musicofkorea_07

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Classical Music :

Instrumental

Hee-sun Kim


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Pungnyu: Classical Instrumental M

Classical instrumental musical genres performing today in Korea are the body of m

asjeong-ak(proper music).Jeong-akgenres encompass historical royal court and lite

dynasty (1392-1910).Pungnyu (wind and stream) is the most representative instrument

was performed privately for and by the literati. However, it is ambiguous to define the bod

music of literati because although this music was originally performed at the court, it was t

class people) who later enjoyed and developed the music. Pungnyu music was elegant

that was enjoyed by the members of high society purely for entertainment during leisure

often defined as music ofpungnyu-bang, the literatis private salon or club where literati

arts and poetry. Even though the class of people who gathered at the pungnyu-banghas

history, the main purpose of the pungnyu-banghas, most of the time, remained cult

suggested by Confucian teaching. The most popular repertoire played atpungnyu-bang

Currently the term pungnyu is used synonymously with Yeongsanhoesang when it is

culture.Pungnyu music itself has been passed on for approximately five hundred years,

the result of gradual changes throughout history.

The emergence ofpungnyu culture in Korean music history reflects the socio-cultu

periods. Up until the early Joseon period, musical activities were mostly centered on cour

the ruling elite. However, the Joseon Dynasty experienced social, political and econ

seventeenth century, which in turn affected the production and consumption of music. Loc

class emerged as new consumers of music, and they cultivated a new music culture er

orchestral suite Yeongsanhoesangexemplifies how music has changed along with people,

In this chapter, I examine the people, society, history, repertoires, transmi

performance practice ofYeongsanhoesangand the historical and socio-cultural dimension

its historical contexts.

Understanding Pungnyu

Even though todayspungnyu music has been transmitted from the late Joseon,but

previously existed in Korea for a long time. The term pungnyu first appeared in theHi

(Samguk sagi) in relation to activities in King Jinheungs reign in the sixth century in S

Choi Chiwon, a scholar and writer of Silla dynasty, states in his preface to the Nallang

Monument of Nallang) that:

There is a wonderful and mysterious way in the country, calledPungnyu. The ori

detailed in Seonsa. In fact it embraces the Three Teachings [Buddhism, Confucianism and


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achieve harmony with nature. Cultivating musical skills was seen as followingDo (Tao

andpungnyu outlined the underlining basic assumptions. Music was a useful tool of sel

proper state of mind and cultivate culture, which by way ofpungnyu, could result in

nature, and refined arts. Later the termpungnyu was associated with the Neo-Confucia

period and the philosophical stance of the ruling elite of Korea.Pungnyu was deemed a

Confucian literati cultivated their distinctpungnyu music culture accordingly.

Space, Patronage and Reception of Pungnyu

Neo-Confucianism was widely disseminated in the late Goryeo Dynasty (918-139

political and philosophical ideology of the Joseon Dynasty. Neo-Confucianism was a phi

that explained the origins of man and the universe in metaphysical terms, a view that su

ruling class in the Joseon period. During this time, the literati were the dominant social cl

yangban who served as civil and military officials, and society revolved around the yangba

theyangban was the holding of public offices available through strict state examination. F

dynasty, this privileged class seized power in all sectors, including government, economy

particularly emphasized. During the early Joseon period, the royal court and aristocracy

musical patrons, and music was seen as a vehicle to achieve Confucian ideals. Exemplar

express peace, symmetry and serenity in accordance with court and literati aesthetics.

