A Book of the Wonders and Richness of Korean Traditional Music

Transcription

1 A Book of the Wonders and Richness of Korean Traditional Music Edited by Byong Won Lee and Yong-Shik Lee. Music of Korea. Korean Musicology Series 1. Seoul: The National Center for Korean Traditional Performing Arts, ) Heather A. Willoughby* 번역 : 고승원 ** As anyone foreigner who has ever attempted to study Korean music knows, despite the existence of a few fine works, there sadly remains a dearth of non-korean language texts available. Gratefully, however, in recent years there has been relative surge in the number of monographs, edited volumes, and articles written that deal specifically with Korean music. As in the past, the National Center for Korean Traditional Performing Arts, too, is doing its part to publish quality literatureon the subject. As such it has begun an ambition program to create a number of books under the umbrella title Korean Musicology Series, each of which will present various genres and aspects of Korean music. The inaugural book in the series is prefaced with several pages of glossy photos and an introduction by the editor. It is intended as an overview of six major categories of Korean music, including Court Music, Classical Music * Assistant Professor, Ewha Womans University. ** 위임번역원.

2 國樂院論文集제 17 집 (Vocal and Instrumental), Folk Music (Vocal and Instrumental), Professional Music (Vocal and Instrumental), Religious Music (Buddhism and Shamanism), and Contemporary Korean Music. Each chapter is written by a renowned scholar, including both native and foreign experts in the field of Korean music. Unlike similar publications in the past this volume gives the reader a more in-depth study of each topic. Each chapter, for instance, not only provides a brief history of the specific subject, which may cover several genres, but also analyses topics such as performance and transmission practices, melodic and rhythmic structure, and lyrics and textual meaning (where applicable). Of additional benefit, particularly to those who are completely unfamiliar with Korean music, the publication includes a DVD with twelve videos, which I shall discuss later. The Introduction offers a brief glimpse into the past and present life of Korean music, wherein the author, Byong Won Lee, makes the convincing claim that Korean music is alive and well today. After touching on some of the key similarities and differences between Korean music and that of her neighbors, China and Japan, Lee continues with a concise overview of key aesthetic qualities of the music that will be discussed in greater detail in the following chapters. Unfortunately, the only thing this chapter lacks is an introduction to the book itself. Lee states, "This book is by no means a comprehensive introduction to Korean music; rather, it deals with a series of selective genres which are thought to be some of the major topics for understanding of Korean traditional music in its contemporary context" (3). Excepting the previous sentence, there is no reference to the purpose or contents of the book, nor an introduction to the authors of the ensuing chapters. However, the following chapter, also by Byong Won Lee, provides a brief history of Korea, which is beneficial to better understanding the history and placement of the various forms of music and genres that are 296

3 A Book of the wonders and richness of korean traditional Music discussed throughout the text. The first chapter to focus on one specific form of music is Court Music by Inhwa So. The chapter begins with a brief description of the traditional classifications of court music, namely, aak, dang-ak, and hyang-ak, as found in the 1493 treatise, A Guide to the Study of Music, and further states that court music can also be divided in ritual, banquet and military music, depending on its usage. This then sets the foundation for the remainder of the chapter that explores these topics in-depth. Considering the fact that court music is a broad and complex topic, the author does a commendable job of offering an overview of each genre and category while at the same time providing details about specific performance practices and symbolic meanings and uses of the music. While being a good introduction to the subject, at times the chapter becomes bogged down in details that may prove to be confusing to those who are new to Korean music. For example, in the section entitled "Characteristical [sic] Sound of Music," (subdivided into Pitch, Tempo, Sound Characteristics, Melody, and Rhythm), the author provides details about specific genres that were given only a cursory introduction in the previous sections. It is unlikely, therefore, that those readers who are unfamiliar with the genres (yeongsanhoesang, yeomillak, botaepyeong, jeongdaeeop, etc.) will be able to recall to what these terms refer, and be able to distinguish between them when it comes to details about the slight distinctions between various drum strokes used in a rhythmic pattern or constitutional pitches of a given melody, for example. I should state, however, that this is not a problem unique to this author or this book. Scholars of Korean music writing for foreign audiences have long struggled with the inevitable difficulties that arise when using indigenous terms, and trying to strike a balance between being too simplistic or overly detailed. Each author must decide who his or her audience is, and adapt the 297

