian zurna and closely related to the Chinese suona. It has a conical wooden body made from yuja
Yuzu
The yuzu is a citrus fruit and plant originating in East Asia. It is believed to be a hybrid of sour mandarin and Ichang papeda...
(citron), daechu (jujube
Jujube
Ziziphus zizyphus , commonly called jujube , red date, Chinese date, Korean date, or Indian date is a species of Ziziphus in the buckthorn family Rhamnaceae, used primarily as a fruiting shade tree.-Distribution:Its precise natural distribution is uncertain due to extensive cultivation,...
), or yellow mulberry
Mulberry
Morus is a genus of flowering plants in the family Moraceae. The 10–16 species of deciduous trees it contains are commonly known as Mulberries....
wood, with a metal mouthpiece and cup-shaped metal bell. It came to Korea from China during the Goryeo period
Goryeo
The Goryeo Dynasty or Koryŏ was a Korean dynasty established in 918 by Emperor Taejo. Korea gets its name from this kingdom which came to be pronounced Korea. It united the Later Three Kingdoms in 936 and ruled most of the Korean peninsula until it was removed by the Joseon dynasty in 1392...
(918 – 1392).
The loud and piercing sound it produces has kept it confined mostly to Korean folk music (especially "farmer's band music") and to marching band
Marching band
Marching band is a physical activity in which a group of instrumental musicians generally perform outdoors and incorporate some type of marching with their musical performance. Instrumentation typically includes brass, woodwinds, and percussion instruments...
s, the latter performed for royalty in the genre known as daechwita
Daechwita
Daechwita is a genre of Korean traditional music consisting of military music played by wind and percussion instruments, generally performed while marching...
. It is, however, also used sparingly in other genres, including Confucian, Buddhist and Shamanist ritual musics and neo-traditional/fusion music.
English
Written sources in English are scarce. The instrument is mentioned and discussed briefly in a number of books, such as those produced by the National Center for the Traditional Korean Performing Arts, which introduce Western readers to Korean music and culture. Nathan Hesselink's Pungmul (2006) devotes a few paragraphs of background to the instrument, as does Keith Howard’s Korean Musical Instruments: A Practical Guide (1988). Lee Byong-Won’s Buddhist Music of Korea (1987) provides brief analyses of taepyeongso playing in Buddhistceremonial music and dance, as well as some important details about the players.
Maria Seo, in Hanyang Gut (2002), and Lee Yong-Shik in Shaman Ritual Music in Korea (2004), provide some context for taepyeongso playing in shaman rituals. Keith Howard has an interesting, although speculative, discussion on daechwita—royal processional music usually featuring two taepyeongso in Bands, Songs and Shamanistic Rituals (1989), and further context for
taepyeongso in court music is provided by Song Kyong-Rin in “Korean Musical Instruments” (in Survey of Korean Arts: Traditional Music, 1973).
Korean
Journal articles include Go Boyun's overview of taepyeongso playing in pungmul, "풍물놀이를 위한 태평소 지도반" (2002), and an acoustical analysis of taepyeongso sound production by Byeon Jungbae, et al., entitled (in English) “Extraction of Characteristics Correspondingto Bell of Taepyeongso Based on Acoustical Analysis” (2007). Master's theses are more numerous. The list includes: A study of Buddhist ritual and taepyeongso (불교 의식과 태평소에 관한 연구) by Jeong Namgeun in 2001; "영산재에 연주되는 태평소 가락 분석" [analysis of taepyeongso melodies for yeongsanje] by Kim Wonseon (1999); "태평소 시나위 선율분석 연구:박종선류를 중심으로" [analysis of Bak Jongseon's sinawi] by Bak Gyeonghyeon (2004); "태평소와 사물놀이를 위한 관현악: '푸리'" [“puri” for taepyeongso and samulnori] by Hwang Uijong (1991); "한국 전통음악의 연구: 박범훈류 피리산조, 대풍류, 태평소시나위를 중심으로" [study of Korean 15 traditional music: connections between Bak Beomhun's taepyeongso sinawi, piri sanjo, and daepungnyu] by Yu Gyeongsu (1998); "대취타 변천과정에 대한 연구:태평소 선율을 중심으로" [study of the evolution of taepyeongso melody in daechwita] by Kang Yeonggeun (1998); "능게굿거리 선율 비교 분석 :지영희, 최경만 선율을 중심으로" [comparison of Choi Gyeongman’s and Ji Yeonghi's neunggye gutgeori] by Kim Seongyeop (2005); and "동 서양의 겹 리드악기의 발전과 역사적 고찰" [development and history of double reed instruments in Korea and the west] by Kim Gi-nam (2004).
Names
The instrument is known by a number of names, including taepyeongso (hanjaHanja
Hanja is the Korean name for the Chinese characters hanzi. More specifically, it refers to those Chinese characters borrowed from Chinese and incorporated into the Korean language with Korean pronunciation...
: "great peace pipe"), hojeok (hanja: "reed instrument of the Xianjiang people"), saenap/swenap (probably a transliteration of suona
Suona
The suona ; also called laba or haidi is a Han Chinese shawm . It has a distinctively loud and high-pitched sound, and is used frequently in Chinese traditional music ensembles, particularly those that perform outdoors...
, the Chinese version of the instrument), and nallari/nalnari (pure Korean; onomatopoeic). The term saenap was adopted as the official term for educational use by the National Centre for the Traditional Korean Arts, but is currently the least commonly encountered, and NCKTPA’s website now uses the term taepyeongso. The term nallari/nalnari tends to be associated with popular entertainment (especially pungmul
Pungmul
Pungmul is a Korean folk music tradition that includes drumming, dancing, and singing. Most performances are outside, with tens of players, all in constant motion. Pungmul is rooted in the dure farming culture. It was originally played as part of farm work, on rural holidays, at other village...