The Joseon dynasty experienced several invasions from neighboring dynasties, an

society was transformed after the Japanese invasion in 1592 and the Manchu Invasions

resultant social changes led to the Silhak(practical learning) social movement, the spre

Catholicism, and economic growth. New intellectual ideology and economic growth

social-class hierarchy and modes of expression in the arts. The seventeenth century wit

music patronage alongside socio-cultural and economic changes. The rigid social class

apart in the mid sixteenth century and by the nineteenth century, the Joseon dynasty w

mobile andyangban status had come unhinged. Along with shifts inyangban status,jung

influence in society, politics and culture. The advent and development of a class of n

reflective of the artistic activities of the eighteenth century and the enlightenment moveme

In particular, the development of wholesale commerce and the economic success of the ju

the new cultural consumers. This shift brought about changes in power relations in the

down (people-led) art and culture system. The jung-in class actually comprised divers

classes: low ranking technicians, officers of central government, medical officers, transla

clerks, accountants, the sons ofyangbanby mistresses and their descendants, officers a

governments and local agencies, students who studies at the local educational institutions

artists and court musicians and all were hereditary.

myriad men. It is a tenet of Confucius that one should be filial to ones parents and loyal to ones sovereign; it is the

belief of Laozi that one should be at home in the action of inaction and practice the wordless doctrine; and it is the

teaching of Buddha that one should avoid evil and do many good deeds.

Pungnyu, according to Choi, is an indigenous Korean perspective that encompasses foreign philosophies and

religions.Pungnyu was the basic philosophy forHwarang, an elite group of male youth, in Silla. Hwarangwere

educational institutions as well as social elite clubs where members gathered for all aspects of study, originally for

arts and culture steeped in Buddhism and Taoism. These groups developed into a more military organization as the

Silla court centralized political power. Practices ofpungnyu can be traced to principle training methods ofHwaranggroups. Members dwelled in the mountains and enjoyed nature, singing and dancing to train the body, purify the

soul, and control the mind.Pungnyu, thus, is used as a collective term indicating an aesthetic enjoyment of nature

believed central to traditional Korean thought and in accord with Confucianism, Buddhism and Taoism-religious

practices historically prevalent in Korea.

Along with its connections toHwarangprinciples, pungnyu is defined as refined and stylish recreation,

intrinsic to a tasteful lifestyle, and relevant to Korean collective and individual entertainment culture. In terms of

collective leisure, Koreans have traditionally celebrated seasonal festivals such as Seol (lunar new years day),

Dano (fifth day of fifth lunar month) and Chuseok(fifteenth day of eighth lunar month). By enjoying these festive

occasions, people recharged by taking a break from hard work and remembering their ancestors. While pungnyu

played a part in seasonal festivals, it was perhaps more conducive to an individual level of leisure, entertainment,

and lifestyle. As a reflective activity, pungnyu was a tool for transcending material and secular desires and

developing peace of mind.Pungnyu activities included enjoying nature by traveling and singing and dancing to

Music of Korea50

Playinggeomun-go

Kim Hongdo (Second half of the 18th century) Natl. Museum


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gradually changed. Somepungnyu-bangin this period began conducting commercially or

in the commodification ofpungnyu music.

With the establishment of commercial pungnyu-bang, this culture split into comm

managed bygwonbeon (female entertainers) groups and voluntary-basedpungnyu-bang

former was mostly organized around public figures and amateur musicians and the latt

famous professional musicians of the period. Amateur musicians who participated in

sometimes transcribed the music to help memorize the melodies. These manuscripts and

major source of research material onpungnyu music. Since these scores were written as pnot descriptive means, most of thepungnyu manuscripts are written forgeomun-go and rar

In early twentieth century,pungnyu have been spread throughout the country. So

music reception have been changed this period which went beyond feudalistic class sy

pungnyu-bangalso has shifted along with society. In musical practice of the early twentiet

exemplifies that music already emancipated from feudalistic Confucianye-akcosmology

social class order.Pungnyu-gaekexpanded and reconstructed newpungnyu culture by inc

genres which formerly performed at the court.