4 國樂院論文集제 17 집 writing accordingly. If writing for a novice, Korean terms should be kept to a minimum while at the same time providing an introduction to key vocabulary. If writing for those already immersed in the field, greater details and specific nomenclature can be utilized. In the case of Music of Korea, however, it is unclear who the target audience is; some chapters are geared to the former, while others are better suited to the latter. The chapter entitled Classical Music: Vocal by Hae-kyung Um introduces the reader to gagok, gasa and sijo, the three principle vocal genre of the elite that developed in association with Korean classical poetry. For each of the three genres the author provides a brief history in addition to an introduction to basic performance practices, description of the text and music, and an analysis of vocal techniques and aesthetic principles. In this case, the author seems to provide a nice balance between introductory materials and detailed analysis. The primary drawback to this chapter is that it is a near replica of the author s chapter on the same subject found in the Garland Encyclopedia of World Music, Volume 7. Given the nature and topic of this book, it is not surprising that similarities exist. Nonetheless, if the series is to be successful, then an effort must be made to provide information that is not readily available in other sources, or is directed to a different audience. The following chapter also discusses classical music, but this time focuses on instrumental music. This well-written chapter focuses primarily on one genre, that of yeongsanhoisang or pungnyu, thus, the descriptions of melodic, rhythmic and other musical features are easy to follow. Additionally, it is refreshing that the author, Hee-sun Kim, describes the history of the genre not only in terms of chronological development, but also in terms of the "social history" of the music. In other words, we learn of those who played and listened to the music in the past and present, and the significance of their social standing and life. 298

5 A Book of the wonders and richness of korean traditional Music In the next two chapters our attention is turned from classical music to that of the folk, both vocal and instrumental. The chapter on vocal music by Inok Paek briefly describes the important distinction between various classifications of folk music in Korea, (i.e. those sung by locals as opposed to those performed by professional or semi-professional singers), followed by a detailed description of various genres of folk music, divided according to regional differences. The latter half of the chapter provides interesting insight into the transmission process of folk music, via a personal case study in which the author participated. Like portions of the previous chapter, I find this section compelling because it goes beyond mere descriptive writing, to include an explanation of the social life of the music. My only complaint is that at times the author speaks of the experience as being "contemporary," despite the fact that the particular musical class described was held more than twenty years ago. Many of the same teacher-student relations and teaching practices still occur today, but the author also speaks of using "modern recording devices" (i.e. a tape recorder) to aid in memorization of songs, whereas today, most students have moved on to digital recorders, thus making the case study seem somewhat dated. Nathan Hesselink s chapter on instrumental folk music is concise, informative and well written. Concentrating on farmer s music, pungmul, and its corollary stage genre, samulnori, the chapter clearly highlights the instrumentation, musical and rhythmic structure and performance contexts of the genres. In describing the professional performers of pungmul, the author mentions the popularity of the 2006 film, The King and the Clown, which provides an example of ties between tradition and contemporary life. In a similar vein, the author also describes the collaborative efforts between the Korean drumming troupe, SamulNori and the European group Red Sun, demonstrating the global appeal and possibility of Korean music. 299

6 國樂院論文集제 17 집 The chapter on Professional Vocal Music, also by Hae-kyung Um, provides a thorough and satisfying introduction to the history and performance practices of then arrative/story-telling genres of pansori and changgeuk. The author s vast knowledge and experience of the topic is demonstrated in the lucidand enlightening descriptions of the musics. An ample amount of detail is provided to engage, but not overwhelm the reading, such as in the examples of the poetic and rhetorical devices used in the text of pansori. The section on aesthetics is subdivided into five categories, namely Performers, Sound, Sentiment, Meaning and Creativity. Although each subsection, as well as the final topic of changgeuk is covered only very briefly, they do provide interesting insights into the genres. Following the pattern set in previous chapters, the next chapter, by Keith Howard, offers an introduction to Professional Instrumental Music. Sadly, neither this, nor the previous chapter adequately explains why the term "profession music" has been used in the title, but this is of relatively minor consequence to otherwise informative chapters. Sanjo, sinawi and julpungnyu are the focus of this chapter. In a manner typical of Howard s writing, the author does not merely present the oft repeated history of sanjo, but rather provides compelling alternatives to the accepted story; suggesting that the genre was not suddenly invented by Kim Changjo, but developed through an extended period of time by a number of musicians. The origins, sound and structure of the other two genres are also presented in a succinct manner, at times including examples of the author s personal learning experience. The next two chapters deal with Religious Music in Korea. Compared with other chapters, Byong Won Lee s writing on Buddhist music presents a rather extensive description of the relevant history of the various forms of ritual performances. The background information provides a foundation for understanding the significance of the ritual music that will be further 300