), rather than ritual use.
Classification
Under the Hornbostel-Sachs system of classificationHornbostel-Sachs
Hornbostel–Sachs is a system of musical instrument classification devised by Erich Moritz von Hornbostel and Curt Sachs, and first published in the Zeitschrift für Ethnologie in 1914. An English translation was published in the Galpin Society Journal in 1961...
, taepyeongso would be designated 422.112: an oboe with a conical bore. Indigenous classification systems in Korea categorize instruments by use/origin and by material. Classification by materials—called pal eum, or “eight tones”—is based on Chinese classification theory, and was used as the basis of the oftcited 1908 document Jeungbo munheonbigo. In this document, taepyeongso is classified as bamboo
Bamboo
Bamboo is a group of perennial evergreens in the true grass family Poaceae, subfamily Bambusoideae, tribe Bambuseae. Giant bamboos are the largest members of the grass family....
, perhaps to reflect its similarity to piri
Piri
The piri is a Korean double reed instrument, used in both the folk and classical music of Korea. It is made of bamboo. Its large reed and cylindrical bore gives it a sound mellower than that of many other types of oboe....
, another double reed instrument. In later classifications based on pal eum, however, such as Kim Gi-su’s Gugak Ipmun (1983), taepyeongso is sometimes reclassified as wood. The remaining six materials in this system are metal, silk, skin, stone, gourd
Gourd
A gourd is a plant of the family Cucurbitaceae. Gourd is occasionally used to describe crops like cucumbers, squash, luffas, and melons. The term 'gourd' however, can more specifically, refer to the plants of the two Cucurbitaceae genera Lagenaria and Cucurbita or also to their hollow dried out shell...
, and clay. ‘Classification by use’ derives from the Goryeosa
Goryeosa
The Goryeosa or History of Goryeo is the principal surviving history of Korea's Goryeo Dynasty. It was composed nearly a century after the fall of Goryeo, during the reign of King Sejong...
("History of Goryeo
Goryeo
The Goryeo Dynasty or Koryŏ was a Korean dynasty established in 918 by Emperor Taejo. Korea gets its name from this kingdom which came to be pronounced Korea. It united the Later Three Kingdoms in 936 and ruled most of the Korean peninsula until it was removed by the Joseon dynasty in 1392...
", 1451) in which instruments were categorized according to whether they were used in aak
Aak
Aak is a genre of Korean court music. It is an imported form of Chinese ritual music. Aak is often labeled as "elegant music" in contrast with other traditional Korean music...
20 (ritual music of Chinese origin), dangak
Dangak
Dangak is a genre of traditional Korean court music. The name means "Tang music," and the style was first adapted from Tang Dynasty Chinese music during the Unified Silla period in the late first millennium...
(secular music of Chinese origin), and/or sogak
Sogak
So-gak or minsogak is a category of Korean music traditionally associated with the lower classes. It includes genres such as pansori and minyo. It is typically distinguished from jeongak, or court music. The terms were used during the Goryeo and Joseon periods....
(indigenous music), with some instruments being included in more than one category. Meanwhile, in the Akhak gwebeom
Akhak Gwebeom
The Akhak gwebeom is a nine-volume treatise on music, written in Korea in the 15th century, in the Joseon Dynasty. It is written by hand in hanja, and depicts, in line drawings, most of the musical instruments in use at the time, with detailed descriptions and fingerings.- References :* Chang,...
, the encyclopedic 1493 treatise on music, instruments are similarly classified under the categories aak
Aak
Aak is a genre of Korean court music. It is an imported form of Chinese ritual music. Aak is often labeled as "elegant music" in contrast with other traditional Korean music...
, dangak
Dangak
Dangak is a genre of traditional Korean court music. The name means "Tang music," and the style was first adapted from Tang Dynasty Chinese music during the Unified Silla period in the late first millennium...
, and hyangak
Hyangak
Hyangak, literally "village music," is a traditional form of Korean court music with origins in the Three Kingdoms period . It is often accompanied by traditional folk dances of Korea, known as hyangak jeongjae...
(indigenous music), but here instruments are placed in only one category, suggesting an ‘origin’-based scheme rather than a ‘use’-based scheme.
In this treatise, noteworthy for containing the earliest written mention of taepyeongso in Korea, taepyeongso appears—together with janggu
Janggu
The janggu or sometimes called seyogo is the most widely used drum used in the traditional music of Korea. It is available in most kinds, and consists of an hourglass-shaped body with two heads made from animal skin...
, haegeum
Haegeum
The haegeum is a traditional Korean string instrument, resembling a fiddle. It has a rodlike neck, a hollow wooden soundbox, and two silk strings, and is held vertically on the knee of the performer and played with a bow....
(spiked fiddle), ajaeng
Ajaeng
The ajaeng is a Korean string instrument. It is a wide zither with strings made of twisted silk, played by means of a slender stick made of forsythia wood, which is scraped against the strings in the manner of a bow...
(bowed zither
Zither
The zither is a musical string instrument, most commonly found in Slovenia, Austria, Hungary citera, northwestern Croatia, the southern regions of Germany, alpine Europe and East Asian cultures, including China...
) and other instruments widely used in Korean folk traditions today—under dangak.
Introduction to Korea
The precise date of the instrument’s introduction to Korea is unknown. It seems to not have been included in the historically significant gift of instruments given to the GoryeoGoryeo
The Goryeo Dynasty or Koryŏ was a Korean dynasty established in 918 by Emperor Taejo. Korea gets its name from this kingdom which came to be pronounced Korea. It united the Later Three Kingdoms in 936 and ruled most of the Korean peninsula until it was removed by the Joseon dynasty in 1392...
