Korean Music - Research Paper Example

Introduction Korea holds magnificent musical traditions that have developed and regarded to have western aspects. In the Korean context, the most prevalent musical styles are the court, countryside and temple repertoires. The repertoires comprise of a reserves of highly cultured musical styles that have become treasured for an extended period. People within the Korean context exhibit pride in all aspects of the existence, starting from their traditions, to numerous musical bodies that have been in existence for many precedent centuries. These have been preserved throughout the period in manuscripts and printed books that act as reference points to the traditions and musical styles. These sources offer more information pertaining to the music that was prevalent in the early days, although this has transformed over time making the present music contemporary in comparison to that from the ancient times. Currently, various groups have developed to direct to Kpop that has appreciably brought out transformations of the ancient music to music in the contemporary world (Allkpop). The attributes of this music give it the attributes of modern musical styles that bear no relation to the musical styles in the ancient times. Despite many transformations over the years, certain aspects of the old musical styles still exist to the current time. In accordance to Korean prosperous musical records that extended up to the fifteenth century, approximately six sources still exist. They hold over one hundred composers that offer the musical advancement within the Korean context a point of references. Korean music attracts interest to all people who may be students, musicians and musicologist from different regions around the globe. This is because it presents some charm and beauty that is absent in most musical genres presented by other cultures. Practically, the pieces of music that still exist as well as song text have all been transcribed into different versions. However, these versions are still undertaken using the original tunes. Various pieces that were presented were undertaken as accompaniments or performed for court dances. Fifteenth century is deemed the renaissance period, since significant cultural advancements transpired during this epoch. Encouragement of developments in music and discovery of phonetic alphabets within the Korean context played a chief role in the elevation of the Korean music to the current state (Condit 13). This has been ascribed to King Sejong and is considered one of his greatest accomplishments. During this era, the music developed profoundly with the discovery of fresh arrangements of musical connotations. This arrangement or system enabled recording various components of the melodic and percussion instruments thus offering defined rhythm for various performed pieces. Progress in Korean music was achieved through continued interest that was shown by kings who succeed Sejong thus triggering refinement of notational systems introduced by the king (Condit 13). Consequently, music was made popular throughout the region offering it a part in undertaking of the Confucian rituals. Korean musical accounts commenced all through the fifth century and continued to develop throughout this interlude to the fifteenth century, which saw numerous developments in music. Colonization of Korea by their Japanese counterparts affected their music since it incorporated some Japanese aspects into their music. Splitting of Korea after WW1 is presented substantially in the music that Koreans adopted showing the divisions that occurred within the cultures. South Korea presented a vivacious and stylistically all-embracing musical verve compared to the other division that occurred after splitting of the Korean peninsula (Condit 13). Conversely, North Korea presented banal, which is official music that contained aspects of westernized style of light music. Korean customary music consists of various strands with the most formal strands being court, religious and aristocratic music. Court music is typically orchestral, highly refined, and required extended patience and attention, to understated details. In brief, it is regarded an acquired taste, although it maintains self-majesty and integrity, in addition, to long heritage that was prevalent in the yesteryears of civilization, in ceremonies or festivals and banquets of various dynasties (Broughton, Mark and Richard 160). The music is most comm0on in occasional re-enactments that exist for loyal festivals that bear nostalgic and tourist significance within the Korean context. In addition, the music is also conducted, in the contemporary world through concerts held by National Center for Korean Traditional Performing Arts. This is an outsized government institute that has contemporary representations established in Seoul and highly skillful musicians conduct their musical experiences (Broughton, Mark and Richard 161). The music that these skilled persons present is highly refined since it has been preserved, performed and trained to certain individuals in an attempt to preserve culture with the ever-fading cultural backgrounds of different factions of people (Connor 289). These individuals perform the ancient pieces that were presented in written copies from the ancient times. The performers feature court music that is most common among the Korean people with respect to court music. The performances are undertaken in the form of dances of dance pieces