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Unlike Chong-ak, with its
sense of emotional composure and control, Minsogak is characterized by a
rapid tempo and unrestrained, exuberant emotional expression.
Minsogak vocal music includes the unique form known as p'ansori
as well as minyo and miscellaneous other types. In p'ansori, a
single vocalist tells a long story in which she or he assumes a number of
different roles. At present, there are five complete, traditional p'ansori
compositions in existence. The songs tend to be very long, with compositions
such as Ch'unhyangjon (Tale of Ch'unhyang)
requiring more than eight hours to perform and Sugungga (Song of the
Underwater Palace) requiring more than four hours. Combining a number of diverse
formal elements, p'ansori alternates between a slow and fast tempo, the
quiet and dramatic, and melodic passages and passages rendered in everyday
speech. The music elicits numerous emotions, ranging from sidesplitting laughter
to profuse tears. Performed with the sole accompaniment of a drummer, p'ansori,
like most genres of folk music, is performed with numerous ad-libs and
improvisation.
Minyo are broadly classified into three types according
to region, namely, Kyonggi, Namdo and Sodo
minyo. Kyonggi minyo were traditionally
popular in the central area around Seoul, while Namdo minyo were popular
in the southern area around Cholla-do province and Sodo
minyo were popular in the northwestern area (present-day North Korea)
situated around P'yong-an-do province. Kyonggi
minyo are generally characterized by a frantic tempo and cheerful mood. As
the music progresses, one feels happy and uplifted. Namdo minyo have a
relatively slow tempo and a crude, dark timbre. It's sharply alternating melody
gives one the sense of deep, inward pathos. Sodo
minyo, with its clear nasal tones and fine vibrato, reminds one of fine
ripples spreading outward on a lake. In contrast with Kyonggi
minyo, it has a slow tempo and pure, tranquil feeling reminiscent of a cool
autumn sky.
In addition to the above, there are a number of unique singing
styles, generally classified as chapka (miscellaneous songs), found in
different regions throughout Korea.
In terms of melody and structure, these songs tend to be
technically weak. Most are based on an old text or story, and they are sometimes
recited as if from a book.
Among Minsogak instrumental music, the most famous
compositions are Sanjo, Shinawi and the primarily percussion style known
as Samul Nori. Sanjo basically consists of three movements known
as chinyangjo, chungmori and chajinmori. It is widely performed as
the basic repertoire of traditional solo instrumentalists. Examples include the Kayagum
(Kaya zither), Komun-go (half-tube zither), P'iri (bamboo
flute), Haegum (large transverse bamboo
flute) and Ajaeng (seven-stringed zither) sanjo.
Although sanjo performers follow the
basic three movements, they tend to freely give the music their own unique
interpretation. However, with the introduction of Western-style notation, the
music has recently become more rigidly fixed. Sanjo music is popular as a
style which allows the performer to demonstrate his or her technical expertise
while giving free rein to his or her creative expression.
Shinawi, on the other hand, is normally performed by a
traditional instrument ensemble. Within the form's loose structure, musicians
freely display their individual skill while harmonizing with the other members
of the group. Like stars in the night sky which shine individually yet are
ultimately part of the cosmic order, this musical form allows the maximum
freedom for each musician's unique expression within the context of group
harmony. As a musical form embodying Korean sentiment and timbre, this music,
along with sanjo, is easy to appreciate.
Samul Nori is one of a traditional
instrumental music that has won international acclaim. The term Samul
means "four" while Nori means to "play" or
"perform;" hence the name Samul Nori signifies a performance
using four instruments, namely, small and large gongs made of bronze and leather
and double-headed hourglass and barrel drums. These four instruments were used
in Nong-ak, a traditional, outdoor musical performance which goes back
into Korea's remote past. In Samul
Nori, Nong-ak has been adapted for indoor performances. Beginning in
the late 1970s, Samul Nori rapidly gained enthusiastic support from the
general population, and there are presently a number of active Samul Nori
bands. The genre's subtle charm comes from its free employment of the numerous
rhythms found in Korea's traditional music. The four percussion instruments used
in this style of music have their own unique function and tone colors. The
instruments are distinctly different in terms of musical range, timbre and
resonance; yet their sounds are brought together to form a harmonious whole.
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