-era King Yejeong by Emperor Huizong of Song in 1114, although similar instruments are mentioned, including “twenty oboes…with thin wooden tablets bound with gold and silver threads, red silk mattresses, and purple silk hyoppokcha”. As indicated, the earliest mention of taepyeongso is in the 1493 Akhak gwebeom
Akhak Gwebeom
The Akhak gwebeom is a nine-volume treatise on music, written in Korea in the 15th century, in the Joseon Dynasty. It is written by hand in hanja, and depicts, in line drawings, most of the musical instruments in use at the time, with detailed descriptions and fingerings.- References :* Chang,...
. The alternative name hojeok—referring to the peoples of the Xinjiang
Xinjiang
Xinjiang is an autonomous region of the People's Republic of China. It is the largest Chinese administrative division and spans over 1.6 million km2...
region of Northwest China from where the instrument is believed to have been introduced to East Asia during the third to fifth centuries—suggests a possible route for the instrument's introduction to Korea.
Distribution
The common Chinese term for this instrument type (suonaSuona
The suona ; also called laba or haidi is a Han Chinese shawm . It has a distinctively loud and high-pitched sound, and is used frequently in Chinese traditional music ensembles, particularly those that perform outdoors...
) seems, like the shehnai
Shehnai
The shehnai, shahnai, shenai or mangal vadya, is an aerophonic instrument, a double reed conical oboe, common in North India, West India and Pakistan, made out of wood, with a metal flare bell at the end...
of India and the Cambodia
Cambodia
Cambodia , officially known as the Kingdom of Cambodia, is a country located in the southern portion of the Indochina Peninsula in Southeast Asia...
n sralai
Sralai
The sralai is a wind instrument used in the pinpeat of Cambodia. Its quadruple reed is made of palm leaf, and its body has a slightly conical bore. Its cousin, the Western oboe, has a double reed and a conical bore. The pinpeat instruments tune to the sralai's pitch, and the player must learn...
, to be a transliteration of zurna
Zurna
The zurna , is a multinational outdoor wind instrument, usually accompanied by a davul in Anatolian folk music. The name is from Turkish zurna, itself derived from Persian سرنای surnāy, composed of sūr “banquet, feast” and nāy “reed, pipe”...
, the Persian
Persian language
Persian is an Iranian language within the Indo-Iranian branch of the Indo-European languages. It is primarily spoken in Iran, Afghanistan, Tajikistan and countries which historically came under Persian influence...
shawm
Shawm
The shawm was a medieval and Renaissance musical instrument of the woodwind family made in Europe from the 12th century until the 17th century. It was developed from the oriental zurna and is the predecessor of the modern oboe. The body of the shawm was usually turned from a single piece of wood,...
. As suggested above, the Sino-Korean term "saenap" is likely another variation of this term. In any case, similar instruments have traveled widely from their purported roots in Persia—to Cuba
Cuba
The Republic of Cuba is an island nation in the Caribbean. The nation of Cuba consists of the main island of Cuba, the Isla de la Juventud, and several archipelagos. Havana is the largest city in Cuba and the country's capital. Santiago de Cuba is the second largest city...
, where it is known as the trompeta china and is used in carnival festivities (see Trompeta china
Trompeta china
The trompeta china , a Cuban traditional wind instrument, is actually the Chinese suona, an instrument in the oboe family introduced to Cuba by Chinese immigrants during the colonial period .The trompeta china is used primarily in Cuban carnival music, particularly in the eastern region of...
); to Spain
Spain
Spain , officially the Kingdom of Spain languages]] under the European Charter for Regional or Minority Languages. In each of these, Spain's official name is as follows:;;;;;;), is a country and member state of the European Union located in southwestern Europe on the Iberian Peninsula...
, where it is known as the dulzaina
Dulzaina
The dulzaina or dolçaina is a Spanish double reed instrument in the oboe family. It has a conical shape and is the equivalent of the Breton bombarde....
; to Kenya, where it is the bung’o or nzumari; to Croatia, where it is the sopila
Sopila
The sopile is an ancient traditional woodwind instrument of Croatia, similar to the oboe or shawm. It is used in the regions of Kvarner, Kastav, Vinodol, Island Krk, and Istria. Sopile are always played in pair so there are great and small or thin and fat sopila...
, and so on.
The instrument's loud, wailing cry lends itself to outdoor, public occasions, and it tends to be accompanied—in Korea and elsewhere—by drums and other percussion instruments. In North Korea
North Korea
The Democratic People’s Republic of Korea , , is a country in East Asia, occupying the northern half of the Korean Peninsula. Its capital and largest city is Pyongyang. The Korean Demilitarized Zone serves as the buffer zone between North Korea and South Korea...
, a new jang-saenap with oboe-like keys, a mellower sound, and an extended range has been developed. There is at least one CD available in the South of this instrument — Choi Yeong-deok's Jang-saenap Dokju-kogjip — whose tracks include renditions of "Amazing Grace" and "Polovetsian Dances
Polovetsian Dances
The Polovtsian Dances are perhaps the best known selections from Alexander Borodin's opera Prince Igor . They are often played as a stand-alone concert piece. Borodin was the original composer, but the opera was left unfinished at his death and was subsequently completed by Nikolai...
" by Alexander Borodin
Alexander Borodin
Alexander Porfiryevich Borodin was a Russian Romantic composer and chemist of Georgian–Russian parentage. He was a member of the group of composers called The Five , who were dedicated to producing a specifically Russian kind of art music...
.
Body of Instrument
There are seven fingerholes on the front, of which only the upper five arenormally used, and one in the back, which the left thumb nearly always covers (the main exception to this is daechwita, where all eight holes are played).
Various types of wood are used, including jujube (Howard 1995, 55), citron wood, yellow mulberry wood (Yun 1998, 33), and ebony. Construction today is standardized, and
most are imported from China, although one might imagine that in the past there
must have been considerable variations in the construction. More expensive
instruments can usually be taken completely apart for cleaning or replacement,
while with cheaper instruments, normally only the bell and tassel can be removed.