Yeongsanhoesang

Yeongsanhoesangrepresentspungnyu, and the term pungnyu itself refers

Yeongsanhoesangis a suite which consists of five to fifteen pieces of different tun

Yeoungsanhoesang first appears in theAkakgwebeom (1493), the first treatise on Ko

notation of the music is found in Isusamsanjebon-geumbo (1651). There are thr

Yeongsanhoesang: Hyeonak yeoungsanhoesang, the string ensemble;Pyeongjohoesa

ensemble; and Gwanak yeongsanhoesang, the wind ensemble. These are not independe

related to each other and variants of one piece. These three variants have been found in a

and the interpretation of these have been a major focus of study for music historians in Ko

notations still open for study.2

1) History

According toAkakgwebeombook five, Yeongsanhoesangwas originally Budd

performed for court dance during the reign of Seongjong (r.1469-1494). Instrumental en

female entertainers sang seven Chinese syllables of the first line of a Buddhist sutra Yeong

Although many scholars trace the development ofjungin-centered musical activities back to the seventeenth

century and the rise of thejungin class, another main group of contributors to pungnyu culture was the Sarim-pa

literati of the previous century. The Sarim-pa literati was a group of Confucian scholars who returned to their

ancestors hometowns in the countryside to improve their hometown. They were yangban scholars who practiced

an extreme form of Neo-Confucian doctrine that emphasized righteousness, morality, and a practical ethos. Their

base in the countryside became central to Neo-Confucian Joseon in the sixteenth century. Large numbers of these

rural Sarim-pa scholars were the main consumers and patrons ofpungnyu music in late Joseon.Pungnyu music,

thus, was deeply influenced by these two groups of people of mainly amateur musicians.

The new supporter-consumers tried to internalize the concept ofpungnyuby enjoying refined music; they

re-discovergeomun-go as the literatis musical instrument of choice and developed a new pace forpungnyu music.

Pungnyu activities were mostly held at pungnyu-bang amongpungnyugaek (pungnyu patrons): si-gaek (poets),

muk-gaek(painters and calligraphers),yul-gaek (instrumental musicians), andga-gaek (singers).1Pungnyu-gaek

gathered irregularly and to enjoy music and the arts and promote mutual friendship. They formed a mutual savings

club or guild (yul-gye) to operate their ownpungnyu-bang. Usuallygeomun-go was played among themselves, and

sometimes they invited professional musicians ofgayageum, haegeum, and daegeum to perform with them. By

participating and performing together atpungnyu-bang, professional musicians also contributed to developing

pungnyu music. Yeongsanhoesangandgagok(lyric songs) were the main repertoires atpungnyu-bang, and

Yeongsanhoesangpersisted longer than lyric songs atpungny-bang.

In the late Joseon dynasty, the development ofpungnyu was achieved through voluntary musical activities

and thepungnyu-bangwas a very effective medium. Before the establishment of modern theatrical performance

culture, thepungnyu-bangwas the only place where criticisms and creativity could be explored. Thepungnyu-bang

was a non-profitable, purely voluntary-based, and spontaneous gathering space for chamber music performance.

However, during the nineteenth century, especially in Seoul, the major role and characteristics of thepungnyu-bang

Music of Korea52

Pungnyu club scene (1725)

Album of Painting and Calligraphy of Pungsan Kim Clan by Kim junghyu Natl. Museum


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(Mass to the Buddha on the Spiritual Mountain). Later, these texts were dropped and the music became purely

instrumental during the seventeenth century. Few historical manuscripts have documented Yeongsanhoesangand

these are useful to trace its historical development. At the same time, these manuscripts exemplify that

Yeongsanhoesangbecame the most importantpungnyu-bangrepertoire and inspired new variants and directions.

Another seventeenth-century geomun-go manuscript, Yuyeji (Artistic Amusement), documents

Yeongsanhoesangin the late eighteenth century. Samjukgeumbo (early nineteenth century) documents Seyeongsan,

Yeongsanhoesang i-cheung jeji, and Yeongsanhoesang sam-cheung jeji. These manuscripts support claims that the

current Yeongsanhoesangwas completed around this period. Yeongsanhoesangbegan with the prototype versionSangyeongsan. The rest of the pieces in the current Yeongsanhoesangsuite are either newly created or variations of

the original melody. The pieces of the current suite comprise a number of variants of similar materials originated

from the first piece and which are also found in Hyeon-geum-o-eum tongnon andHakpogeumbo in the late

nineteenth century. Table 1 shows the development ofYeongsanhoesang.

