스크랩 국악및 무용 용어 영어사전

[punuri]

국악 및 무용 영어 해설

서울국악예술고등학교

국어의 로마자 표기법

ㅏ	ㅓ	ㅗ	ㅜ	ㅡ	ㅣ	ㅐ	ㅔ	ㅚ	ㅟ
ａ	eo	ｏ	ｕ	eu	ｉ	ae	ｅ	oe	wi

      

ㅑ	ㅕ	ㅛ	ㅠ	ㅒ	ㅖ	ㅘ	ㅙ	ㅝ	ㅞ	ㅢ
ya	yeo	yo	yu	yae	ye	wa	wae	wo	we	ui

ㄱ	ㄲ	ㅋ	ㄷ	ㄸ	ㅌ	ㅂ	ㅃ	ㅍ
g, k	kk	k	d, t	tt	t	b, p	pp	p

 

ㅈ	ㅉ	ㅊ
j	jj	ch

ㅅ	ㅆ	ㅎ
s	ss	h

ㄴ	ㅁ	ㅇ
n	m	ng

ㄹ

r, l

* 가야금(Gayageum ; a twelve-stringed zither ) 

  This is another type of Korean zither with twelve silk strings supported by 12 movable bridges. The thumb, index finger and middle finger of the right hand pluck the strings while index and middle fingers of the left hand touch the string on the left side of the movable bridge. The tone quality of the gayageum is clear and delicate. A smaller and narrower gayageum, called a sanjo gayageum remodeled from the original gayageum, called beopgeum, is used for the fast fingering of folk music and sanjo music.

  The Gayageum similar to the Chinese cheng and the Japanese koto in structure but it is played differently and has a different timber. The Gayageum dates back to the sixth century during the rule of King Gasil of the Gaya Kingdom. The thumb, index finger and middle finger of the right hand pluck the strings, while the index and middle fingers of the left hand press on the strings of the left side of the movable bridges. 

가야금 (풍류가야금/산조가약금)

가야금은 거문고와 함께 우리나라를 대표하는 현악기이다. 오동나무로 만든 울림통위에 기러기발 모양의 안족을 세우고 그 위에 명주실을 꼬아서 만든 12줄을 얹은 다음 머리 쪽에는 담괘라고 하는 것을 두어 줄을 버티고 꼬리에는 양이두를 꽂아 줄을 감아 얹어 두었다. 왼손으로 줄을 누르거나 흔들고 오른손으로는 뜯거나 퉁기면서 연주할 때의 가야금 소리는 부드럽고 아름다우며 섬세한 음색면에서 가히 일품으로 꼽는다. 이 악기는 6세기 경에 가야국의 가실왕이 만들었다고 전해지며 신라 진흥왕때에 우륵에 의해 신라에서 크게 발전하였다고 한다. 가야금에는 그 쓰임에 따라 비교적 근세에 와서 만들어진 산조가야금과 신라때부터 전하는 보다 고형의 풍류가야금의 두가지가 있다. 풍류가야금은 산조가야금보다 크기 가 크고 줄과 줄 사이가 넓어서 <영산회상>, <밑도드리> 같은 정악의 연주에 적합한 반면 산조가야금은 크기가 보다 작고 현과 현 사이가 좁아 <산조>, <시나위>등과 같은 빠른 민속음악을 연주하기에 적합하다. 가야금은 <가야금병창>으로도 많이 쓰이지만 <가야금산조>음악의 독주용 악기로 널리 알려져 있다. 최근에 와서 가야금의 줄을 상.하로 추가하여 음역을 넓힌다든가 여러형태의 가야금이 개발되어 소개되고 있다

* 가야금 병창 (Gayageum and Songs)

  Gayageum accompanied by songs is a traditional Korean musical format created by folk musicians.

 Songs were so arranged as to go with the 12-string Korean instrument originally made in Gaya Kingdom in the southeast Korean penisula. The kayagum, 12 silk-stringed zither, was created by Gasil of the Gaya Kingdom ( 6th century A.D. ) located in the southern part of Korea.

* 강강술래 Gang-Gang-Sulrae

  This circle dance originated from the traditional customs of the farming populace practiced during the autumn harvest moon festival when, under the full, bright autumn moon in the 8th month of the lunar calendar, the young women of the village gathered together in a circle and sung a traditional children's song called Gang-Gang-Sulrae as they danced.

  Later, legend tells us, this dance was utilized as a military tactical strategy by Admiral Yi, Soon-shin in the Japanese invasion in 1592 during the Chosun Dynasty to trick invading Japanese naval forces into believing that a large, well-equipped army was waiting them on shore.

강강술래 놀이와 이 노래가 생긴 유래에 대해서는 다음과 같은 이야기가 전해져 옵니다. 임진왜란때 수군 통제사인 이순신 장군은 침공해 오는 왜적들에게 우리 군사의 수와 군량미가 많이 있는 것처럼 보이게 하려고 남해안 일대의 산을 짚으로 덮어 곡식으로 착각하도록 만들었습니다. 그리고 인근의 부녀자들을 남자로 변장시켜 원무(동그랗게 원을 그리며 추는 춤)를 추며 놀게함으로써 군사가 많은 것 처럼 보이게 했습니다. 물론 이것을 본 왜군들은 모두 놀라 달아나 버렸고 바로 이때의 원무놀이가 강강술래의 시초가 되었습니다. 하지만, 그보다 더 오래 전인 마한에서 시작되었다는 이야기도 있고, 달맞이를 하며 추수를 감사하는 의식에서 나왔다는 이야기도 전해지고 있습니다.

* 거문고 Geomungo

 It has 6 lines and 16 flats called 'Goae'. In view of the mechanism that allows it to produce sound, it is similar to guitar, in that the pitch is decided by the flat location of a finger. The left fingers are placed on the Goae to control pitch and the right hand grasps a stick called 'Suldae' and plucks the strings. The sound of the Geomungo is less clear and sharp than most string instruments, but nevertheless it can fully convey the feeling of people. 

거문고 

거문고는 우리나라 전통악기 중 가장 중요한 악기의 하나로 취급되어온 현악기이다. 거문고는 오동나무로 만든 울립통위에 6개의 줄이 얹혀져 있다. 이 6현 중 제2현, 3현, 4현까지는 16개의 괘에 얹혀져 있고 제1현과 5현, 6현은 가야금과 같이 기러기발 모양 의 안족위에 얹혀져 있다. 역시 줄은 명주실로 꼬아 만든 줄을 쓰며 오른손의 식지와 장지사이에 끼워서 줄을 퉁기는 기구인 술대는 바닷가에서 나는 검은색의 해죽으로 만든다. 왼손으로 괘를 집고 오른손으로는 식지와 장지상이에 끼운 술대를 가지고 줄을 내려치거나 올려 뜯어서 소리낸다. 고구려의 왕산악이 만들었다고 알려져 있는 거문고는 고구려 고분 무용총 등의 벽화에도 보이고 있어 꽤 오래된 악기로 평가되고 있다. 거문고는 그 소리가 그윽하고 은은하여 예로부터 선비들이 애호하던 고상한 악기로 <영산회상>, <가곡> 등과 같은 정악은 물론 <산조>, <시나위> 등과 같은 민속음악에 까지 널리 쓰이고 있다..

* 경기민요(Gyeonggi Folk Music)

  서울, 경기지방과 충청도 일부를 포함하는 경기민요는 서양음악의 장조와 비슷한 평조로 된 가락이 많아 대궐의 단청처럼 맑고 단아하며 경쾌하고 분명하다. 또한 음빛깔은 부드럽고 유창하고 서정적이며 삶의 희로애락을 해학적으로 담고있는 사설이 흥미있다. 아리랑, 창부타령, 군밤타령 등 우리가 잘 알고있는 경기민요이다.

  Folk songs that prevailed in Seoul and the Gyeonggi-do region are sometimes called the music of the central region because they also includes songs from parts of Chungcheongbuk-do and Gangwon-do Provinces. Songs from these parts of Korea are marked by lyricism and clear, light melodies. The most popular of them are Panga Taryeong, Yangsando, and Gunbam Taryeong.