Reeds
In the past, reeds were made of the stem of river reeds (galdae) hollowed out,repeatedly steamed and dried, sanded down and shaped, and bound at the
bottom with thread to hold it firmly to the mouthpiece. Today, most players use
pieces of plastic drinking straws.
Making a Reed
1. Cut a piece of drinking straw to fit. The length depends on individual tastes—longer reeds make a lower sound and shorter reeds a higher sound.
2. Cut the corners off the top.
3. Flatten the reed in order to make two sharp edges.
4. Wrap a piece of fine grain sandpaper around the index finger or the instrument
(to make a curved surface).
5. Gently sand the flat part of the straw. Count how many strokes you execute on
each side to maintain consistency. Test and sand as needed. Generally, a softer,
thinner reed will be easier to produce sounds initially, but a certain degree of
firmness is required to hit higher notes and manipulate the sound fully.
Contexts
The contexts in which the taepyeongso is used are limited by its high volume. Thus, it is rarely used with voice or other melodic instruments, but frequently with drums, and almost always played outdoors.Royal processions
The Sino-Korean term chwita literally means "blowing and hitting," while the prefix dae- means "great." Daechwita was used in processions—for example—for the "opening and closing of the gate to military headquarters" with a louder band (featuring taepyeongso) preceding the king and a softer one (featuring piriPiri
The piri is a Korean double reed instrument, used in both the folk and classical music of Korea. It is made of bamboo. Its large reed and cylindrical bore gives it a sound mellower than that of many other types of oboe....
) following.
Confucism
In Korean Confucian ritual music, the taepyeongso is used only in three songs—"Somu," "Punung," and "Yeonggwan" (Seo 2002, 206) of the Jeongdae-eop [praise of the military accomplishments of Korean leaders] section performed by the courtyard ensemble during Jongmyo jerye-ak (ritual music for Korean ancestors)Buddhism
The taepyeongso is used to accompany ritual dance as part of the outdoor band called jorachi or gyeongnaechwi, together with a large gong, cymbals, a barrel drum, and an optional long trumpet and a conch shell.Shamanism
According to most sources, the taepyeongso is not a central instrument in shaman ritual musicKorean shamanism
Korean shamanism, today known as Muism or sometimes Sinism , encompasses a variety of indigenous religious beliefs and practices of the Korean people and the Korean area...
. Maria Seo reports that the taepyeongso is not a traditional part of Hanyang Gut (ritual) of Seoul
Seoul
Seoul , officially the Seoul Special City, is the capital and largest metropolis of South Korea. A megacity with a population of over 10 million, it is the largest city proper in the OECD developed world...
and is used only in specific situations: “The instrument is often played when several gut are in progress simultaneously. The piri
Piri
The piri is a Korean double reed instrument, used in both the folk and classical music of Korea. It is made of bamboo. Its large reed and cylindrical bore gives it a sound mellower than that of many other types of oboe....
player often switches to taepyeongso, producing a louder sound so that his own group of ritual specialists can follow the music better”. Seo also mentions "ssang hojeok" (two taepyeongso played simultaneously), and the use of seven taepyeongso played simultaneously during a portion of the ritual in which her informant walked on knife blades. Lee Yong-Shik makes similar observations with regards to Hwanghae
Hwanghae
Hwanghae was one of the Eight Provinces of Korea during the Joseon Dynasty. Hwanghae was located in the northwest of Korea. The provincial capital was Haeju.The regional name for the province was Haesŏ .-History:...
region rituals:
Lee further points out that the taepyeongso is not included in the samhyeonyukgak chamber ensemble used to accompany both shaman rituals and court dances in Seoul and Gyeonggi province.
In the southwest (Jeolla province), the taepyeongso is again an optional instrument in the sinawi ensemble of the southwestern region of Jeolla's shaman ritual. In the east, the taepyeongso was reintroduced into, and used frequently by, Kim Seok-chul in Donghae-an Byeolsingut (east coast purification ritual), but has been discontinued since his passing. In brief, the taepyeongso is used more as an effect than a core instrument in shaman ritual music, a situation made possible by the fact that the professional musicians who accompany shaman rituals are multi-instrumentalists, able to easily switch from one instrument to another.30
Pungmul and associated contexts
The primary context in which the taepyeongso is featured is during pungmulPungmul
Pungmul is a Korean folk music tradition that includes drumming, dancing, and singing. Most performances are outside, with tens of players, all in constant motion. Pungmul is rooted in the dure farming culture. It was originally played as part of farm work, on rural holidays, at other village...
and other Namsadang
Namsadang
The namsadang is a Korean itinerant troupe which consists of male performers who present various performing arts such as acrobatics, singing, dancing and playing like a circus....
(professional travelling entertainment troupe) activities, such as tightrope-walking
Jultagi
Jultagi or eoreum is traditional Korean performance of tightrope-walking. It is included into South Korea's Important Intangible Cultural Properties number 58.-Origin:...
and acrobatics. There is considerable overlap in the repertoire used for pungmul-based taepyeongso playing with shamanist and Buddhist ritual
taepyeongso playing—indeed, it is often the same musicians involved.