Music of Korea54

Period 15thCentury

Histori-

cal

Manu-

scripts

Pieces

docume

-nted

(1493)

book 5

Buddhist

chant

Text

(1651)

Yeongsanho-

esang text

(1680)

Yeongsanho-

esang

(without text)

(1724)

(1779)

Yeongsanhoe-

sang

(Sangyeongsa

n)

Yeongsanhoe-

sang hwanip

Yeongsanhoe-

sang jeji

Yeongsanhoe-

sang gaptan

Sangyeong

san

Jungyeongsan

Seyeongsan

Garakdeori

Samhyeonhwa-

nip

Samhyeonhoe-

ip ijang Du

Hahyeonhwan-

ip

Yeombultary-

eong

Taryeong

Gunaktaryeong

Yeongsanhoe-

sang

Jungyeong-san

Seyeongsan

Garakdeori

Hwanip

Yeombul

Taryeong

Gunak

(1886)

Bonyeongsan

(Daeyeong-

san)

Jungyeongsan

Seyeongsan

Garadeori

Samhyeonhwa-

nip

Hahyeonhwa-

nip

Yeombul

Taryeong

Gunak

Late 17thcentury

Late 17thcentury

Early 18thcentury

Early 18thcentury

Early 19thcentury

Early 19thcentury

2) Ensemble types

As mentioned earlier, currently three versions of Yeongsanhoesang are perform

yeongsanhoesang(stringyeongsanhoesang), also known as Jul-pungnyu (jul-liter

hoesang, orJunggwangjigok. It is the longest version and combines string instruments w

This piece begins slowly and speeds up gradually through its nine pieces to a fast pace at

piece was played indoors by the literati, and music was developed alongside their

instruments are the zithersgeomun-go, gayageum andyanggeum, and thejanggu with

haegeum,sepiri and daegeum and danso In traditional ensembles, bowed chodophones arinstruments because they are capable of sustaining a note by producing sound with th

yeongsanhoesang was performed indoors at pungnyu-bang, the music was expected to

Usually a single player performed on each instrument in the ensemble. The second versio

Gwanak yeongsanhoesang(windyeongsanhoesang). This version uses the wind ensembl

strings and was played outdoors at the court banquets. The suite consists of eight pieces a

dodeuri. Since the main instruments of the piece are wind instruments, it is also called as

pungnyu. Its Confucian name isPyojeongmanbangjigok. It is still accompanied by dance

Gunak. Gwanak yeongsanhoesangis performed by a wind ensemble that combines the bo

ajaengwith the strong double-reed hyangpiri, the bamboo flutes daegeum and dangjeok

jwago. Since this instrumentation produces a loud sound, it is not suitable for indoor music

The third version isPyeongjohoesang, in which the melody is transposed down a f

This version is performed in the loud ensemble instrumentation. In effect, this is the co

ensemble and wind ensemble, combining string instruments with strident winds. It a

dodeuri.Pyeongjohoesangis usually used as court dance music accompaniment and win

performed as solo repertoire.Pyeongjohoesang is performed with string ensemble with

geomun-go, gayageum, hyangpiri, daegeum, dangjeok, haegeum, ajaeng, janggu, andjwa

The same melodies used for court entertainment and festivals were also know

implying another function of the music and creating confusion for musicians and schola

versions of three Yeongsanhoesangwith their names, ensemble types, instrumentation,

pieces.

Historical Development ofYeongsanhoesan


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Several changes were made in the process of transforming Yeongsanhoesangfrom

instrumental pieces. The musical phrases were increased in length to match typical instrum

To meet typical instrumental ornamentation patterns, variations and elaborations are adde

Some parts in wind ensembles preferred higher registers to reflect how the uniquely instru

differs from the voice.

Yeongsanhoesangdemonstrates the emergence of variants and illustrates the proces

the original Sangyeongsan, Jungyeongsan and Seyeongsan were added. Then the pieces fr

were added, including Samhyeon hwanip, Hahyeon hwanip, Yeombul, Taryeongand Gungradually evolved into an extended suite. At the same time, these variants were organize

schemes where the music begins slowly with dignity and serenity and gradually increases

folk music energy and wit.