that have been presented throughout the Korean culture. The dances that are performed the highly skilled dances are performed, in the highest artistic level, depicting a sensation of professionalism and mastery. Court music had various distinctions starting with ritual and Koreanised music that bore origin from Chinese tradition and the actual Korean music. These music types were introduced at different times within the civilization of Korean people with Aak (ritual music) music originating from China. This music exists in traces through and dates back to the reconstruction era. It exists in written form although several melodies that exist total approximately eight minutes (Broughton, Mark and Richard 161). The music is slow, desolate, and splendid only played at certain ceremonies mainly the Sacrifice to Confucius and other concerts within the Korean context. This music type utilizes only the ritual accompaniments that emanate from Chinese cultural background. These accompaniments may include; tuned bronze bells and stone chimes. Koreanised repertoire comprises of only orchestral pieces, which are diminutive and these offer the required sensation in relation to this music. Long Life According to With Heaven is a banquet considered a hyangak. It lasts more or less fifteen minutes with instruments that are not utilized the Aak music. These instruments comprise of the loud, two bowed-string accompaniments and other stringed instruments. In addition, Pleasure with the People is contemplated as the other orchestral piece that is prominent within the Korean context (Broughton, Mark and Richard 161). The orchestral piece lasts approximately eighty minutes and bears a slow flow. It also necessitates the person involved assuming a fresh pace and other actions such as blowing and beating. This music is paced with origin from the military that utilizes the principal and conventional orchestra comprehensive with bells and chimes. Various forms of hyangak music are evident in two suites that are executed at yearly festivals of Sacrifice to Royal Ancestors (Broughton, Mark and Richard 161). Aristocratic music was formerly planned to entertain people within the ruling division of the society during unceremonious contexts. This music encompasses instrumental collection and vocal music, coupled with instrumental accessories. The wholly instrumental repertoire comprises of roughly different versions of one collection of nine pieces referred as Yongsan hoesang (Broughton, Mark and Richard 161). The music commences at an extremely slow pace and becomes cheerful as it progresses thus acquiring a dance tempo as it approaches the end. Music of aristocratic vocal category is referred as kagok, and included twenty-five pieces that were set for all genders, and coupled with an assortment of diverse accompaniments. Performances of kagok are considered intricate and lengthy, since it necessitates 7-10 minutes for a three-line content that can be conformably read within a single minute. Nevertheless, these poems can be performed in an uncomplicated manner by a vocalist and a drummer, consuming only four minutes. Similar to other musical styles, kagok consumes time being accustomed, although this is neutralized by its immense refinement and affluence. Korean government offers funding for the preservation of court and aristocratic music, in addition, to the religious and folk music (Connor 289). Highly skilled individuals are offered with monthly subsidies and are required to offer training to the younger generation in order to ensure that the musical culture continues (Broughton, Mark and Richard 162). Religious music is performed in instances of sacrifices although some music is considered ceremonial than it is religious. Korean music that is regarded religious bear origin from various traditions, such as native shamanists. The customary repertoire that holds Buddhist chant comprise of three principal categories: highly intricate, comprehensive chants that are performed by highly skilled vocalists. Others are the rapid sutra chanting conducted by every monk, and folksong-mode music bearing Buddhist premises. These repertoires are conducted by using various instruments although certain categories have continued to lose application in the Korean context. Conversely, Shamanistic music is categorized into vocal chanting, and instrumental creativeness to go with the shaman dancing practices (Broughton, Mark and Richard 162). The accompaniments utilized in vocal chanting comprise a drum that has a glass-hour appearance and other instruments utilized in other music forms. The mode of singing exhibited in these categories varies in style and are similar to folksong, chanting and other musical forms prevalent within the Korean traditions. Sinawi is considered almost similar to certain musical categories that bear melodic elements. In this music and other similar forms, melodic instruments are utilized in improvising concurrently offering a strident influential polyphony, which necessitates dancing (Broughton, Mark and Richard 162). Korean folk music distance from the array from the music utilized by average people and sung to vastly specialized genres. P’ansori is considered the most outstanding genre within this category and is conducted by a lone singer and drummer. The folk music is conducted for several hours, and the singer presents a certain story within the sounds of the singer. The singer prompts the drummer to the rhythm that he or she intends to utilize, and