Sanjo and "Sinawi"
A form of Taepyeongso sanjo (i.e., a virtuosic display of melodies in various modes and rhythmic patterns) was developed by Bang Taejin and transmitted to Kim Seok-Chul. A more developed sanjo, modelled on the sanjo of other Korean instruments and employing a wider variety of modal development than Kim Seok-Chul's sanjo, was recently composed by Jeong Gyeong Jo at the National Institute for Namdo Performing Arts. "Taepyeongso Sinawi" or "Taepyeongso and Samulnori" is another avenue for virtuosic display, normally accompanied by a samulnori ensemble. Taepyeongso Sinawi usually uses the southwestern melodic mode (also called sinawi), but may include menari and neunggye melodic content as well.New music and fusion
The taepyeongso is used frequently on new music and fusion recordings. In these contexts, the taepyeongso may play Western melodies, newly-composed melodies, and/or traditional melodies. The primary uses of the taepyeongso in such contexts may be categorized as follows:- as a replacement for Western instruments (usually trumpetTrumpetThe trumpet is the musical instrument with the highest register in the brass family. Trumpets are among the oldest musical instruments, dating back to at least 1500 BCE. They are played by blowing air through closed lips, producing a "buzzing" sound which starts a standing wave vibration in the air...
) in Western music-based ensembles; - in combination with Western instruments in neo-traditional ensembles;
- as orchestral instruments in national music orchestras, such as the KBS Orchestra;
- as one element in a fusion of more than one type of Korean music;
- as a venue for experimental music.
The instrument has been used in contemporary popular music; Seo Tai-ji & Boys
Seo Tai-ji
Jeong Hyeon-cheol , better known as Seo Taiji, is a South Korean singer, musician, and songwriter. After dropping out of high school to pursue a music career, he has risen to become one of the most prominent and influential cultural icons in South Korea; many refer to him as "the President of...
combined it with heavy metal
Heavy metal music
Heavy metal is a genre of rock music that developed in the late 1960s and early 1970s, largely in the Midlands of the United Kingdom and the United States...
music in the 1993 song "Hayeoga."
Repertoire
There is considerable overlap within the taepyeongso repertoire among the contexts the described above, with the exception of Confucian Ritual Music. Due to lack of information, North Korean styles are not discussed.Generally, the repertoire is described in reference to three regional styles: neunggye or gyeongtori (Central Region), Sinawi (Southwestern Region), and Menari (Eastern Region). While these styles were once presumably confined to their respective regions, players today are mostly familiar with each regional style and freely mix (or do not mix) the styles according to personal preference.
Describing these styles in terms of western musical theory is problematic insofar as tunings and formal characteristics differ among individual players. Unlike European art music, the taepyeongso repertoire has traditionally been transmitted directly from teacher to student without aid of written scores, resulting in widely varying interpretations of melodic forms.
Tones and Fingerings
The modern taepyeongso has eight fingerholes, seven in front and one on the back. Of the seven frontal fingerholes, most styles are played using only the upper five holes, with the hole in the back remaining covered . The instrument is capable of producing two full octaves, but is mostly confined to approximately an octave and a half. The tones that result from blowing the instrument while covering any particular number of fingerholes vary according to the particular construction of the instrument, the reed, and the player's embouchure. Specific terms for notes produced by various combinations of covered/uncovered holes are provided by Korean musical theory, imported and adapted from Chinese musical theory. The western note designations provided below are approximate.- Upper five frontal fingerholes covered: Im (임,林), approximately B
- Upper four frontal fingerholes covered: Nam (남,南), approximately C
- Upper three frontal fingerholes covered: Mu (무,無), approximately D
- Upper two frontal fingerholes covered: Hwang 황,黃), approximately E
- Upper one frontal fingerhole covered: Tae (태,太), approximately F
- No frontal fingerholes covered: Jung (중,仲) or Go (고), approximately G/A
Upper octave notes share the same names, although they assume different roles and functions from lower octave notes within melodic constructions. Identical or similar tones may be produced with a variety of different fingerings. Different fingerings may be used to produce different timbres; basic fingering patterns may also vary from teacher to teacher, depending on personal habits and preferences.
Neunggye/Gyeongtori
The term neunggye is of uncertain meaning and origin. It is used almost exclusively to refer to taepyeongso melodies of the central region and is associated particularly with pungmul contexts. The term gyeongtori is a modern construct consisting of a regional designation ('gyeong', referring to gyeonggi province) and a modern musicological term ('-tori', that is, regional mode). The former term, neunggye, is somewhat nebulous, and may refer to either specific melodies or a general style, while the latter refers only to the regional style, but is mostly confined to academic usage.Compared with other regional styles, the gyeongtori style has a greater variety of individual melodies, but is more fixed in its formal characteristics. Below are listed the most common gyeongtori melodies for taepyeongso.
Neunggye Gutgeori
Neunggye Gutgeori is commonly employed as a beginning piece for new players.It shares basic melodic and formal characteristics with, and most likely is derived from, the folksong Taepyeongga and the related gyeonggi shaman song Changbutaryeong.
It has a fixed form consisting of three main sections, although this form is sometimes varied.
As the name indicates, it is played to gutgeori jangdan. In general, neunggye melodies feature a descending contour.
Neunggye Jajinmori
Neunggye Jajinmori shares some of the important characteristics of Neungye Gutgeori, such as descending melodic lines, a characteristic cadential phrase echoing that of Neunggye Gutgeori, consistent vibrato on Im and Hwang, and an opening phrase emphasizing Jung. Unlike Neunggye Gutgeori, it does not have a fixed form—a melodic cycle may last for anywhere from one to eleven (or more, at least theoretically) rhythmic cycles.It is played to jajinmori jangdan.
Giltaryeong/Cheonsubara
Giltaryeong, or ‘road melody’, is a short, sixteen beat melody with a fixed form.It may be played with a variety of different jangdan.
When played with hwimori jangdan, it is commonly referred to as “Neunggye Hwimori”, or simply “Hwimori”.
Cheonsubara, a melody used by taepyeongso players to accompany Buddhist ceremonial dance, is essentially identical to Giltaryeong.
Heoteuntaryong
Heoteun, like 'san' in sanjo, means ‘scattered' or 'dispersed’; thus, heoteuntaryeong means ‘scattered melody’.This melody is distinct from other taepyeongso melodies of the gyeonggi region in having Tae, rather than Im or Hwang, as its primary tone.
