No CrossRef data available.
Article contents
Samulnori, Wőrn-pang-kak, and Cosmological Didacticism
Published online by Cambridge University Press: 07 March 2019
Extract
Through scientific understanding, our world has become de-humanized. Man feels himself isolated in the cosmos. He is no longer involved in nature and has lost his emotional participation in natural events, which hitherto had a symbolic meaning for him. Thunder is no longer the voice of a god, nor is lightning his avenging missile. No river contains a spirit, no tree means a man's life, no snake is the embodiment of wisdom, and no mountain still harbors a great demon … His immediate communication with nature is gone forever, and the emotional energy it generated has sunk into the unconscious. (Jung 1976:255)
At the heart of the resurgence and popularity of traditional music in South Korea during the closing decades of the twentieth century lie the concerted efforts of an intimate group of friends and musical colleagues who came of age in the late 1970s. Inspired by their mentors and artistic forbearers borne of itinerant troupe performance traditions and bound together by the common goal of saving Korean music from obscurity in a nation that was catapulting itself toward Western cultural hegemony, the percussion quartet known as SamulNori emerged from its humble beginnings to become an internationally acknowledged phenomenon.
- Type
- Articles
- Information
- Copyright
- Copyright © 2007 by the International Council for Traditional Music
References
References Cited
Allan, Sarah 1991 The Shape of the Turtle: Myth, Art, and Cosmos in Early China. Albany: State University of New York Press.Google Scholar
Baldinger, Wallace S. 1954 “Takeuchi Seihω: Painter of Post-Meiji Japan.” The Art Bulletin 36/1:45–56.Google Scholar
Barnes, Gina L. 1999 The Rise of Civilization in East Asia: The Archaeology of China, Korea and Japan. London: Thames and Hudson.Google Scholar
Bower, Calvin M. 1989 Trans. Fundamentals of Music: Anicus Manlius Severinus Boethius, ed. Claude V. Palisca. New Haven: Yale University Press.Google Scholar
Buenconsejo, José S. 2003 Ed. A Search in Asia for a New Theory of Music. Quezon City: University of the Philippines Center for Ethnomusicology.Google Scholar
Buswell, Robert E., and Lee, Timothy S. 2005 Ed. Christianity in Korea. Honolulu: University of Hawai'i Press.Google Scholar
Kwangyőrl, Chang 1996 “Kim Tőrksu-wa samul nori: Han'guk ŭri ŭrmak-i segye ŭrmakkye-rŭrl kangt'a handa” [Kim Duk Soo and SamulNori: Korean music makes an impact on world music circles]. Kaeksőrk 143:34–37.Google Scholar
Sahun, Chang 1995 Han ‘guk akki taegwan (Korean musical instruments). Seoul: Sőrul taehakkyo ch'ulp'anbu. (Orig. pub. 1986)Google Scholar
Chen, Cheng-Yih 1996 Early Chinese Work in Natural Science: A Re-examination of the Physics of Motion, Acoustics, Astronomy and Scientific Thoughts. Hong Kong: Hong Kong University Press.Google Scholar
Chen, Yingshi 2002 “Theory and Notation in China.” In East Asia: China, Japan, and Korea, ed. Robert C. Provine, Yoshihiko Tokumaru, and J. Lawrence Witzleben, 115–26. New York: Routledge.Google ScholarPubMed