this is utilized until the music terminates. The drummer responds to the singer through shouts that are meant to inspire. P’ansori contains five categories of stories they necessitate the singer to perform various music and make other interactions with the audiences. The music involves activities that make the performances lively thus reducing the chances of boredom. These performances necessitate long periods of training in order to grasp the intricate concepts involved in the repertoire. The singers select certain rhythmic patterns and melodic techniques that go with the emotions of the narrative being performed although sanjo groups them into an average form that move from slow to fast (Broughton, Mark and Richard 163). Folk songs within the Korean context occur in various forms that bear different categories in terms of regional melodic style and flexibility of the melody and the training required. Miny’o comprises natural pentatonic style, and a tender moving tempo. Nongak is considered the most alluring and progressing intercontinental variety of Korean music. It is strident, intricate and comprise of an assortment of percussionist gongs that vary in size, in addition, to a different drum types. The instruments utilized in performance are considered a representation of natural forces such as wind and clouds (Broughton, Mark and Richard 163). Nonetheless, Korean music is a representation of numerous musical styles that emanate from both the Chinese and Korean cultures. Korean music has its own melodic mode, with the melodic flow becoming less significant than the manner in which the individual tones of the music are treated within the music. Consequently, melodies bear full ornamentation, principally prior to and after the central pitch of the tenor sounds. Korean music has practically no harmony with the exception of certain situations where dissimilar instruments participate in diverse ornamentation at the same occasion. Rhythm is contemplated as an imperative component of the Korean music with nearly all musical styles bearing replicating rhythmic patterns. These patterns create the sensation of togetherness within the music that a certain group performs. They also offer essence and emotion with respect to their tempo and rhythmic intricacy. In accordance to Korean music, pentatonic scales are preferential thus offering tones similar to those presented by black notes prevalent in the piano. However, if they bear slightly dissimilar pitches, they sound undesirable with respect to westerners. Korean music has numerous styles and varieties specific for numerous ceremonial and religious functions. These musical genres necessitate the utilization of certain instruments that fit the musical styles. Therefore, the musical instruments in Korean music are diverse with approximately 65 instruments being utilized in the creation and performing of Korean music (Howard 1). Some of these instruments originate from China since their introduction in ancient cultural exchanges between the two regions. However, instruments of Chinese origin are not largely utilized in Korean music at the current times, and only exist in court rituals. Korean active timbres bear the tendency of being soft although they integrate certain components of noise that emanate from the constant plucking and other noises from diverse instruments utilized in the music (Howard 1). The music presented within the Korean context has diverse roles since it is utilized for various reasons as per the traditional allocations. The music brings out different concepts, in accordance, to the situation and musical style utilized. These concepts are traditionally recognized for every musical style and functions where music can be considered either ceremonious or religious. Conclusion Korea has a rich musical culture that has been preserved through generations from its commencement and development in the ancient times. The rich historical transformations of music to the current state offer the connection between Korean music, in the precedent, and the present. Even though Korean culture has progressively changed with other global issues, the government continues to fund the society in an attempt to preserve musical culture. Diversity of the Korean music makes it intricate to categorize the music although certain musical elements appear similar for various musical styles. Instrumentation, rhythms and other elements of music differ with respect to the musical forms. In most cases, the activities involved in the creation of music within the Korean context are playing of musical accompaniments with the populace involved being the skilled individuals who have passed on the musical cultures to various generations. The concepts involved in Korean music keep changing with the traditional significance and involvements thus making the music intricate. Work Cited Allkpop. Performances from Korean Music Festivals. 2012. Web. Mar 21, 2012 Available at < http://www.youtube.com/watch?v=GxJfA2FGTPE > Broughton, Simon, Mark Ellingham, and Richard Trillo. World Music: The Rough Guide. London: Rough Guides, 1999. Print. Condit, Jonathan. Music of the Korean Renaissance: Songs and Dances of the Fifteenth Century. Cambridge [Cambridgeshire: Cambridge University Press, 1984. Musical score. Connor, Mary E. The Koreas. Santa Barbara, Calif: ABC-CLIO, 2009. Print. Howard, Keith. Korean Music. 2001. Web. Mar 21, 2012. Available at < http://www.worldmusiccentre.com/uploads/cdime/howard2001.PDF > Read More