  Gyeonggi Minyo, the folk songs from Gyeonggi Province which surrounds the City of Seoul are lively with lyrics that both amuse and reflect the basic joys and sorrows of life.

* 궁중무용 Court Dances

Korean court dances, called Jeongjae, meaning literally "display of talent," were used to entertain for the royal family, court functionaries, and foreign envoys. They were also performed on festive occasions sponsored by the state. Some were derived from those of Tang China and called Tang-ak Jeongjae, while others were newer forms of Korean court dances called Hyang-ak Jeongjae. The former were gradually modified by Korean dancers and musicians over the centuries so that it is hard to trace their original traits. Court classics glorifying the court and praying for a long life for the king were formulated in solemn, elegant movements accompanied by equally solemn music and occasional songs. Today, about 50 court classics are preserved in the National Center for Korean Traditional Performing Arts, including Geommu (Sword Dance), Joyeongmu (Dance of Joyeong), Mugo (Drum Dance), Pogurak (Ball-Throwing Dance), Suyeonjang (Banquet Dance), Chunaengjon, Gainjommokdan (Beautiful Persons Picking Peonies), and Hangmu. Jeongjae performances follow a strict formula. Each movement is solemn and graceful, without outward extravagance, particularily due to Confucianism's influence. Even though dancers were accompanyed by splendid stage settings and costumes, their movements were never dramatic, but always serene and self-composed. Chinese court dances began to be imported from Song China during the Koryo Dynasty(918-1392). These mostly followed simple formulas. For instance, dancers would divide themselves into lines moving forward or backward together or facing each other. Whatever the case, their left and right arms moved together with their left and right legs. The lines move symmetrically left and right and then would disperse into four groups. They would then converge again at the center. Their costumes and props differed by theme and role. This required a variety of different garments, shoes, extended sleeves of different lengths and colors, belts, and coronets. A king's procession also requires a variety of dignified props, such as long-handled dragon, phoenix, peacock fans, a short-handled lotus, plantain, and five-leaf fans. In accordance with the theory of the five cardinal elements, all costumes were designed in red, blue, yellow, white, and black. To heighten the visual effect, all court dancers wore sleeve extensions, called hansam, over the hands. Court music accompanying dance usually has a slow beat and produces a solemn yet magnificent ambiance. The common times are 20/1, 16/1, 12/1, 10/1, and 4/1. The stage props are often referred to in the names of court dances. A court dance is called Honsondo (Peach-Offering Dance) if a silver tray appears as a prop, Bosangmu (Treasure Table Dance) if a lotus-flower jar on a service table appears, Sonyurak (Boating Dance) if a boat appears, and Pogurak (Ball-Throwing Dance) if a ball and goal-posts appear. Early court dances followed strict styles and rules. In performing dances imported from China, chukkanja, or pole bearers, led the way for the premier dancers at the start, who sang kuo and ch'o Chinese songs in Korean pronunciation. In the indigenous Korean court dances there were no pole bearers and dancers lifted and lowered themselves backwards and forwards as they sang. These distinctions became blurred as Chinese and Korean dances influenced each other from the late Choson period. The outstanding pieces of this period include Chunaengjeon, Cheoyongmu, and Jinju Geommu (Chinju Sword Dance). Chunaengjeon was created by Crown Prince Hyomyong. Of all the court dances, this piece is the sole remnant with steps recorded in detail and it is still frequently performed today. The story goes like this: one morning Emperor Gaozong of the Tang Dynasty heard the beautiful twitter of a nightingale. The king ordered the court musician Bai Ming-da to record the lovely tune in musical notation. To this music, a dance piece was attached later. It was later transmitted to Japan. However, in Korea, Chunaengjeon has its own story, form, and music. One balmy spring day, Crown Prince Hyomyong, listening to the flute-like twitter of a nightingale sitting on a willow tree, instructed a court muscian to record its song. Then he wrote the following poem: A wind from the Wolhabo Levee ripples my silk sleeves. I see the face of my beloved in a flower. The Dance of the Spring Nightingale is perhaps the loveliest of all. Later, a court musician, Kim Chang-ha, created a dance to accompany the song. Of the numerous court pieces choreographed in the Choson era, Chunaengjeon and Musanhyang are both pas seul (solo dance), which are rare today. Chunaengjeon integrates the full range of beautiful movements seen in most court dances. The bewitching pose of the dancer, her quiet movements and enigmatic smile which all take place in front of a spring blossom, is testament to the Korean ideal of dance captured in the adage "overdone is worse than undone." Chunaengjeon conveys a traditional feminine image expressing the delicate mood and slow movements of a professional woman entertainer. Musanhyang is performed in the nimble. The Chunaengjeon dancer wears a large coronet and yellow court suit, dancing gracefully on a mat woven with a floral pattern. The accompanying music is called Yongsan hoesang (a chamber suite for the Buddhist Dance honoring the sacred mountain Yongsan).

Another court dance is called Cheoyeongmu. Cheoyeongmu is the sole mask dance inherited through court tradition. This free and masculine dance was used to expel the evil spirits and performed at the end of the year. It was initially performed as a pas seul. The dancer wore a black robe, a court official's headgear, and a red mask (red was believed to ward off evil spirits). Later, it became a dance for five persons, with the dancers dressed in five colors, white, blue, red, green, and yellow, reflecting the concept of the five cardinal elements of cosmology. The earlier masks in Cheoyeongmu were all gigantic, as if to be more effective at driving away evil spirits. The use of space in this dance was much more complicated than that in other dances. Jinju Geommu, which originated from the court repertory, has been handed down from Jinju. This production is considered highly artistic, as it preserves both the archetypal form of the court sword dance and the special techniques developed on the southern coast. The difference between the sword dance of the courts and that which evolved in Jinju tradition is summed up as follows: the former is performed by four dancers, the latter by eight; the former is accompanied by Taryeong Jangdan, or the rhythmic cycle of folk ballads; the latter by Yeombul Jangdan, or the rhythmic cycle of Buddhist invocations which builds up to a very fast pace. The special movements which make the Jinju Sword Dance distinctive are Sugun -sawi, Ipchum-sawi, Bingsak-sawi, Bangsok-tori, and Yeonpungdae. The dancers start with bare hands and take up their swords later. They wear extended white sleeves at first, then take them off and perform varied motions with their bare hands. The overall pattern of the dance resembles a military march.

* 꽹가리 Ggwaenggwari (Small Gong)

 Like the large gong, this instrument's name varies in accordance with the medium in which it is used. In the royal ancestrial shrine music, in which it is no longer played, it was called the Sogeum, but in farmers' music, it is referred to as the Ggwaenggwari. In the farmers festival music, the lead player (Sang-swae) of this small gong produces tones that are both loud and high in register while the sounds that emanate from the second small gong player are softer by comparison. The mallet that is used to strike the large gong is made of wood and tipped with cloth or deerskin. That used for the small gong is thinner and longer in size, is usually made of bamboo or other wood, and lacks the cloth or deerskin wrapping, thereby causing the sound to be comparison. 

꽹과리

* 나발 Nabal (Clarion)

 Among Korean traditional musical instruments, the nabal is the only brass-wind instrument in existence. This long, straight clarion, with neither finger-holes, valves, nor keys, is made of three sections which can be telescoped into one another when not in use. Like the conch horn, it sounds only one deep sustained tone and plays no melody. It is not known when it came into use. It is played with the conical oboe, conch, cymbals, large gong and dragon drum in processional music. 

5.나 발

나발을 여러가지 국악기중에서 유일한 금관악기 즉, 금속관악기이다. 나각도 그렇 지만 한 가지 음만을 길게 혹은 짧게 소리낼 뿐 선율을 연주하지는 않는다. '원님 덕분에 나발분다'라는 속담이 있듯이 이 나발은 행진음악에 쓰인다. 즉, 새납,나각,바라 징, 용고 등과 함께 행진음악인 <대취타>연주에 사용되는 것이다. 또한 <풍물놀이(농악)>에도 이 나발이 쓰이는데 이 <풍물놀이>를 본격적으로 연주 하기에 앞서 음악의 시작과 행진의 출발을 알릴 때 이 나발이 중요한 신호음을 연주 하여 사람들을 긴장시킨다. 현재 쓰이고 있는 나발은 사용하지 않을 때에는 삼단으로 분리된 부분을 서로 밀어 넣어 짧게 보관할 수 있도록 고안되어 있다. 나발은 '나팔'로도 발음되기도 하는데 관례상 국악기로서의 나팔은 '나발'로 발음한다. (지공이 없다)

* 나비춤 Nabichum (Butterfly Dance)

The dancers are costumed to resemble butterflies. The choreography makes use of about 15 kinds of movements. In front of an altar is hung a huge Buddhist scroll painting. A pair of monks perform the dance with slow and serene movements to the accompaniment of a large gong, or hotsori and a chant which lasts four or five minutes.