The most important musical structure in Korean music is trisection, known as hwan

music. Hwanip structure is basically variation and repetition, and these were te

Yeongsanhoesang. Trisection structure is found in the sequencing ofSangyeongsan-Ju

Within a suite, trisections are organic compositions and present one large motive.

The unit of rhythmic pattern is important in Korean music. It marks the tempo o

structure of the entire piece. Rhythmic pattern shapes distinctive musical characteristic

signals the beginning of the following piece. For example, the rhythmic pattern

Jungyeongsan, the first and the second pieces ofYeongsanhoesang, is based on 20-beat c

Seyeongsan and Garakdeori, the third and the fourth pieces, is based on 10-beat cy

Hahyeon dodeuri, Yeombul dodeuri are based on 6-beat cycle and Taryeongand Gunak

and 10-beat rhythmic patterns are basically mixed and asymmetrical with the duple an

Korean rhythmic structure. 20-beat rhythmic patterns are divided unevenly into 6+4+4+6,

divided into 3+2+2+3. 6-beat dodeuri and taryeongrhythmic patterns are popularly used in

To complete a performance of the fullest form of Yeongsanhoesang takes more than fifty minutes. The

repertoire of the first version includes Yeongsanhoesang Cheonnyeon manse andDodeuri. These three suites are

individual repertoire but at the same time, are often coupled and played together. Gajeun hoesangis the title when

Yeongsanhoesang and Cheonnyeon manse are played one after another. Byeolgok is the title when

YeongsanhoesangandDodeuri are coupled.Byeolgokeliminates some pieces and adds three new pieces with a fast

tempo at the end.

According to its occasion, size, and function, the numbers of players in ensembles varies: from a single

performer to multiple players on most melodic instruments. In string and wind ensembles, the number of player of

other instruments should be multiple. In string ensembles, each of the instruments should be performed by single

performers for timbral balance. Individual pieces or extracts within the suite can be performed as independent

concert repertoire today. For example, the daegeum orpiri melody of the first piece, Sangyeongsan of

Pyeongjohoesangis one of the most frequently performed repertoires in contemporary concerts.

3) Musical Features

Pungnyu music is distinguished by subdued melodies and a very slow tempo reflective of the Confucian

mind-set of the Joseon and Taoist practice. At the same time,pungnyu music shares most of the distinctive musical

features of Korean instrumental music: 1) instrumental music derived from vocal music; 2) new pieces as variants

of one prototype or old melody; 3) long performances due to suite form; 4) single repertoire that can be several

depending on its instrumentation as solo, ensemble or duet; 5) tempo changes within the piece that follow the same

pattern from slow to fast; 6) no conductor and drum player or bakplayer lead the ensemble; 7) musicians are able

to perform more than one instrument; and 8) rhythmic patterns are the most important musical element.

Music of Korea56

Versions ofYeongsanhoesang

Janggu rhythmic patterns in Yeongsanhoesang3

4-1. Sangyeongsan andJungyeongsan (20-beat rhythmic cycle, 6+4+

Versions Other name Confucian name Ensemble Types Function

Hyeonak

Yeongsanhoesang

Gwanak

Yeongsanhoesang

Pyeongjo hoesang

Julpungnyu (String

Pungnyu)

Geomun-gohoesang

Daepungnyu

(Bamboo Pungnyu)

or Samhyeon

yeongsanhoesang

Junggwangjigok

Pyojeong

manbangjigok

(Pyojungmanbang)

Yuchosinjigok

(yuchosin)

String ensemble

with gentle winds

Wind ensemble

String ensemble

with strident winds

Pungnyu-bang

music

Indoor chamber

music

Court dance

accompaniment

outdoor court

entertainment music

Court entertainment

music

4-2. Seyeongsan and Garakdeori (10-beat rhythmic cycle, 3+2+2+


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At the end of nineteenth century, professionalsanjo musicians also performedpung

performed bysanjo musicians, sometimes called Gaein (individual or personal)pung

down through their pupils and students, yet these are also categorized asHyangjje pungnyu

Vernacular style hyangjje pungnyu was transmitted through modernized version

bangculture that is enjoyed by amateur musicians, and individual pungnyu has been pe

through professional musicians. However, in the process of music-making in regionalpu

musicians also have contributed since they were invited to joinpungnyu. Regionalp

throughout the country until the mid twentieth century; however, almost every form of lolost with the dismantling of traditional culture and the modernization of Korean society.