Ikhwan, Ch'oe 1995 P'ungmul nori kyobon [A manual for playing p ‘ungmul]. Seoul: Tosőr ch'ulp'an p'ungmul.Google Scholar
Pyőrngsam, Ch'oe 2000 Samul nori paeugi: Wőrlli-esőr yőrnju-kkaji [Learning samul nori: From principles to performance]. Seoul: Hangminsa.Google Scholar
T'aehyőrn, Ch'oe 1991 ‘“Minsogakhoe shinawi’ ŭri hoego-wa chőrnmang” [Reflections on and prospects for the ‘folk music association Shinawi']. Han ‘guk ŭrmaksa hakpo 7:27–47.Google Scholar
Choi, Changjo [Ch'oe Ch'angjo] 2003 “Study of How Koreans View and Utilize Nature.” In Korean Anthropology: Contemporary Korean Culture in Flux, ed. Korean National Commission for UNESCO, 69–93. Seoul: Hollym.Google Scholar
Haeim, Chőrng 2004 “Maehwajőrm changdan-kwa ŭrm-yang” (The maehwajeom [apricot-stroke] rhythmic cycle and yinyang). In The Korean Beat: In Search of the Origins of Korean Culture, comp. Kim Tschung-Sun and Sem Vermeersch, 131–54. Daegu: Academia Koreana of Keimyung University.Google Scholar
Sőrnhye, Chőrng 1996 “Han'guk ch'um-kwa hohŭrp ŭri unyong-e kwanhan yőrn'gu” [A study of the use of breath in Korean dance]. Master's thesis, Chungang University.Google Scholar
Cullen, Christopher 1996 Astronomy and Mathematics in Ancient China: The Zhou bi suan jing. Cambridge: Cambridge University Press.CrossRefGoogle Scholar
deBary, Wm. Theodore, and Bloom, Irene 1999 Comp. Sources of Chinese Tradition, Volume I: From Earliest Times to 1600. 2nd edition. New York: Columbia University Press.Google Scholar
Deuchler, Martina 1992 The Confucian Transformation of Korea: A Study of Society and Ideology. Cambridge, MA, and London: Council on East Asian Studies, Harvard University.Google Scholar
Dilling, Margaret 2001 “The Script, Sound, and Sense of the Seoul Olympic Ceremonies.” In Contemporary Directions: Korean Folk Music Engaging the Twentieth Century and Beyond, ed. Nathan Hesselink, 171–234. Berkeley: Institute of East Asian Studies, University of California.Google Scholar
Feuchtwang, Stephan 2002 An Anthropological Analysis of Chinese Geomancy. Bangkok: White Lotus Press.Google Scholar
Godwin, Joscelyn 1987 Ed. Michael Maier's Atalanta Fugiens (1617), with an introductory essay by Hildemarie Streich. Tysoe, Warwickshire: Magnum Opus Hermetic Sourceworks.Google Scholar
Goldin, Paul R., and Mair, Victor H. 2005 “Early Discussions of Music and Literature.” In Hawai'i Reader in Traditional Chinese Culture, ed. Victor H. Mair, Nancy S. Steinhardt, and Paul R. Goldin, 130–33. Honolulu: University of Hawai'i Press.Google Scholar
Gouk, Penelope 2004 “Raising Spirits and Restoring Souls: Early Modern Medical Explanations for Music's Effects.” In Hearing Cultures: Essays on Sound, Listening and Modernity, ed. Veit Erlmann, 87–105. New York: Berg.Google Scholar
Graham, A. C. 1986 Yin-yang and the Nature of Correlative Thinking. Singapore: Institute of East Asian Philosophies.Google Scholar
Guo, Qitao 2003 Exorcism and Money: The Symbolic World of the Five-Fury Spirits in Late Imperial China. Berkeley: Institute of East Asian Studies, University of California.Google Scholar
Myong-hee, Hahn [Han Myőrnghŭri] 1992 “What is SamulNori?” In Korean Conservatorium of Performing Arts 1992:5–6.Google Scholar