* 남원민속국립국악원 Korean Folk Performing Arts Center in Namwon

 The National Center for Korean Traditional Performing Arts (founded and operated by the government) has over 170 performers and dancers, while the Korean Folk Performing Arts Center in Namwon in Jeolrabuk-do province has approximately 100 performers. The former primarily organizes performances, promotes educational activities related to traditional performing arts and publishes related research. Its performances include regular annual performances, domestic tours, international tours and participation in national events. Its vast repertoire includes Jeong-ak, Minsogak and dance, and ranges from classical works to more modern productions. At 5:00 p.m. every Saturday, it offers regular performances, all of which feature the main genres of Korean traditional music. At present, more than six high schools specializing in traditional music have been established. In addition, there are almost twenty traditional music orchestras active in both Seoul and regional cities. In response to popular demand, prominent newspapers are also publishing numerous articles on traditional music in their cultural sections. Regional organizations have also joined the trend, offering various classes and lectures on traditional music. Lastly, there are over 500 small and large-scale, traditional music societies and institutes throughout the count

* 당악 - Tang-ak

 'Tang' means Tang-Dynasty (AD 7 C - 10 C) in China. That is this music came from Tang-Dynasty and settled down. Tang-ak was a Hyang-ak (commoner's music) of Tang-Dynasty in China. This type of music was used in the march or party for King or his family. Hae-Ryung is a good example of Tang-ak. At the present, in China, all Chinese music before Tang Dynasty was disappeared.

 *대금(Daegeum)

 The Daegeum is the largest and most representative transverse flute of Korea. It has a blowing hole, a hole covered with a thin membrane, six finger holes and five (sometimes one non-stopped hole at the lower end), making 13 holes in al. The vibration of the membrane gives a beautiful and expressive tone quality.

대금 (정악대금/산조대금)

대금은 중금.소금과 함께 신라때부터 전하는 우리나라의 고유한 관악기이다. 저 또는 젓대라고도 부르는 이 악기는 여러 해 묵은 황죽이나 살이 두텁고 양옆에 골이 패인 쌍골죽으로 만든다. 바람을 불어 넣은 취구가 1개 있고 얇게 생긴 울림막을 붙여 놓은 청공(대금뿐)이 1개, 그리고 손가락으로 짚어 음을 내는 지고 6개가 있다. 또 음정을 조절하기 위하여 악기의 맨 끝에 뚫어 놓은 칠성공이 몇개 있다. 대금에는 <영산회상>, <보허자>, <낙양춘>,<가곡반주>등의 정악에 사용하는 정악대금과 <시나위>,<산조>,<민요반주>등에 사용되는 산조대금의 두 가지가 있는데 산조대금은 조선조 후기에 와서 본래의 대금을 보다 작게 개량한 것이다 .

*대아쟁 Dae-ajaeng (Fifteen-stringed Instrument)

 The Dae-ajaeng is similar in form and construction to the that of the Geomungo and Gayageum, the main difference being that its strings are fifteen in number. The manner of playing is similar to that of the Gayageum. From the Koryo period until the end of the Choson Dynasty (1910), this instrument was used only in the playing of Chinese-derived music (Tang-ak), but it is now obsolete. Its range, extending two octaves, was wider than any other instrument employed in the playing of Chinese-derived music. 

* 마당놀이 Madangnori

  These performances are similar to the Western-style musical.

* 민속무용 Folk Dances

Korean folk dances are close to the lives of the people. They sprang from a variety of communal rituals, festive occasions, and cooperative labor. When they were made and who made them are, of course, unknown. They came forth spontaneously through the years, and their style differs slightly according to region. The indispensable recipe for folk dances is a theme from the lives of working people which give them their own unique regional flavor. While court dances aimed at artistic quality and featured special sequences in choreography, folk dances were improvised, revealing their rather unpolished styles. Rhythmic patterns accompanying them range over those of Yeombul (6/1), Taryeong (12/1), Gutgeori (12/8), and southern Sanjo (solo instrument with drum accompaniment). Folk dances originated in prayers for good crops in shamans rituals, or evolved from communal forms of entertainment. Talch'um (Mask Dance), Salpurichum, Hallyangmu (Dance of Depraved Young Noblemen), Nammu (the dance of a professional female entertainer wearing a blue male robe), and Ganggangsuwollae (a female roundelay accompanied by that refrain) are those most familiar to the public. As these dances grew out of the lives of the people, they all share similar traits but are performed in a variety of styles. Their plots and choreography are simple, revealing the essential fun-loving character of rural life.

민속음악 Minsogak

Unlike Jeong-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 Pansori as well as Minyo and miscellaneous other types. In Pansori, 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 Pansori compositions in existence. The songs tend to be very long, with compositions such as Chunhyangjeon (Tale of Chunhyang) 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, Pansori 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, Pansori, like most genres of folk music, is performed with numerous ad-lips and improvisation. Minyo are broadly classified into three types according to region, namely, Gyeonggi, Namdo and Sodo Minyo. Gyeonggi Minyo were traditionally popular in the central area around Seoul, while Namdo Minyo were popular in the southern area around Jeolra-do province and Seodo Minyo were popular in the northwestern area (present-day North Korea) situated around Pyeongan-do province. Gyeonggi 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. Seodo Minyo, with its clear nasal tones and fine vibrato, reminds one of fine ripples spreading outward on a lake. In contrast with Gyeonggi 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 Japga (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, Sinawi and the primarily percussion style known as Samul Nori. Sanjo basically consists of three movements known as Jinyangjo, Jungmori and Jajinmori. It is widely performed as the basic repertoire of traditional solo instrumentalists. Examples include the Gayageum (Gaya zither), Geomungo (half-tube zither), Piri (bamboo flute), Haegeum (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. Sinawi, 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.

Min-Sok-Ak

  Except 'classical' music ( Jeong-ak), there was so 'popular' music for ordinary people, named Min-Sok-ak : 'Min-Sok' means common people or a common world. There are many kinds of this music. This category of music showes variabilities according to contury by contury, and status by status. 'Pansori' , 'Sinawi' , 'Nong-ak' , 'San-jo' are containing this type of music. Of course, various religious, festival music and songs are containing to this category. Each of above four categories have generally different musical scales and different musical instruments.

'Pansori', 'Sanjo', 'Sinawi', 'Minyo' & 'Japga', 'Nong-ak', 'Pungmul-gut', 'Samulnori', 'Bum-pae'

* 민요

Folk songs express the emotions of the working class people.

민요권	지역	음악적 특징	곡명
①경기   민요	서울 경기도 충청도일부	밝고 경쾌하며 서정적이고 소리가 맑다.	아리랑, 도라지타령, 군밤타령, 경복궁타령, 양산도, 한강수타령, 청춘가, 태평가, 오봉산타령, 베틀가, 방아타령, 노래가락, 창부타령, 천안삼거리
②남도   민요	전라도 충청도일와 경상도일부	음의 굴곡이 심하고 판소리와 같은 창법을 사용하며 떠는소리 꺽는소리 등이 있어서 극적이고 구성지다.	진도아리랑, 강강술래, 새타령, 농부가, 육자백이, 자진육자백이, 흥타령,
③서도   민요	황해도 평안도	한스럽고 애수어린 소리가 많으며 떠는소리가 맑고 힘이 있으며 표현에 절제감이 있다.	몽금포타령, 산염불, 자진염불, 긴난봉가, 자진난봉가, 수심가, 엮음수심가, 긴아리, 자진아리, 안주애원성, 배따라기, 자진배따라기
④동부   민요	함경도 강원도 경상도	함경도민요는 높은음에서 낮은음으로 내려오는 선율의 진행이 많다. 경상도민요는 쾌활하고 활동적이며 억양이 강하고 강원도민요는 순박하고 구수하다.	신고산타령, 애원성, 궁초댕기, 강원도아리랑, 정선아라리, 한오백년, 밀양아리랑, 쾌지나칭칭나네, 옹헤야, 담바귀타령
⑤제주   도민요	제주도	제주도 특유의 가락이 있고 밝고 부드러우면서도 단순하고 소박하다.	오돌또기, 해녀가, 이야홍타령

* 바라춤 Barachum (Cymbal Dance)

Buddhist monks dance with a small cymbal called para. The Cymbal Dance is composes of six parts: Cheonsu Bara, Myeong Bara, Sadarani Bara, Gwanyeokge Bara, Mak Bara, and Naerimge Bara.