Hyangjje indicates indigenous roots, and it is transmitted through local amateur

countryside. This countryside style or Hyangjje jul pungnyu is also divided into var

different characteristics according to the regions: Honampungnyu (Iri, Gurye, Gimje, G

province), Naepopungnyu (Daejeon, Gongju, Yesan in Chuncheong province), Yeon

Busan, Gyeongju in Gyeongsang province), and Haeseo pungnyu (Haeju in Hwanghae p

However, many of these regional renditions have been lost except those performed in

province, where they were nationally recognized as Property 83 in 1985. Iri and Guryepu

on amateur music-making practice. Up until the 1980s, these vernacular style pungnyu

localpungnyu-bang by organizingyul-gye. Gayageumplayer Kang Nakseung at Iri an

player Kim Mukyu have been appointed as property holders on hyangjje pungnyu. Ka

famous for performinggayageumbut alsojanggu, geomun-go, sijo andgagokas oldpu

he organized Iri Yullim-gye (IriPungnyu-club) with other local amateur musicians like Cha

Hwang Sanggyu, Jin Jongha, Jeong Gilseon and Yi Bohan. Later this punygnyu club

modern organization, Iri Jeongak-won (Iri Jeongak institution).

Sanjo masterspungnyu have been performed and transmitted bygayageum mast

1919), Han Sukgu (1850-1925), Paik Nakjun (1876-1930), Han Sudong (1902-1929), Ha

and Choe Oksam (1902-1950) were very famous for their sanjo andpungnyuperforman

Kim Yeonsu, Sin Changhyu, Im Sukyun, Choe Changro, Kwon Hakyeong were fam

Gayageum masters, including Sim Sanggeon (1889-1965), Kim Jukpa (1911-1989), Kan

Kim Yundeok (1918-1978), and Seong Geumyeon (1923-1986), have performed pung

melodies are sometimes performed on concert stages today by their pupils. The melodie

are not as fixed as Seoulpungnyu since players remember different renditions of melo

several players. Vernacular music shows a strong attachment with local music; howeve

disappeared and melodies and local flavors have standardized through exchanges among

associations.

The beginning ofGwanak yeongsanhoesangis unique and exceptional compared to other court music. Thedrums signal the beginning of the piece about half-way through the rhythmic pattern, then hyangpiri, daegeum,

haegeumbegin. These three instruments produce by responding to each other. The heterophony produced by these

techniques is called asyeoneum. Yeoneum is one of the most unique musical characteristic in Korean music, and it

works efficiently in this piece. The mode of Yeongsanhoesang is distinct Korean style, based on pyeongjo and

gyemyeonjo. The melodic features ofYeongsanhoesangare unison and heterophony.

Musical expressions ofpungnyu also reflect thepungnyuphilosophy of literati and Confucian ideology in

the Joseon period. Music is shaped as refined and subtle by narrow vibrato and unison melody serving as a sonic

representation of Joseon pungnyu ideology. In terms of emotion based on melody, rhythm and ornamentation,

pungnyu lies between court music and folk music. Court music, oraak, is usually strict, slow, and syllabic, with the

emotional expression extremely restrained. However, pungnyu music is more melismatic, and tempo changes

gradually move from slow to fast to allow rich and highly ornamented melodies. At the same time,pungnyu is

restrained compared to folk music. It uses narrower vibrato and gentler musical expressions. In its rhythmic

patterns, it begins slow and dignified but ends with dance-like melodies that incorporate the light humor of folk

music. Perhaps this fusion was the result ofpungnyu culture being cultivated by different classes and professions,

so that musical expressions were able to transcend rigid social boundaries.