7 A Book of the wonders and richness of korean traditional Music delineated throughout the remainder of the chapter, including a detailed description of beompae, the most complex and musically significant type of Buddhist music. This discussion is followed by a related chapter on shamanism by Yong-Shik Lee. Although important to the context and understanding of the genre, much of this brief chapter is devoted to the history and categorization of the shamans themselves, with only a paragraph or two dedicated to the music and performance practices of each of the regional varieties of shaman rituals. The final chapter of Music of Korea attempts to cover the breadth of Contemporary Korean Music. Gyewon Byeon divides changjak gugak(defined here as newly created compositions for traditional music), into three significant periods, focusing on some of the key composers in each era, including Kim Kisu and Yi Sanggyu of the initial stage, Hwang Byungki and Yi Seongcheon of the second stage, and Yi Haesik of the third stage. In briefly describing the music of these composer/performers, the author emphasizes that despite using western compositional and harmonic techniques, the music is able to retain an underlying Korean identity. The chapter concludes with an introduction to contemporary fusion music, which is distinguished from the former designation by reason of instrumentation and infusion of popular/commercialized music elements, as well as insight into the possibilities for the future of new compositions. As mentioned at the onset of this review, Music of Korea is a welcome addition to the books dedicated to some of the primary genres of Korean traditional music, and I look forward to reading the other books that will be published in the Korean Musicology Series. There are many positive aspects to the publication and much can be learned with a thorough reading of the chapters. This, I believe, is particularly true for those who are relatively new to Korean music studies. For example, an exchange student from the United 301

8 國樂院論文集제 17 집 States with whom I am working found the book particularly useful as she attempted to acquaint herself with the breadth of Korean music in a limited amount of time. In spite of the all of its good qualities, there are a few final notes I feel I must make regarding what I see as minor flaws in this text. I do so, not merely to be critical, but in hopes that what I offer can be used to improve the series as well as future endeavors of this kind. Except where noted above, the majority of the chapters are descriptive in nature. Certainly, it is important to understand the history and background of particular genres as well as basic performance practices. However, although not overly abundant, there are other publications that achieve similar goals (for example, The Garland Encyclopedia of World Music Volume 7 and the Survey of Korean Traditional Arts series, among others). What the world of Korean musicologyneeds now is to go beyond description and begin to analyze more profoundly the meaning of the music. We should be participating more profoundly in the notions of thick description (cf. Clifford Geertz and Jeff Todd Titon) and contemplating the cultural studies of music and questions of the ways in which music works as a social text. This has been accomplished in works such as P ungmul: South Korean Music and Dance by Nathan Hesselink, Voices from the Straw Mat by Chan E. Park, and Korean Popular Music edited by Keith Howard, among others, but there needs to be an even greater effort exerted in this regard, and an acknowledgement by establishments such as the NCKTPA that this is the case. Additionally, I think it is marvelous that a DVD has been included with the book. It has become relatively easy and cost effective to include multi-media supplements with a text, which allows the reader to not only hear, but also see the music and performances being described. However, 302

9 A Book of the wonders and richness of korean traditional Music there exist a few difficulties with this particular DVD in terms of using it to the fullest educational effect. First, except for a very few chapters, there is no or only minimal reference in the text to the examples shown on the DVD. Therefore, it would be very difficult for a novice to make a direct connection the music being described in the book and the videos being seen on the DVD. Hae-kyung Um, in her chapter on Profession Vocal Music, briefly mentions the changgeuk scene that is depicted in the video clip, but sadly this is an all too rare example. Similarly, in some instances the video clips included are not genres that are covered in the text at all. Except for an insignificant passing mention on page 109, there is no discussion of the genre of gayageum pyeongchang, yet an eight minute excerpt ("Vocal with Gayageum") is included on the DVD. It is a lovely performance, but it would have been much more beneficial to provide a clip that is discussed at length in the text. Third, there are inconsistencies in the nomenclature used in the text and on the DVD. For instance, in the example mentioned above, the author uses the term "changgeuk," whereas the DVD uses "Korean Opera" to describe the same genre. Likewise, on the DVD the shaman ritual excerpt is referred to as a "Hwanghae-do Gut," (written according to the 2002 Korean Government transliteration method) whereas in the text the author uses geographical designations such as "Northwestern shamanic music."(to complicate matters further, in this instance, the map on page 163 showing the various local divisions of shaman rituals uses the McCune-Reischauer transliteration method.) In order to make the viewing of the video clips more enjoyable, as well as educational, a detailed description of the excerpts provided on the DVD should be embedded and easily demarcated in the appropriate chapter, or at least included as an appendix. The descriptions should not only include 303

10 國樂院論文集제 17 집 details of the genre in general, but more specifically a thorough explanation of the precise moment in the performance that is being viewed. (For example, in the case of the shaman gut, it is obvious that we are watching an edited version of a much longer ritual, but there is no indication whatsoever as to the meaning or purposes of the various rites being performed.) It would also be useful to include the names of the performers, as well as date and place of the excerpt. Music of Korea is a beautiful publication, in terms of content as well as physical appearance. I believe it will prove to be beneficial to all who are wanting to learn more about the wonders and richness of Korean traditional music. I encourage the NCKTPA to earnestly continue the Korean Musicology Series, and to also ensure that the publications are made readily available to a wide audience. 304