* 범패 Beompae

Beompae, with its long, drawn-out notes, is occasionally played at Buddhist ceremonies, but is rarely performed at concerts. As a result, the group of musicians able to perform Beompae is limited to a few monks.

* 법고춤 Bopgochum (Buddhist Law Drum Dance)

  A monk beats a drum with a drumstick in each hand. Along with the temple bell and a wooden fish, the Buddhist drum is one of the indispensable Buddhist ceremonial instruments.

* 부채춤 Buchae Chum (Fan Dance) 

One of the most popular Korean folk dances at home and abroad. This dance is performed by a troupe of women with folding fans. The dancers open and close the fans with a lighthearted smile to a flowing rhythm. The climax is when the dancers form a big fluttering flower they wear  colorful costumes akin to those once worn by dances of the royal court. and crowns of peony blossoms are painted on their fans.

 The Fan Dance was transformed originally from a folk ritual dance, in which a fan is employed in a dance that is both strong and passionate in artistic effect. The dance itself was also transformed into one of dignified elegance and grace, and the accompanying rhythm is quiet, flowing and light-hearted. This lovely, geometrical pattern is made possible by a dipping posture with the fan spread open wide and moved up and down rapidly.

* 북춤 Buk Chum (Drum Dance)

Buk is a traditional Korean Percussion instrument which symbolizes victory. new beginning and advancement. This dance expresses the Korean people's renewed determination to discard disorder and evil with clean mind anybody, and to march into the bright future presented by the 21st century.

* 사물놀이 Samulnori

  A unique and famous genre of dance and music performed by four traditional percussion instruments Ggwoengggari(small gong), Jing(gong), Janggo(hourglass drum), and Buk(drum). Samulnori is a union of dynamic rhythms and body movements.

  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.

Samulnori (farmers' dance) : Four music instruments are used in Samulnori : the Buk (drum),Ching (gong), Janggu (hourglass drum) and Ggwoenggwari (gong).

Samulnori (4 Percussion lnstruments) 

  Samulnori consists of four traditional Korean percussion instruments: Buk(drum), Janggo (hourglass-shaped drum), Jing (large, flat, lipped bronze gong) and Ggwaenggwari (small, lipped, flat bronze gong). Buk stands for wind, while Janggo and ching represent cloud and rain which govern the heaven and earth. Ggwaenggwari symbolizes lightening and sound that opens the sky. It is played by the leader of the Samulnori band to signal rhythmic patterns to the other musicians.

* 산대놀이 Sandaenori

Sandaenori (Mask dance) : Korean mask dances are silent folk dramas that satirized the high society preval‎ent when they were developed, over 200 years ago. They contain many Buddhist and Shamanist elements.

* 산조 Sanjo, Solo Music for String or Wind Instrument

  Sanjo is characteristic of music of the southern region. It is an instrumental version of Pansori, a dramatic song of the southern region.

The instrumental version of dramatic song is strongly emotional with the conspicuous alternation of tension and relaxation.

  The instrumental also music is cast into three movements. The first slow movement (Jinyangjo) mostly consists of phrases of four measures, each measure equivalent to six half notes. The second movement (Jungmori) mostly has four-measure phrases of triple time. the third fast movement (Jajinmori) has mostly two-measure pfrases in 12/8 time, ending with the faster movement (Danmori) in 4/4 time which is very rare in Korean music. Within this framework the soloist freely expresses the various emotional content.

  The slow movement where the long melody undulates with micro tonal shading, opens with the melody in the so-called u mode which gives the effect of stateliness and ends with the melody in the Gyemyeon mode which is sorrowful. The moderate movement is enlivened by music in the light Gangsan style. In the fast exciting movement the twelve-stringed zither, Gayageum, weaves complex rhythm such as hemiola and other devices, while the hourglass drum keeps the fundamental rhythmic pattern. Hence the inter-locked rhythm is comparable to the dissonance in arousing mental disturbance. Because of its emotional content and virtuosity, Sanjo is today most widely appreciated.

* 살풀이 Salpuri (Scarf Dance) 

Salpuri(scarf dance) is a highly expressive solo dance of spiritual cleansing the only tool the dancer uses is a long white scarf. As she dances, the dancer goes through a series of emotions from sadness to invigorating joy. The dancer expresses a wife's desire to call her dead husband back to the world of the living, and her ecstasy at meeting him and her pain at respiration. Salpuri was first staged in 1930 s by Han Seong-Jun, one of the pioneers to traditional folk dance in Korea.

 * 소고춤 Sogo Chum (Small Drum Dance) 

Sogochum is one of the two most popular solo performances in Nong-ak (farmer's dance and music). along with Janggochum. about 39 centimeter in diameter. Sogo in an important instrument in a nong- ak band. it, however, truncations? more as a dance accouterment than a musical instrument. the Sogo(small drum) players usually occupy the front line on stage, solo performance given by ahead? Sogo player is called "Bopgonori" or "Seobeopgochum." The group Sogo dance represents various farming activities and displays farmer's lifestyle.

* 수제천  Sujecheon

 Sujecheon, the most famous composition of court music, performed on wind instruments

Sujecheon is a type of Jeong-ak, literally "proper or correct music", which is comprised of both instrumental and vocal pieces which were generally cultivated by the upper class literati of the Choson society. 

* 승무 Seungmu ( Monk Dance ; Buddhist Dance)

 This dance is one of the representative traditional dances influenced by Buddhism. Except for legend, there is no historic record of the origin of this dance. The dancer wears a robe with long sleeves(Hansam) and a white hood(Goggal). Main Program Picture

  As this dance was inspired by Buddhist ritual dance, it blends unique, solemn characteristics with various entertaining techniques. The costume mirrors that of Buddhist nuns : long sleeves (Jangsam), and a cap with white hood(Goggal). The dance begins slowly, accelerates and reaches a climax when the dancer approaches the drum and performs a succession of rapid, syncopated rhythms with two drum sticks concealed by the long sleeves. This accelerating drum sound represents inner evolution from mental conflict to attainment of nirvana.

Seungmu

The white silk cowl folded gently

wavers like a butterfly.

A bluish head, shaved close

veiled under the fine cowl.

The glow on her cheeks

pretty as a sorrow.

A candlelight burns silently

on an empty altar.

The moon sinks into

every paulownia leaf.

Her long sleeves flow up

against the vast heaven,

Oh, how her shapely white socks

turned up so slightly

as if flying on the wing.

Raising her dark eyes softly,

she gazes at a single star

in the far-off sky.

Her hair peach blossom cheeks

adorned with a teardrop or two.

Like a star shine her agonies

if painful are her worldly cares.

Swaying, bending and folding again

her hands are stretched out

as if telling of a devout prayer in her heart.

as the crickets cry away the night

her white silk cowl folded gently

wavers like a butterfly.

* 시나위

 Shinawi concert, played by eight Korean traditional musical instruments, is regarded as one of the most outstanding shaman musical pieces from Korea's southern provinces.

  The eight instruments are Gayageum, Geomungo, Haegeum, Ajaeng, Piri, Daegeum, Jang-go and ching. Solo performances of individual instruments at intervals heighten the overall effect.