Myőrnghŭri, Han 1994 Uri karak uri munhwa [Our music, our culture]. Seoul: Chosőrn ilbsa. Han'guk chőrngshin munhwa yőrn'guwőrn [Academy of Korean Studies]Google Scholar
Hesselink, Nathan 2004 “Samul nori as Traditional: Preservation and Innovation in a South Korean Contemporary Percussion Genre.” Ethnomusicology 48/3:405–39.Google Scholar
2006 Trans. ‘“The Formation of Namsadang (Korean Itinerant Performer) Troupes': Chapter One A Study of Namsadang Troupes,” by Sim Usőrng. Translated, edited, and with an introduction by Nathan Hesselink. Acta Koreana 9/2:31–57.Google Scholar
Hesselink, Nathan, and Petty, Jonathan C. 2004 “Landscape and Soundscape: Geomantic Spatial Mapping in KoreanCrossRefGoogle Scholar
Howard, Keith D. 1991 “Samul Nori: A Re-Interpretation of a Korean Folk Tradition for Urban and International Audiences.” In Tradition and Its Future in Music: Report of SIMS 1990 Osaka, ed. Yoshijiko Tokumaru et al., 539–46. Osaka: Mita Press.Google Scholar
2006 “Imploding the Percussion Gestalt: Samulnori and Emerging Korean Tradition.” Acta Koreana 9/1:13–33.Google Scholar
Jung, C. G. 1976 The Symbolic Life: Miscellaneous Writings. Translated by R. F. C. Hull. Princeton: Princeton University Press.Google Scholar
Muhak, Kang 1991 Tan ‘gun Chosőrn ŭri wőrn-pang-kak munhwa [The “circle-square-triangle” culture of Tan'gun's Korea]. Seoul: Myőrngmundang.Google Scholar
Keightley, David 2000 The Ancestral Landscape: Time, Space, and Community in Late Shang China (ca. 1200–1045 B.C.). Berkeley: Institute of East Asian Studies, University of California.Google Scholar
Kim, Duk Soo (ed.), Kim, Dong-Won (writer), and Pak, Shin-Gil (trans.) 1999 Samulnori Textbook. Seoul: Overseas Koreans Foundation, Korean National University of Arts.Google Scholar
Hőrnsőrn, Kim 1994 P ‘ungmulgut-esőr samul nori-kkaji [From p ungmulgut to samul nori]. Seoul: Kwiinsa. (Orig. pub. 1991)Google Scholar
1995 Kim Hőrnsőrn ŭri samul nori iyagi [Kim Hőrnsőrn's account of samul nori]. Seoul: P'ulbit.Google Scholar
1998 Kim Yongbae ŭri salm-kwa yesul: Kŭr widaehan samul nori ŭri sőrsashi [The life and art of Kim Yongbae: The epic of that grand samul nori]. Seoul: P'ulbit.Google Scholar
Kim, Jin-p'yőrng [Kim Chinp'yőrng] 1983 “The Letterforms of Han'gŭrl: Its Origin and Process of Transformation.” In The Korean Language, ed. Korean National Commission for UNESCO, 80–102. Seoul: Si-sa-yong-o-sa.Google Scholar
Taegyun, Kim 1990 “Samul nori-e kwanhan yőrn'gu: Anjŭrnban karak-ŭrl chungshim-ŭrro” [A study of samul nori: With regard to the seated forms of rhythmic patterns]. Master's thesis, Sőrnggyun'gwan University.Google Scholar
Tongwőrn, Kim 1998 “Han'guk chőrnt'ong changdan ŭri kusőnrng wőrlli” [Organizational principles of traditional Korean rhythmic patterns]. In Han ‘guk chőrnt'ong yőrnhŭri ŭri ihae-wa shilche I [The practice and appreciation of Korean traditional performing arts I], ed. Kim Tőrksu, 95–149. Seoul: Han'guk yesul chonghap hakkyo.Google Scholar
Ŭrisuk, Kim 1993 Han ‘guk minsok cheŭri-wa ŭrm-yang ohaeng: Minsok cheŭri ŭri hyőrngsőrng iron [Korean folk ritual and the concept of ŭrm-yang and the five elements: A formative theory of folk ritual]. Seoul: Chimmundang.Google Scholar