It has a non-fixed form which can be adapted to a wide range of jangdan, and is a popular vehicle for relatively free improvisation.
Gutgeori
This melody, known by its primary accompanying jangdan (even though it may also be adapted to jajinmori jangdan), is a fixed-form melody consisting, like Neunggye Gutgeori, of three main sections.Here, however, each section is two, rather than four (as in Neunggye Gutgeori), rhythmic cycles in duration.
The melody is associated with shaman rituals, and is often performed together with a wind ensemble called samhyeonyukgak.
Yeombul/Heoncheonsu
Yeombul or Yeombultaryeong [song of sutra], is primarily associated with Buddhist ritual music.It is sometimes performed by ssang hojeok (two taepyeongso played simultaneously in approximate unison).
Daechwita
Daechwita was used to accompany state processions during the Joseon dynasty.It is frequently performed by ssang hojeok, has a fixed form and, unlike most taepyeongso melodies, is rarely played outside of the original context (that is, one is very unlikely to hear it used for pungmul accompaniment, for example).
Assorted Minyo-derived Melodies
This category includes any number of folksong melodies which may be adapted for taepyeongso in an entertainment context.The most widely-played folksong on taepyeongso is undoubtedly Pungnyeonga, a ‘farming’ song which asks for a good harvest.
Other melodies in this category include Cheonnyeonmanse, Hangangsutaryeong, Taepyeongga, Yangsando, and Golpaetaryeong, among others.
Sinawi
Compared with Neunggye Gutgeori and other gyeong-tori melodies, sinawi features a much more free form of improvisation and, in terms of mood, tends to be associated with sorrow.According to Lee Bohyeong, the term sinawi is derived from sanoe or sanae, the religious folk music of the Shilla Dynasty (2002, 889).
He further differentiates between several types of sinawi: “the original sinawi, which accompanied shaman chants and dances; the non-ritual sinawi, which was performed solo or in an ensemble; the transitional sinawi, which still maintained its improvisational style but was changing into sanjo with influence from the narrative vocal genre p’ansori; and finally the fixed sinawi, which had formal rhythmic and modal schemes and fixed melodic structure” (890).
Taepyeongso sinawi would seem to fall somewhere between the second and last of these types—a solo, non-ritual form which frequently follows a fixed rhythmic progression.
Melodies based on sinawi are also commonly used to accompany pungmul ensembles.
From Kim Seonghak, “Taepyeongso eumgye iyagi gyemyeonjo (sinawi)”:
Menari
Menari-tori is the least played of taepyeongso styles. As with neunggye, there are particular folksong-derived menari-tori melodies—most notably Baetnorae—which can be played on taepyeongso but, like sinawi, menari is used more commonly as a melodic springboard for freer forms of improvisation. Menari's primary characteristic phrase consists of a downwards sequence of tae-hwang-nam. Unlike neunggye and sinawi, the primary tone of menari is tae, while im is only rarely sounded.Players
- Choi In-seo (최인서 1892-1978) - The original holder of Important Intangible Cultural Property #46 (Piri jeongak and Daechwita) and former NCKTPA instructor
- Bang Tegeun or Tejin (방태근(진) 1901-?)- Disciples include Kim Seok-chul, Song Bok-san, Lee Saeng-gang and Seo Yong-seok
- Ji Yeong-hui (지영희 1909-1980)- Holder of Gyeonggi regional property for Gyeonggi Sinawi, charter member of NCKTPA, co-founder of School of Korean Traditional Arts
- Song Bok-san (송복산 1911-1984) - Original holder of Property #3 (Namsadang Nori), Primary taepyeongso player for Seoul Namsadang for over 20 years
- Kim Tae-seop (김태섭 1922-1992) - Original member of Property #1 (Rites for the Korean Ancestors), Associated with Confucian ritual music
- Kim Seok-chul (김석출 1922-2005) - Holder of Property #82-Ga (Donghaean Byeolsingut), Associated with Taepyeongso Sanjo/Sinawi and a unique improvisational style incorporating three regional styles
- Han Il-seop (한일섭 1929-1973) - Former teacher at School of Korean Traditional Arts and Chief Accompanist at Yeongseong Gukgeukdan (Traditional Arts Theatre)
- Lee Saeng-gang (이생강 1937–present) - Holder of property #45 (Daegeum Sanjo), Teachers included Ji Yeonghui, Bang Taejin, Han Ilseop,
- Lee Seok-ok (이성옥 1938–present) - Disciple of Bang Tae-jin
- Kim Jeom-seok (김점석 1939–present) - Member of property #104 (Seoul Saenamgut), Master of taepyeongso, daegeum, danso (end-blown flute), piri, haegeum
- Seo Yong-seok (서용석 1940–present) - Disciple of Bang Taejin
- Bak Jong-seon (박종선 1941–present) - Best known for Ajaeng Sanjo; master of taepyeongso, daegeum, kayageum, ajaeng, janggu and buk (barrel drum), Former senior instructor at NCKTPA
- Jeong Jae-guk (정재국 1942–present) - Holder of Property #46 (Piri Jeongak and Daechwita), Director of School of Traditional Korean Culture
- Kim Guhe-seu-nim (김구해스님 born Kim Insik, 1943–present) - Successor (junbo-yuja) to Property #50 (Yeongsanjae)
- Heo Yong-eop (허용업 1947–present) - Member of Gyeonggi Regional Property #15 (Dodang Gut), Master of taepyeongso, piri, haegeum and daegeum, Participating member of Seoul Saenamgut (with Kim Jeomseok)
- Choi Gyeong-man (최경만 1947–present) - Instructor at NCKTPA, Disciple of Ji Yeonghui
- Won Jang-hyeon (원장현 1950–present) - Holder of Property #16 (Gomungo Sanjo), Senior instructor at NCKTPA, Father of Won Woncheol
- [ Joseph CelliJoseph CelliJoseph Celli is an American musician and composer specializing in contemporary and improvised music for oboe and English horn...