* 아악 'Ah-ak' :

'Ah' means noble and 'Ak' means 'music'. This music came from the ancient Korean traditional court music (before Chosun Dynasty) and China (before AD. 10 C ). In 14 C, all music were reformed and re-ordered. Most of formalities, or ceremonies, or rites was used this type of music in the Court. 'Jongmyo-jerae-ak' , 'Munmyo-jerae-ak', and 'Sujecheon' , 'Boheoja' , and so on are in this type of music. Many of this music were disappeared in China at the present.

* 아쟁(Ajaeng)

  The Ajaeng is bowed seven-stringed zither, played with a wooden bow without hairs. It was originally used Chinese music but later adapted to the Korean musical ensemble. The melody of this instrument is always identical with 1/2 that of the two-stringed fiddle(Haegeum). Its loud tone reinforces that of the Haegeum.

  Ajaeng was introduced to Korea from Ming, China in 1389 during the reign of King Kong-yang of the Koryo dynasty, and later remodelled during the reign of King Sejong of the Yi dynasty. The materials are the same as those of the Geomungo, but Ajaeng has 7 strings with different thickness.

The method of performance is similar to that of the Gayageum. The Performer plays on it with a stick in his right hand. The stick is made of a peeled branch of forsythia painted with pine resin.

  The tune suggests expanse, gravity and generosity, and since it produces the lowest notes, it is often used as an ensemble instrument for court music which demands expression‎ with transient atmosphere, and it also used as the solo instrument for Sanjo.

아쟁 (아쟁/산조아쟁)

아쟁은 해금과 같은 줄을 문질러서 소리내는 찰현악기로 국악기 중 가장 낮은 음역을 가지는 악기이다. 아쟁은 7줄인데 거문고와 같이 상자모양으로 짠 울림통을 초상이라고 하는 받침대로 받쳐 놓고 개나리나무의 껍질을 벗겨 송진을 칠한 활대로 문질러서 소리낸다.

이 개나리나무로 만든 활대는 말꼬리로 만든 말총활대보다 조금 거친소리는 내지만 장엄하고 웅장한 맛은 있다. 줄과 줄 사이가 넓어서 악기의 자유로운 손놀림이 어렵고 그에 따라 빠른 곡조의 연주가 힘들다. 또한 음역이 좁아서 여러가지 다양한 음악적 효과는 기대할 수가 없지만 아쟁이 음악에 포함되느냐 안되느냐에 따라 장엄하고 정중한 음악인가의 여부가 결정도리 정도로 음악에서 절대적인 역할을 한다. 아쟁은 원래 7현이지만 요즈음은 음역확대를 위하여 9현의 아쟁도 많이 사용하고 있으며 산조음악을 연주하기에 적합한 보다 작은 크기의 8현의 아쟁 즉, 산조아쟁도 개발되어 사용되어 오고 있다.

* 영산회상 Young-san-hwoe-sang

'Young-san-hwoe-sang' (named from a class of Budhist in ancient India) : a kind of suite consisting of 8 different pieces. Originally first two pieces came from the religious music of Buddhism in the Court of 'Choson' Dynasty (1392-1910). At first there were the words of the song, but became instrumental and added other pieces. This music is somtimes performed by solo of various instruments like 'Daegeum' (large Korean flute made of bamboo), 'Danso' (small or short Korean flute), Geomungo , 'Gayageum' , 'Piri'(Korean clarinet), an so on. But first three are popular. In 'Choson' dynasty, all of scholars (they called an intellectual or a philosopher who had no political standing or experiences), politicians and philosophers were interested in and had to study poem, writing a letter, philosophy, and music. This music was most popular necessities for all intellectual at that time. This music is represented the high spiritual world of the intellectuals.

This music consists as fellow pieces;

(1) 'Sang-yeong-san' (very very slow)

(2) 'Jung-yeong-san' (very slow)

(3) 'Seryeoung-san' (slow)

(4) 'Garak-do-dri' (moderate)

(5) 'Sang-hyeon-do-dri' & 'ha-hyeon-do-dri' (mild fast)

(6) 'Yeom-bul-do-dri' (mild fast)

(7) 'Ta-ryeong' (fast)

(8) 'Gun-ak' (fast)

  There are three variations of 'Yeong-san-hoe-sang' as fellow :

'Pyung-Jo-Hoe-Sang' : a kind of Young-san-hoe-sang.

 Pyung-jo-hoe-sang (other name : Yucho-sin-ji-gok) is performed mainly by strings in Pyeong-jo (similar to C-major).

'Geomun-go-hoe-sang' or

'Gwan-ak-young-san-hoe-sang'(Jung-gwang-ji-gok, piped

young-san-hoe-sang): accompainiments with dances of the Court.

'Hyeon-ak-young-san-hoe-sang' (stringed young-san-hoe-sang)

* 의식음악 Ritual Music

In addition to the Jeong-ak and Minsogak styles, there are several other important traditional music genres such as the Buddhist Beompae, ritual music and Jongmyo ceremonial music. Beompae, with its long, drawn-out notes, is occasionally played at Buddhist ceremonies, but is rarely performed at concerts. As a result, the group of musicians able to perform Beompae is limited to a few monks. Ritual music includes that which is played during rites honoring confucian sages as well as during Jongmyo ceremonial music during rites honoring Choson Dynasty kings. The former is known as Ung-anjiak while the latter consists of two repertoires known as Potaepyeong and Chongdaeop. Potaepyeong, the music played especially during the Jongmyo ritual, has a mysterious and inspirational quality. When performed for the solemn rites at the Jongmyo complex (a unique architectural masterpiece that has been registered on the UNESCO World Cultural Heritage List), Potaepyeong music evokes a feeling of tremendous artistic purity. The harmonious quality of the music is remarkable in itself; yet, even more amazing is the meticulous use of instrumental arrangement to symbolize the East Asian philosophy of um-yang and the five elements.

* 이매방 Lee Mae Bang

 Lee Mae Bang is known as one of Korean most fascinating dancers. His over 60 years of experience as a performer lend an air of ease and sophistication to his movements. Not only has he managed to preserve some of Korea classic dances through painstaking research and great personal effort, he has not hesitated to develop new forms on his own.

  Lee has been designated a Human Cultural Treasure for two different types of dance. One is the Seungmu, where the dancer wears a Buddhist monk costume and is thought to reenact through dance spiritual trauma and release. The other is the Salpuri, long considered to represent the essence of Korean dance. Lee will be joined by 35 of his long time disciples.

* 자바라 Jabara (Cymbals)

 These cymbals, also called Bara, Bal or Jegeum, which are made of brass, differ in size according to their usage. Those played at Buddhist temples in ceremonial dances are larger and heavier, for example, than those used in processionals or the very small finger cymbals (called Hyang-bal) that are fastened to the two fingers of a dancer. The cymbals used in processional music are played together in ensemble with the Jing (large gong), Taepyeongso (conical oboe), Nabal (clarion), Nagok (conch horn), and Yeonggo ("dragon" drum - actually a barrel drum with a dragon painted on its rim).

바라 (자바라)

바라는 자바라 또는 제금이라고도 부르는 악기로 서양의 심벌즈와 같이 양손에 하나씩 들고 맞부딪쳐서 소리내는 타악기이다. 이 심벌즈계통의 악기에는 터키형과 중국형의 두 가지가 있는데 양악에서 사용하는 것은 터키형으로서 비교적 음색이 맑아 '챙챙'거리는 소리가 나며 우리 음악에 사용 하는 것은 중국형으로서 음색이 둔탁하여 '촬촬 촤르르르'하는 소리가 난다. 이 바라를 약하게 치면 맑고 고요하며 신비한 소리를 내고 세게 치면 크고 소란스러우 면서도 진취적인 소리를 낸다. 궁중에서 군대의 행진음악이나 큰 의식음악으로 쓰였던 <대취타>는 물론 절에서 행하는 각종 의식음악과 춤에서 그리고 일반백성을 위로하고 또한 즐겁고 신명나게 놀게하는 각종 무속행사의 음악과 춤에서 크기와 모양새가 조금씩 다른 여러가지 다양한 바라가 폭넓게 쓰인다. 특히 나발, 나각, 새발, 징, 용고 등의 악기로 연주하는 <대취타> 그리고 불교의식무용인 <작법(作法)중 바라를 들고 추는 <바라춤>에서의 이 바라라는 악기의 연주모습과 그 소리는 그야말로 일품이다.