Korean Conservatorium of Performing Arts, SamulNori Academy of Music—Kim Duk Soo [Kim Tőrksu], Lee Kwang Soo [Yi Kwangsu], and Kang Min Seok [Kang Minsőrk] (with Im Dong Ch'ang [Im Tongch'ang], transcriptions and additional research/synthesis)Google Scholar
1990 SamulNori: Changgo ŭri kibon [SamulNori: Changgo fundamentals]. Seoul: Samho ch'ulp'ansa.Google Scholar
1992 Korean Traditional Percussion: Samulnori Rhythm Workbook I, Basic Changgo. Translated by Suzanna M. Samstag. Seoul: Sam-Ho Music Publishing Company.Google Scholar
1993 Kim Tőrksu p'ae SamulNori-ga yőrnju hanŭrn samdo sőrlchanggo garak, haksŭrp p'yőrn (SamulNori: Korean traditional percussion SamulNori rhythm workbook 2, samdo sul changgo karak). English text by Suzanna M. Samstag. Seoul: Sam-Ho Music Publishing Company.Google Scholar
1995 Kim Tőrksu p'ae SamulNori-ga yőrnju hanŭrn samdo sőrlchanggo garak, yőrnju p'yőrn (SamulNori: Korean traditional percussion SamulNori rhythm workbook 3, samdo sul changgo karak). Seoul: Sam-Ho Music Publishing Company.Google Scholar
Service, Korean Overseas Information 2003 Guide to Korean Cultural Heritage. Seoul: Hollym.Google Scholar
Hee-seo, Ku [Ku Hŭrisőr] 1994 “SamulNori: Taking Korean Rhythms to the World.” Koreana 8/3:24–27.Google Scholar
Changt'ae, Kŭrm 2000 Yugyo ŭri sasang-kwa ŭrirye (The Confucian thoughts and rites). Seoul: Yemun sőrwőrn.Google Scholar
Kuttner, Fritz A. 1990 The Archaeology of Music in Ancient China: 2000 Years of Acoustical Experimentation ca. 1400 B.C. – A.D. 750. New York: Paragon House.Google Scholar
Yőrnsu, Kye 2006 Comp. Handan kogi [Chronicles on Korean history]. Translated and edited by Im Sŭrngguk. Seoul: Chőrngshin segyesa. (Orig. pub. 1911)Google Scholar
Ledyard, Gari 1997 “The International Linguistic Background of the Correct Sounds for the Instruction of the People.” In The Korean Alphabet: Its History and Structure, ed. Young-key Kim-Renaud, 31–87. Honolulu: University of Hawai'i Press.CrossRefGoogle Scholar
Lee, Bo hyung [Yi Pohyőrng] 2003 “The Rhythmic Formation of the Changdan's Syntactical Structure in Music with an Underlying Deep Structure.” In Buenconsejo 2003:99–129.Google Scholar
Li, Ying-chang 1994 T'aishang Kan-ying P'ien: Lao-tzu's Treatise on The Response of the Tao. Translated with an introduction by Eva Wong. San Francisco: HarperCollins Publishers.Google Scholar
Nettl, Bruno 1995 Heartland Excursions: Ethnomusicological Reflections on Schools of Music. Urbana: University of Illinois Press.Google Scholar
Provine, Robert C. 1988 Essays in Sino-Korean Musicology: Early Sources for Korean Ritual Music. Seoul: Il Ji Sa Publishing Company.Google Scholar
Roberts, Moss 2001 Trans. Dao De Jing: The Book of the Way. Berkeley and Los Angeles: University of California Press.Google Scholar
SamulNori, 1988 Ed. SamulNori. Photographs by Ichiro Shimizu. Seoul: Art Space Publications.Google Scholar
Shen, Zaihong 2001 Feng Shui: Harmonizing Your Inner and Outer Space. New York: Dorling Kindersley.Google Scholar
Sivin, Nathan 1987 Traditional Medicine in Contemporary China. Ann Arbor: University of Michigan.CrossRefGoogle Scholar