] - http://www.allaboutjazz.com/php/article.php?id=684Bill ColeBill ColeWilliam Shadrack Cole is an American jazz musician and educator. Cole, most unusually for his genre, specializes in non-Western wind instruments, including the Ghanaian atenteben, Chinese suona, Korean hojok and piri, South Indian nagaswaram, North Indian shehnai, Tibetan trumpet, and Australian...
]
Notations
- NCKTPA Taepyeongso page
- Baines, Anthony. Shawms of the Sardana Coblas, The Galpin Society Journal 5 (March 1952): 9-16.
- Bak, Gyeong-hyeon. Taepyeongso sinawi seonyulbunseok yeon-gu: Bak Jongseonryoreul jungsimeuro [Analysis of Bak Jongseon’s sinawi]. Master’s thesis, Dongguk UniversityDongguk UniversityDongguk University is a private, coeducational university in South Korea. It operates campuses in Seoul, in Gyeongju City, North Gyeongsang province and in Los Angeles, United States...
, 2004. - Bak Jong-seon. Taepyeongso sinawi, Park Jong-sen A-jaeng Sanjo. Seoul, Records SRCD 1190, 1994. Compact Disc.
- Ben, Wu. Archaeology of Musical Instruments in China. In Garland Encyclopedia of World Music Vol. 7, 2002. 105-114.
- Choi, Gyeong-man. Neunggyetaryeong, jajinneunggyetaryeong, Choi Kyungman’s Piri Plays. Synnara SYNCD-093/094. Compact Disc.
- Choi In-seo. Taepyeongso neunggye. Korean Traditional Music. National Center for Korean Traditional Performing Arts, n.d. Compact Disc.
- Dick, Alastair. The Early History of the Shawm in India. The Galpin Society Journal 37 (Mar. 1984): 80-98
- Francis, Aaron. "Drinking Straws and Shaman Melodies: a Historical and Analytical Study of the Taepyeongso" (Master's Thesis)
- Go, Boyun. Pungmulnolireul wihan taepyeongso jidoban [a study of taepyeongso in pungmul]. Gugakgwa gyoyuk 20 (2002): 193-225.
- Gongmyoung. Deep Sea. Deep Sea. Z-KTL-7139, 2007. Compact Disc.
- Hahn, Man-young. Kugak: Studies in Korean Traditional Music. Seoul: Tamgudang, 1990. 106
- Heo Yong-eop. Master Musician of the shaman and folk music: Heo Yong-eop Solo Instrumental Album. Hwaeum TOPCD 099, 1996/2006. Compact Disc.
- Hesselink, Nathan, Pungmul: South Korean Drumming and Dance, Chicago: University of Chicago PressUniversity of Chicago PressThe University of Chicago Press is the largest university press in the United States. It is operated by the University of Chicago and publishes a wide variety of academic titles, including The Chicago Manual of Style, dozens of academic journals, including Critical Inquiry, and a wide array of...
, 2006. - Hornbostel ,Erich M. von, and Curt Sachs. Classification of Musical Instruments: Translated from the Original German by Anthony Baines and Klaus P. Wachsmann. The Galpin Society Journal 14, (Mar. 1961): 3-29.
- Howard, Keith, Bands, Songs, and Shamanistic Rituals: Folk Music in Korean Society 2nd ed.. Seoul: Royal Asiatic SocietyRoyal Asiatic SocietyThe Royal Asiatic Society of Great Britain and Ireland was established, according to its Royal Charter of 11 August 1824, to further "the investigation of subjects connected with and for the encouragement of science, literature and the arts in relation to Asia." From its incorporation the Society...
(Korea Branch), 1990. - Howard, Keith, Korean Musical Instruments, Oxford: Oxford University PressOxford University PressOxford University Press is the largest university press in the world. It is a department of the University of Oxford and is governed by a group of 15 academics appointed by the Vice-Chancellor known as the Delegates of the Press. They are headed by the Secretary to the Delegates, who serves as...
, 1995. - Howard, Keith, Korean Musical Instruments: A Practical Guide, Seoul: Se-Kwang Music Publishing, 1988.
- Hwang, Jun-yeon. Modes and Scales of Korean Music. In Hanguk jeontong eumakui akjo [A study of modes in Korean traditional music]. Seoul: Seoul National University Press, 2005.
- Hyslop, Graham. Musical Instruments of East Africa: 1 Kenya. Nairobi: Nelson Africa, 1975.
- Kang, Yeonggeun. Daechwita byeonceon-gwajeong-e daehan yeongu: taepyeongso seonyul-eul jungsimero [A study of the evolution of taepyeongso melody in daechwita]. Master’s thesis, Seoul National University, 1998.
- Kim Chanseop. Dokjugok-neunggye. Biseong. Nices SCO 054CSS, 1995. Compact Disc.
- Kim Duk Soo. Kwigok. Spirit of Nature. Nanjang Music TE004-01, 2001. Compact Disc. 107
- Kim Duk Soo Samulnori. Utdari pungmulgutgarak. Gyeoljeongpan. Syannara SYNCCD 115, 1996. Compact Disc.
- Kim, Gi-nam. Dung seoyang-ui gyeob rideu-akgi-ui baljeongwa yeoksajeok gochal [Development and history of double reed instruments in Korea and the west]. Master’s thesis, Chungnam University, 2004).
- Kim Jeomseok. Instrumental Music of Kim Chom Sok. Seoul Records SRCD 1457, n.d. Compact Disc.