* 장고(Janggo)

  Janggo, or the hourglass drum, is the most frequently used accompaniment to almost all kinds of Korean music. The thick skin of the left side is struck with the palm, sounding soft and low, and the thin skin of the right side is struck with a bamboo stick, giving a hard sound. The right side can be turned higher or lower by moving the central belts encircling the V-shaped laces to the right or to the left, thus tightening or loosening the tension of the drum head.

9.장구

 

  장구는 우리나라의 북 계통의 악기를 대표하는 매우 중요한 장단연주 타악기이다.

     아악(궁중음악), 정악은 물론, , , 와 같은 민속악 그리고 춤장단 반주에 이르기까지 실로 장구의 쓰임은 매우 광범위하다고 하겠다. 장구를 일명 세요고라고하는 것은 외형상 가느다란 장구의 허리모양 때문에 붙여진 이름이고 장구라는명칭은 '채(杖)로 치는 북(鼓)'이라는 뜻에서 그렇게 부르는 것이다. 원래 중동 및중앙아시아 지역인 서역계통의 악기로 중국을 통하여 우리나라에 들어온 것은 고려때이다. 그러나 고구려 고분벽화 등에도 소형의 장구 그림이 발견됨으로써 장구가 고려 훨씬 이전부터 우리나라에서 쓰였을 가능성을 제시해 주고 있다. 장구는 오늘날에 와서 우리 음악의 독특한 장단 연주악기로 완전히 한국화하여 갖가지 한국적 음악 감수성을 창출하는 타악기로서의 위치를 확보하였다. 만일장구라는 악기가 우리음악에 없다면 한국음악의 특성을 제대로 발휘할 수 있을까 궁금할 정도이다. 우리의 사용언어에서도 '맞장구 친다', '물장구 치며 논다'등장구라는 말이 쓰이듯이 우리국민과 매우 친숙한 악기임에 틀림없다. 특히 최근에 각광을 받고 있는 에서 장구는 꽹과리 못지않은 중요한 음악적 기능을 감당함으로써의 세계 적인 명성과 함께 세계적인 악기로 인식되고 있는 것이다. 장구의 채편은 대나무를 얇게 깍아서 만든 채(혹은 '열채')로 치는데 '땡땡'거리는 높은 소리가나서 산뜻하고 화려한 음색을 내며, 북편은 왼손이나 헝겊을 씌운 방망이 혹은궁굴채로 치는데 '궁궁'거리는 낮고 넓으며 또한 듬직한 소리를 낸다. 이렇듯   뚜렷하게 음색대비가 되는 채편과 북편의 소리를 동시에 혹은 순차적으로 혹은 교차적으로 그리고 또 독립하여 울림으로써 장구가 낼 수 있는 갖가지 맛깔스런 한국적 리듬을 백출(百出)하게 되는 것이다. 장구의 구조는 크게 가죽으로 만든 북편과 채편 2개의 북면, 그리고 보통 오동나무로 만드는 울림통, 그리고 이울림통을 사이로 두고 있는 양 북면을 연결하여 주는 조임줄 이렇게 세부분으로나눌 수 있다. 장구의 구조는 크게 가죽으로 만든 북편과 채편 2개의 북면, 그리고 보통 오동나무로 만드는 울림통, 그리고 이 울림통을 사이로 두고 있는 양 북면을 연결하여 주는 조임줄 이렇게 세부분으로 나눌 수 있다. 북편의 가죽은 소가죽을, 채편의 가죽은 말가죽을 쓴다고 알려져 있지만 일정치 않으며 특히 에 쓰는 장구는  양북면 모두 개가죽을 많이 쓴다. 또 장구의 통은 과거에 사기, 기와, 쇠, 나무, 바가지, 양철 등 여러가지를 썼다고 하는데 지금은 미류나무와 오동나무중 가볍고  소리가 잘 울리는 오동나무를 주로 쓴다. 이 장구통은 쓰는 이에 따라 붉은 색을 칠하여 쓰기도 하며 아무런 색깔을 칠하지 않고 그냥 니스칠만 해서 쓰기도 한다. 장구에서 듣기좋은 소리가 나려면 북면의 가죽도 중요하지만 공명이 자리되는울림통이 좋아야 하는데 하나의 나무를 가지고 통째로 깍아서 만든 [울림통]이 두쪽 내지 세쪽 의 나무를 짜서 맞춘 울림통보다 훨씬 풍부하고 꽉찬 소리를 낸다. 그러니까 장구를 처음 구할 때 세심한 주의를 기울여 이 북통을 통째로 깎아서 만든 [통장구]를 구하는 것이 중요하다. 조임줄도 붉은 색을 칠힌 것(진흥사)과 흰색으로  된 것 등이 있다. 이외에도 양북면을 거는 테와 조임줄을 죄는 조이개 등이 이장구의 부분명칭이다. 이 장구는 쓰임과 기능에 따라 여러가지 크기가 있는데 나 ,에 쓰이는 장구, 그리고 남성들이 사용하는 장구는 대체적으로 큰 형태의 장구이고 여성들이 춤출 때 사용하는 설장구나 어린이들이 사용하는 것은 좀 작은 형태의 장구이다. 이렇듯 전문가용 장구에서부터 요즈음 학교기관에서 어린이들이 컵라면 그릇 2개를 맞대어 만든 매우 작은 '컵라면 장구'까지 장구의 쓰임과 크기는 매우다양하다고 하겠다.  

* 장고춤 Janggo Chum (Hourglass drum dance)

Janggo, hourglass drum, is used in practically every form of Korean music. It is beaten with two kinds of bamboo sticks.  Janggo Chum is a kind of transformed form from traditional dance by Choi, Seung-Hee, a famous Korean Dance leader.

 Janggo dance in often called Seoljanggo in the Nong-ak, the dance which is preval‎ent in the recent domestic dance field is based on the Seoljanggo of Nong-ak. The harmony in the stage figure is highly emphasized in this dance. this is composed. expressing some diversified and changeable rhythms with Janggo.  Furthermore. it can be eval‎uated to improve the whole dance highly.

* 전통무용 Korean Traditional Dance

  Korea's six varieties of traditional dance include : shaman, Buddhist and Confucian rituals, court entertainment, country or folk dances, and the mask-dance drama. Characteristic Korean movements are the heel walks, and turning on the heels ; raising the body gently and lightly from the bent knee position ; slight vibrations from the hips up ; pulses from the shoulders ; economy of action and improvisation. The most distinctive of Korean movements is the suspended position, balancing on the foot with the free leg extended while the shoulders softly rise and fall. This conveys a deep sense of ecstatic power. Ecstasy permeates all of the types of dance - not only the shaman and farmers' folk dance, but even the extremely formal court dance has shoulder pulsations.

  Korean expression‎, as is true of Asian dance in general, differs from that of the West. The West defines the personality, the sex, the body of the dancer. The Korean dancer is impersonal with sexuality suppressed. While Western dancers like to dominate space and play with light, sound, texture and dynamics, Korean dancers are not interested in external aspects of acrobatic physical motion but rather in expressing metaphysical joy. The Korean body, concealed in voluminous silks, with full sleeves, becomes the image a pure and abstract landscape, reflecting several thousand years of influence from surrounding cultures.

  Dance in its origin is sacred, magical and ritual in character. Of Korea's three ritual forms, shaman, Buddhist, and confucian, shamanism is the most highly developed of all and pervades all the others. In Confucianism, where the dancing is minimal, the ceremony is all.

   Attending the grand ceremony at Jongmyo (Royal Family Shrine) on the first Sunday of May, when reverence is paid to the spirits of 20 Yi Dynasty kings and queens, music and dance designated Intangible National Cultural Property No. 1 by the Korean government is performed. Court dignitaries make and imposing spectacle officiating before the 20 individual shrines. The special music, composed by King Sejong, using the same graded-by-thickness jade-stone gongs, bells and other ancient instruments, has a richer texture that for the Confucian rites.

  Confucian influence on dance has been mainly repressive, but Buddhism - with a more permissive attitude - has contributed a positive influence, as some of the most beautiful court dances and many shaman rituals, especially those for the dead, show.