Song, Bang-song [Song Pangsong] 1980 Source Readings in Korean Music. Seoul: Korean National Commission for UNESCO.Google Scholar
Tenzer, Michael 2000 Gamelan Gong Kebyar: The Art of Twentieth-Century Balinese Music. Chicago: University of Chicago Press.Google Scholar
Penyeh, Tsao 2000 “SoundScape of Daoist Rituals: ‘Musical’ Values from the Insider's Perspective.” Tongyang Ŭrmak 22:63–88.Google Scholar
Shirha, U 2004 Chőrnt ‘ong ŭrmak ŭri kujo-wa wőrlli: Samt ‘aegŭrk ŭri ch ‘um, tongyang ŭrmak [The structures and principles of traditional music: The dance of the samt'aegŭrk, Asian music]. Seoul: Sonamu.Google Scholar
Vatsyayan, Kapila 1983 The Square and the Circle of the Indian Arts. New Delhi: Roli Books International.Google Scholar
2003 “The Biological and Mathematical Foundation of Indian Theories of Art.” In Buenconsejo 2003:77–87.Google Scholar
Wah, Yu Siu 2004 “Two Practices Confused in One Composition: Tan Dun's Symphony 1997: Heaven, Earth, Man.” In Locating East Asia in Western Art Music, ed. Yayoi Uno Everett and Frederick Lau, 57–71. Middletown: Wesleyan University Press.Google Scholar
Hosőrn, Wi 1994 “Chungguk kodae ŭrm-yang ohaengsőrl ŭri chőrn'gae-wa kŭr sasangjőrk t'ŭrksőrng” [The development of the ancient Chinese theory of ŭrm-yang and the five elements and its ideological characteristics]. Master's thesis, Yőrngnam University.Google Scholar
Wright, Edward Reynolds, and Pai, Man Sill [Pae Manshil] 2000 Traditional Korean Furniture. New York: Kodansha International.Google Scholar
Chaesuk, Yi 1998 Ed. Chosőrnjo kungjung ŭrirye-wa ŭrmak [Chosőrn dynasty court ceremonies and music]. Seoul: Sőrul taehakkyo ch'ulp'anbu.Google Scholar
Chongsul, Yi 1997 T'oegye Yulgok chőrrhak yőrn ‘gu [A study of the philosophies of T'oegye and Yulgok], volume I: T'aegŭrk-igisőrl non ‘gu [A discussion of the theories of the “great absolute” and the “basic principles and atmospheric force of nature”]. Seoul: Han'guk sasang yőrn'guwőrn, Pusőrl sudőrk munhwasa.Google Scholar
Hwanhŭri, Yi 1998 “Palsőrng kigwan ŭri kujo mit olbarŭrn palsőrng-kwa hohŭrppőrp-e kwanhan yőrn'gu” [A study of the structure of the vocal cords with proper voice and breathing technique]. Master's thesis, Chosőrn University.Google Scholar
Yoon, Yee-Heum [Yun Ihŭrm] 1997 “The Contemporary Religious Situation in Korea.” In Religion and Society in Contemporary Korea, ed. Lewis R. Lancaster and Richard K. Payne, 1–17. Berkeley: Institute of East Asian Studies, University of California.Google Scholar
Zo, Zayong [Cho Chayong] 1982 Guardians of Happiness: Shamanistic Tradition in Korean Folk Painting. Seoul: Emileh Museum.Google Scholar
Electronic MediaGoogle Scholar
Kim, Duk-Soo 1999a A SamulNori Class with Kim Duk-Soo: Learning Korean Culture Series Tape 1. VHS video, 120 minutes. Seoul: Overseas Koreans Foundation, Korean National University of Arts.Google Scholar
1999b A SamulNori Class with Kim Duk-Soo: Learning Korean Culture Series Tape 2. VHS video, 50 minutes. Seoul: Overseas Koreans Foundation, Korean National University of Arts.Google Scholar
2005 Han ‘guk ŭri hon: Kim Tőrksu SamulNori [The soul of Korea: Kim Duk Soo SamulNori]. 3 DVDs. Seoul: Dawoori Entertainment.Google Scholar