4) Regional Pungnyu

Currentpungnyu music is derived mostly from eighteenth centurypungnyu-bang in the Seoul (capital of

Joseon) area.Pungnyu spread to other regions and music became localized into regional-specific music in the

nineteenth century. Stringpungnyu was passed down in Seoul and is now performed by The National Center for

Korean Traditional Performing Arts (NCKTPA) as Gyeongjje pungnyu (Seoul stylepungnyu),Aak pungnyu

(elegantpungnyu) orGugakwon pungnyu (NCKTPApungnyu). Regional versions are called Hyangjje pungnyu

(Regional or countryside style pungnyu) or Min-gan pungnyu (peoples or non-officialpungnyu). These local

pungnyu are different from one another and reflect local musical flavors. They are transmitted through yul-gye

while thepungnyu in the Seoul area is currently transmitted by the loyal court musicians and NCKTPA musicians.

Music of Korea58

4-3. Samhyeon dodeuri, Hahyeon dodeuri andYeombul dodeuri (6-beat rhythmic cycle)

4-4. Taryeongand Gunak(4-beat rhythmic cycle, three squares take one beat)


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accompaniment ensemble as well as individual instrument classes ingeomun-go, gayageu

along with music theory. Unfortunately, after a few years these institutions lost their edu

financial difficulties and ended by having only three years worth of graduates. Beginning

merely survived by staging weekly performances.

Pungnyu music may have survived due to the activities of few performing group

was in danger, it has become the new repertoire of the former court musicians. During

period, court music was transmitted and survived by Iwangjik aakbu, Yi Dynastic Music

taught court music along with general education. In their third year of study, students learincluding gagokand Yeongsanhoesang. Thus, the tradition ofpungnyu-bang culture

former members of the royal court ensemble, and pungnyu music has become a major

After 1910, the termjeong-akhas been posed as counterpart to folk music, distinguishin

that were performed by folk musicians whose social class was low in traditional society.

akencompass the body of music that was performed at functions of the historical royal c

music which enjoyed and developed by the literati and the middle class. Thus,jeong-akb

encompassing both music of the court and pungnyu-bang.Pungnyu and otherjeong

established forms of traditional music today. Currently,pungnyu repertoires are tran

regularly by the members of NCKTPA, local amateur musicians, and professionaljeong-a

sanjo masters pupils and associations. They are also taught in institutions such as unive

teaching Korean music and dance.

The major difference between regionalpungnyu and Seoulpungnyu lies in degrees of melodic elaboration.

Compared to Seoulpungnyu, the vernacularpungnyu melody is much freer than the former. Embellishments in

melody and rhythmic division are more sophisticated and numerous. Instrumentation itself is not fixed in

vernacularpungnyu because of its performance context. Another distinctive characteristic in playing Min-gan

pungnyu is the use of instruments, especially in the case of thegayageum. For Seoulpungnyu, the so-called

pungnyu gayageum orbeobgeum is used which original and used in court music, while vernacularpungnyu uses

sanjo gayageum. This marks a significant difference in the music as sanjo gayageum is smaller and much more

flexible in terms of playing techniques. Thus, the sound ofpungnyuplayed bysanjo gayageum is lighter, freer and

less serious than Seoul style music.

Modern Day Transmission and Performance Practice

Pungnyu traditions of Joseon began to wane after the corruption of the dynasty and class system. Pungnyu-

bang culture was quickly dismantled in the early twentieth century. In 1909, a few pungnyu enthusiasts have

established Joyang gurakbu (Joyang Club), a private organization to preservepungnyu culture. Later the members

organized a sponsor association, Jeong-ak Yujihoe (Association for Preservation ofjeong-ak) which was supported

by twelve nobilities. Joyang gurakbu was re-organized into Joseon Jeong-ak Jeonseupso (Joseon Private Institute

forJeong-ak) in 1911. Joseon Jeong-ak Jeonseupso was the first private music institution and had three divisions--

voice, instrument, and instrument-making--and taught Joseon and Western music together. The term jeong-ak