  Korea's court dance has ancient roots. Four hundred years before the emergence of Western renaissance court ballets in Italy, in the middle Koryo period ( 11th Century ), women court performers created elaborate poetic spectacles. These had sung verses as prelude and postlude, symbolic properties, magnificent costumes and special music.

  The performers of the court dance repertory today, trained and performing at the National Classical Music Institute, present an exquisite appearance in magnificent costumes with small flower crowns of gold, glistening with pendants. The necklines are high, the voluminous skirts are gathered over flattened breasts, the hands are concealed in rainbow-banded long sleeves which trail on the ground. The stockinged legs and Korean turned-up-toed-slippers are rarely seen unless the skirts swing away from the ankles in occasional turns. These are depersonalized sex diminished images, more like flowers than humans. The control, the splendid carriage of the body, the quiet grace and always that lilting pulse from the chest into the shoulders with the arms outstretched suggests birds winging through the air without effort, an art which conceals art.

  Buddhism, the most permissive of religious, came to Korea from India, via China, in 372 A.D. The Shilra monk Jin Gam, who learned Buddhist chanting known as Beompae in Tang China, returned to Korea in 830, bringing that music and four dances associated with it. These dances can be observed at certain ceremonies in the temples of married monks. Designed to "supplicate Lord Buddha so that the souls of the departed may be permitted entrance to nirvana," the first three and known as Jak-beop (Making the Law).

  Serenely beautiful is the Nabichum(Butterfly Dance) performed by Buddhist nuns. The Beopgochum(Law Drum Dance) solo involves playing the large temple drum with two sticks.

  While kings, princes, courtiers, and professionals have all danced at court, and the monks in temples, historically one of the oldest forms of all is the strenuous outdoor farmers' dance. As an expression‎ of the people, the dances have astonishing vigor and rhythmic verve. Leading a procession of men and boys, a bearer carries a pole with pheasant feathers at the top (the ghost or spirit symbol) and a banner proclaiming : "Farming it the Mainstay of the Nation." The dancers' hats are decorated with huge pompons of white paper flowers of Buddhist influence. They accompany themselves with hand-held drums, gongs, a piercingly loud reed instrument, and several Janggo (hourglass drum) beaten with two kinds of bamboo sticks. Following the leader's running hopping, turning, they move counter-clockwise and with an exuberance that never wanes. Each one it turn dances solo with his particular instrument.

  The farmers' dance - typical virile - is performed by both men and women today, but the circular Gang-gang-sulrae is purely feminine. It is performed on the full moon  of the first and eighth lunar months by a large group of girls to their own singing of solo verse and chorus.

  In early days ritual-dance-drama was an inseparable entity relating man to powers greater than himself. Masks were sacred, essential and needed for many purposes both magical and practical and later artistic.

  Korean masks made of wood, or gourdes, sometimes paper and fur, cover the face only and the players first don a black cloth to conceal the back and sides of the head and neck. The masks are considered sacred and must be recreated for each performance. 

* 전통무용 Traditional dance

  Traditional dance displays the sentiments of the Korean people most distinctly and also has a close relationship with the daily life of the people.

The aesthetics of dancing expressed in "motion amidst rest" together with the melodies and rhythms of music are well manifested in solo dances, such as a Buddhist dance, "Salpuri"(exorcism) dance,

  "Hanryang"(idle youth) dance, as well as group dances displaying village traits, such as "Gang-gang-suwollae"(circle dances), farm dances, mask dances, and so on.

Traditional dance has a specific character and gives off an air of mystic charm because of a quiet flow of rhythm and an elegant dancing form with a beautiful line of flow.

  Folk drama has two main streams, i.e., a masque and a puppet show. A masque is played either by a single person or many players, who cover the entire face with a mask in disguise of the other person or an animal to act a dramatic scene.

  Today the dance masks are important materials for historical study because they show the typical physiognomies of Koreans, though they look mostly simple. Through masks, various community members, such as depraved monks, "Yangban"(people of noble birth) and servants, wanted to demonstrate the people's true lives and sorrow and also criticize the people of the upper classes in the form of sarcasm and humor by disclosing their own lives of lechery, laughter and grief. The typical masks are "Byolsandaenori" of the Yangju, Bongsan "Talchum"(masque), and others.

* 정악 Jeong-ak

Sujecheon is a traditional wind ensemble in which the p'iri (bamboo flute) and Daegeum (large transverse bamboo flute) are played in a long, revolving rhythm. This ensemble is thought to have been in existence for several thousand years. As a highly refined musical form, it exemplifies the uninterrupted, continuous character of traditional Korean music. Fluid yet full of strength, sober yet vibrant, Sujecheon reminds one of a long, broad river. Foreigners who hear this music for the first time often describe it as a "heavenly sound" or "divine revelation." Indeed, this natural-sounding music seems to echo forth from the distant past. Derived from Buddhist music, Yongsan Hoesang has now become purely instrumental. This suite, consisting of nine pieces, can be played in its entirety or several pieces can be performed separately. In terms of instrumentation, it can be performed either as a solo, string ensemble or wind ensemble. The slow tempo of the initial pieces creates a calm, sedate atmosphere which gradually gives way to a quicker tempo and more lively feeling. As one of the most common musical styles seen at traditional concerts, this musical form is used for solos performed by a number of instruments and ensembles. Yomilrak, created by King Sejong, was originally an elaborate musical performance that combined singing and dance, but the dance and vocal forms gradually fell into decline and it is thus performed only as an instrumental ensemble piece today. During its development, Yomilrak spawned a number of variants such as the Yomilrang Nyong, Yomilrang Man and Haeryong. Such variants were also seen in other traditional forms-an indication of the conservative character of the Korean people and their respect for tradition. Particularly in Jeong-ak music, musicians traditionally would not dare to create a completely new form. As a result, a limited repertoire was repeated for centuries, gradually changing over time so as to give birth to new variations. There are three forms of traditional vocal performances in Korea: Sijo, Gasa and Gagok. In the Sijo, or Sijo Chang, a standardized three-lined poem is sung to a fixed melody. The Sijo Chang was previously a very popular form. With its slow tempo and calm feeling, it appeals to common people as elegant music that is easy to sing. Gasa music, on the other hand, is sung in a spirited prose style. The length of each song is not fixed, and the main emphasis is on the literary content of the piece rather than its melody. As a result, this musical form tends to be simple and pure. At present, twelve traditional Gasa compositions are extant. Among the Jeong-ak vocal styles, Gagok is the most developed and requires the greatest amount of technical ability. Gagok use the three-line, forty-five character form of Sijo poetry. However, Gagok, unlike Sijo Chang, are sung in precisely divided movements with a minor wind accompaniment. More than twenty traditional Gagok pieces still exist and these have diverse melodies and themes. Taken as a whole, Gagok has a sober yet leisurely, profound atmosphere. Expressed in visual terms, Gasa music can be compared to the simple purity of Choson-era white-glaze pottery while Gagok music embodies the profound, contemplative quality of Koryo celadon.

* 종교무용 Religious Dances

Genuine representations of the religious dances of Korea are seen at Buddhist ceremonies, at Jongmyo, the Royal Ancestral Shrine of the Choson Dynasty, and at Munmyo, the Confucian shrine in Songgyungwan(the National Confucian University). Buddhist ceremonies are accompanied by solemn music and dance. The music is called Beompae and the dances Jakbeop. Jakbeop, literally "Creating the Dharma," consists of three parts: Nabichum (Butterfly Dance), Barach'um (Cymbal Dance), and Beopgochum (Buddhist Law Drum Dance). These dances offer prayers for the spirits of the deceased and act as a means to guide believers into the Land of Bliss. The music ensemble include chants, a drum, a gong, and a conical wooden oboe. The dances introduced below are offered in the Buddhist ceremonies and Confucian and ancestral rites.

* 진도북춤 Jindo  Buk Chum (Jindo drum dance)

  Origination from Jindo Island at the southwestern tip of the Korean Peninsula, the drum dance was danced by farmers participating in ture, a system of collective labour widely practised in rural communities. It features forceful dance movements accompanied by vigorous drum rythms played by the dancers themselves.