- Kim Seokchul. Chong. Donghae-an musok samul. Samsung Music SCO-041CSS, 1994. Compact Disc.
- Kim, Seongyeop. Neunggyegutgeori seonyul bigyo bunseok: Ji Yeonghui, Choi Gyeongman seonyul-eul jungsimeuro [Comparison of Choi Gyeongman’s and Ji Yeonghi’s neunggye gutgeori]. Master’s thesis, Chugye University for the ArtsChugye University for the ArtsChugye University for the Arts is a South Korean institute of higher education in the fine arts. The campus is located in Seodaemun-gu in central Seoul, the country's capital.-Academics:...
, 2005. - Kim Seunghak. Taepyeongso eumgye iyagi pyeongjo (neunggye) [Discussion of pyeongjo (neunggye) pitches for taepyeongso]. www.café.daum.net (taepyeongso) (accessed August 25, 2008).
- Kim Seunghak. Taepyeongso eumgye iyagi gyemyeonjo (sinawi) [Discussion of gyemyeonjo (sinawi) pitches for taepyeongso]. www.café.daum.net (taepyeongso) (accessed August 25, 2008).
- Kim, Wonseon. Yeongsanjae-e Yeonjudweneun taepyeongso garak bunseok [Analysis of taepyeongso melodies for yeongsanje]. Master's thesis, Dongguk University, 1999.
- Lee, Byong Won. Buddhist Music of Korea. Seoul: Jungeumsa, 1987.
- Lee, Hye-Ku. Essays on Traditional Korean Music. Seoul: Royal Asiatic Society (Korea Branch), 1981.
- Lee, Kang-Sook. An Essay on Korean Modes. Asian Music 9:2 (1978): 41-47.
- Lee Jongdae. Taepyeongso and Samulnori. Art World of Lee Jong-dae's Piri. Jigu TOPCD 060, 2003. Compact Disc.
- Lee Senggang. Dokmu—gutgeori (neunggye)/ jajin (neunggye)/ dongsalpuri (taak)/jajin. Nongak. Samsung Music, 1993. Compact Disc.
- Lee Wol-chool. Anthology of Korean Traditional Music Vol. 1. Seoul: Korean Traditional Music Publication Company, 1969.108
- Lee, Yong-Shik. Shaman Ritual Music of Korea. Seoul: Jimoondung International, 2004.
- Pratt, Keith. Korean Music: Its History and Its Performance. London, Faber Music, 1987.
- Provine, Robert. The Treatise on Ceremonial Music (1439) in the Annals of the Korean King Sejong. EthnomusicologyEthnomusicologyEthnomusicology is defined as "the study of social and cultural aspects of music and dance in local and global contexts."Coined by the musician Jaap Kunst from the Greek words ἔθνος ethnos and μουσική mousike , it is often considered the anthropology or ethnography of music...
18:1 (Jan. 1974): 1-29. - Pyoun, Joongbae, Sangjin Cho, Yeonwoo Hong, and Uipil Chong. Extraction of Characteristics Corresponding to Bell of Taepyeongso Based on Acoustical Analysis. Hanguk eumhyanghakhoeji 27:1 (2008): 12-17.
- Seo, Maria. Hanyang Gut: Korean Shaman Ritual Music from Seoul. New York: RoutledgeRoutledgeRoutledge is a British publishing house which has operated under a succession of company names and latterly as an academic imprint. Its origins may be traced back to the 19th-century London bookseller George Routledge...
, 2002. - Seo Yongseok. Taepyeongso and Samulnori. Korean Traditional Music. National Center for Korean Traditional Performing Arts, n.d. Compact Disc.
- So, Inhwa. Theoretical Perspectives on Korean Traditional Music: An Introduction. Seoul: National Center for Korean Traditional Performing Arts, 2002.
- Song, Bang-song. Source Readings in Korean Music. Seoul: Korean National Commission for UNESCOUNESCOThe United Nations Educational, Scientific and Cultural Organization is a specialized agency of the United Nations...
, 1980. - Song, Kyong-Rin. Korean Musical Instruments. In Survey of Korean Arts: Traditional Music, National Academy of Arts, 31-76. Seoul: National Academy of Arts, 1973.
- Yu, Gyeongsu. Hanguk jeontongeumakui yeongu: Bak Beomhun-ryu piri-sanjo, daepungnyu, taepyeongso-sinawi-reul jungsimeuro [A study of Korean traditional music: connections between Bak Beomhun’s taepyeongso sinawi, piri sanjo, and daepungnyu]. Master’s thesis, National Central UniversityNational Central UniversityNational Central University is a national comprehensive university in Taiwan .National Central University was founded in 1915 and originated in 258 CE at Nanjing, China. After NCU in Nanjing was renamed Nanjing University in 1949, NCU was re-established in Taiwan in 1962...
, 1998.109 - Yun, Myung-won. A Study of Musical Instruments in Korean Traditional Music. Seoul: National Center for Korean Traditional Performing Arts, 1998.
Korean notations
- Hwang, Uijong. Taepyeongso-wa samulnolireul wihan gwanhyeonak, ‘puri’ [Puri for taepyeongso and samulnori]. Master’s thesis, Busan University, 1991.
- Jeong, Nam-geun. Bulgyo wisikgaw taepyeongso-e gwanhan yeongu [A study of Buddhist ritual and taepyeongso]. Master’s thesis, Dongguk University, 2001.
See also
- Traditional Korean musical instrumentsTraditional Korean musical instrumentsTraditional Korean musical instruments comprise a wide range of string, wind, and percussion instruments.-String:Korean string instruments include those that are plucked, bowed, and struck...
- Nongak
- Samulnori
- Korean musicKorean musicTraditional Korean music includes both the folk, vocal, religious and ritual music styles of the Korean people. Korean music, along with arts, painting, and sculpture has been practiced since prehistoric times....