(proper or elegant music) is believed to have originated from Jeong-ak Yujihoe and Joseon Jeong-ak Jeonseupso,

the predecessors of Joseon Jeong-akwon during the Japanese colonial occupation of Korea (1910-1945). These

institutions and associations were the successors ofpungnyu-bangassociations of the Joseon period. Two

associations were private institutions which tried to preserve pungnyu culture through the education. The

curriculum of their institutions included classes in strings ensemble, winds ensemble,gagok, gasa, sijo andgagok

Music of Korea60

Types ofPungnyu SeoulPungnyu RegionalPungnyu Sanjo mastersPungnyu

Current Performers

Other Names

Performance

NCKTPA

Gyeongjje pungnyu,

Aak pungnyu,

Gugakwon pungnyu

Regular performance

repertoire

Local associations

(amateur musicians)

Hyangjje pungnyu

Min-gan pungyu

Appointed as national

properties in 1985

Sanjo masters and their

pupils

Gaein pungnyu

Min-gan pungnyu

Recently reorganized

and reconstructed by the

pupils ofsanjo masters

Performance of String Ensemble (Hyeonak yeongsanhoesang)

Jeongnong-akhoe Musicians NCKTPA

Renditions ofPungnyu


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Further Readings

Condit, Jonathan. 1984.Music of the Korean Renaissance: Songs and Dances of the fiftee

Cambridge University Press.

Lee Hye-gu. 1981.Essays on Traditional Korean Music . ed. and trans. Robert C. Provine.

Society, Korean Branch.

Pratt, Keith L. 1987.Korean Music: Its History and Its Performance, Traditional Korean M

Jungeumsa and Faber Music.

Musicians in modern days have discovered and reconstructedpungnyu music into modern concert repertoire.

Solo parts ofdaegeum and piri fromPyeongjohoesangand Gwanak yeongsanhoesanghave, respectively, become

the major solo repertoires. These pieces were reinterpreted as solo pieces by the musicians of the early twentieth

century. In 1968, daegeumplayer Kim Seongjin andpiriplayer Jeong Jaeguk were appointed as the holders of

Intangible Cultural Assets with theirjeong-akrepertoires. With two prominent masters injeong-akgenres, a group

of musicians organized Jeongnong akhoe, the professional group specialty in jeong-ak, mainly Yeongsanhoesang

performance. The members of the group include Kim Cheongheung, Kang Sajun, Jo Unjo (haegeum), Yi Seokjae,

Kim Taeseop, Seo Hanbeom, Jeong Jaeguk (piri), Kim Seongjin (daegeum), Bong Haeryong (danso), Kim

Seonhan (geomun-go), Kim Jeongja, and Yang Yeonseop (gayageum). Most of the group members are professors

at universities and member of NCKTPA. After their debut in 1977, the group has performed regularly in Korea and

abroad. Their activities are not only performing but also recording and teaching Yeongsanhoesang. Another

important professional group is Han-guk Jeong-akwon (KoreanJeong-ak Institution) which is the successor of

Joseon Jeong-ak jeonseupso. Established in 1947, this group is a private institution and modern daypungnyu-bang

where people learn, perform, and promotepungnyu culture.

In modern day Korea, pungnyu music is represented as indigenous Korean music as well as elegant

aristocratic philosophy of old Korean society and sometimes it is interpreted and reconstructed as the symbol of

tranquility of Zen.

Music of Korea62

Performance of Wind Ensemble (Gwanak yeongsanhoesang) NCKTPA

1 For detailed information ofgagok, gasa andsijo, see earlier section of this chapter on classical vocal music.

2 Studies on Yeongsanhoesangbegan in 1957 by the Korean music scholar Lee Hyegu. Many studies are primarily

scores. Studies have focused on the development process of the suite, musical and structural analysis, compara

analysis. Musical and structural analysis includes melodic, rhythmic structures and mode, transposition, playing te

on ensemble types.

3 The rhythmic cycle or pattern is given by thejanggu drum. The symbols shown here are conventionaljanggu sy

both heads simultaneously while symbolizes striking the leaf head of the drum with the left palm, and

with the stick of the right hand. In this Jeonggan-bo notation, each square takes one beat.

4 For detailed information onsanjo, see Chapter 4 in this volume.


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