* 탈춤 Mask Dances

Mask dances have been handed down under the name of Talchum, Sandae nori, Ogwangdae, and Yayu, each rooted in a different region. During ancient times masks were believed to drive away malicious spirits, diseases, and fearsome animals. Their purposes were: first, to ward off all evils; second, to manifest supernatural beings; third, to honor the deceased; and fourth, to represent totemic animals. Korean mask dances evolved from dances, music, and dramas performed during Palgwanhoe, the court ceremonies of the Koryo dynasty, during Yondeunghoe, a Buddhist ceremony held to pray for the nation's peace and the well-being of the people, and during Narye, the shaman rite held on the lunar New Year's Eve to ward off evils. Korean mask dances date back to the court entertainments of the Shilra Kingdom, such as Cheoyongmu, the masked dance celebrating the life of Cheoyong, and Hyang-ak Ogi (Five Masked Entertainments). The latter originated from China and Central Asia. It combines Geumhwan (Ball Game Masked Dance), Wolchon (Mime Farce or Comic Masked Dance), Daemyon (Talismanic Masked Dance), Sokdok, (Acrobatic Masked Dance), and Sanye (Lion Mask Dance). Sanye, a lion masked dance drama that reached Shilra from India through Central Asia and China, is related to the lion masked dance drama of Japan's Kigaku as well as to Korea's many masked dance dramas, including Bukcheong Saja norum, Bongsan Talchum, Suyong Yayu, and Tongyeong Ogwangdae. The Choson court established an office to manage the masked dances and dramas. This court style of entertainment gradually evolved into diverse forms that became dispersed throughout the country. The dominant themes of these masked dances and dramas are: first, to relieve the anger of the commoners against the ruling class; second, to make fun of debauched monks; third, to expose the triangular relationship between husband, wife, and concubine; and fourth, to encourage virtue and punish vice.

  Mask dances in Korea have been handed down by different regional style: the Hwanghae-do province's Haeso style, such as Bongsan, Gangnyong, and the Unnyul Mask Dances; the Gyeonggi-do province's Yangju Byeol Sandae's and Songpa Sandae Mask Dances; the Gyeongsangnam-do province's Suyong Yayu, Dongnae Yayu, Kasan Ogwangdae, T'ongyong Ogwangdae, and Kosong Ogwangdae; Kyongsangbuk-do province's Hahoe Byolshin-gut; Gangwon-do province's Kwanno Mask Dance; and the Namsadangp'ae (Male Itinerant Entertaining Troupe of the Northern Line) Dotboegich'um Mask Dance. The common instruments for the melodic and rhythmic support of mask dances are Piri, a double-reed cylindrical oboe, Chottae, or transverse flute, Janggu (or Janggo), an hourglass-shape drum, Ggwaenggwari, a hand-held gong, and Haegum, a two-stringed fiddle. The instrumental ensemble differs by region. Gyeonggi-do province uses six instruments called Yukgak: two Piri; one Daegeum; one Haegum; one Janggu, and one Buk.

탈의 역사는 오랜기원을 갖는다. 탈춤을 들여다 보면 태고의 신비가 살아나고 오랜기간 한국인이 담아왔던 한과 신명의 역사가 살아난다. 그춤에 수천년의 세월이 담겨있다는말이다. 그 세월의 역사가 춤에 녹아나니 그 동작 하나하나가 만만치 않을 것이다. 그런 의미에서 민족과 민중의 삶의 울타리에서 한국적인 미학이 녹아난 판에서 우겨져 나온 민중예술의 정화가 바로 탈춤이다. 오랜역사를 거치며 탈춤에는 한구이란 삶이 어떻게 판의 원리를 통해 예술적인 형성화를 이룩했을까? 우리는 탈춤을 통해 그 진한 민중예술의 위대한 역사성을 읽을수 있다. 마당에서 벌이는 한바탕 신명굿이 바로 탈춤이다.

현재 탈을 쓰고 하는 연희가 남아있는 것은 크게 네가지형태로 분류해 볼 수 있다. 첫째는 서낭당탈놀이로서 하회별신굿탈놀이와 강릉관노가면극이 있고 둘째는 양주별산대놀이와 송파산대놀이 봉산탈춤 강령탈춤 은율탈춤 통영오광대 고성오광대 가산오광대 수영야류 동래야류와 같은 10여개의 산대계통극이 있다. 셋째는 세시풍속이나 장례와 연관된 북청사자놀음과 진도 사시래기가 있고 넷째로 남사당패의 꼭두각시놀음과 발탈이 있다.

* 태평무 Taepyoungmu (The Court Dance)

 One of the many court dances, Taepyoungmu originates with Han Son-jun (1874-1941), who founded the Choson Dance Institute in 1933. The lone female dancer is dressed in the rhythms of Shamanistic music. Taepyongmu has been designated an Intangible Cultural Asset in order to assure its preservation. 

* 판소리 Pansori

  In this traditional Korean form of dramatic songs dating from the Chosun period, a Pansori singer, singing to beat of a drummer, relies on singing, monologue and gesture to render popular traditional stories.

  In this presentation, highlights from leading pansori classics such as Chunhyangjon, Shimchongjon, Heungbuga, Sugungga and Chokbyokga are performed.

 Pansori is another musical treasure of leading as song in drama, an indigenous opera-like production. Within the Pansori, Aniri is the spoken description of the dramatic content between songs, and Balrim is the physical motion of the drama.

* 풍물놀이

Poongmul Dance (Nong-ak or farmer's dance and band music) 

Nong-ak, historically one of the oldest forms of all, is the strenuous outdoor farmers' dance. As an expression‎ of folk culture, this has astonishing vigor and rhythmic verve. Leading a procession of men and boys, a bearer carries a pole with pheasant feathers at the top (the ghost or spirit symbol) and a banner proclaiming: "Farming is the Mainstay of the Nation." The dancers' hats are decorated with huge pompons of white paper flowers of Buddhist influence. They accompany themselves with hand-held drums, gongs, a piercingly loud reed instrument, and several changgo (double-barreled drums) beaten with two kinds of bamboo sticks. Following the leader's running, hopping, turning, they circle in union and the high point is reached when smaller boys rotate their heads producing long eccentric spirals with the white ribbons attached to the special swivel in the crown of their hats. Nong-ak called by "Gut" has been named by various kinds of name; Poongmul Gut, Poongjang Gut, Maegu Gut, Durae Gut, Dangsanje Gut, Poongaje Gut, Jeolrado Madangbabki Gut, Gyeongsangdo Gisinbabki Gut, Gulgung Gut, Junggan Gut, Namsadangpae Gut, Sotdaejangipae Gut, Village Wine Drinking Gut.

* 피리(Piri)

  The Piri, or Korean oboe, has a long, wide double reed and eight finger holes including the back hole. The Piri  is the lead instrument which always plays the main melody in the Korean court of folk ensemble. Its sound is loud and distinctive in terms of tone quality and timbre.

2.(향)피리

향피리는 보통 피리라고 부르는 우린나라의 대표적인 관악기로서 멀리 고구려때 우리나라에 수입되었다. 들어오면서 그것과 구분하기 위하여 향피리라고 부르게 된 것이다. 서라고 하는 자기은 형태의 겹리드(겹서;double reed)를 관대에 꽂아서 입에 물고 연주하는데 이 악기의 지공은 8개이다. 음색은 탁한 편이며 음량이 매우 커서 대편성의 관현악, 관악 그리고 민속악의 반주에 이르기까지 매우 널리 사용되는 악기이다.(주선율 담당)

지공 뒤 1개,앞 7개

* 학춤 Hwak Chum (the crane dance)

Hwak Chum, the crane dance is a dance work expressed the looks, which the cranes are playing, by Han, Sung-Joon, a famous traditional dance leader. It is played with a beautiful and elegant music by Danso(a short bamboo flute) and Yanggeum (a Korean zither), Korean traditional musical instrument.

* 한국무용 Korean Dance

In ancient times, Korean dances were performed in religious ceremonies, so they naturally took on some ritualistic characteristic although they later grew into a form of entertainment. Under the strong influence of Shamanism, Confucianism and Buddhism, Korean dances became full-fledged artistic forms. These traditional dances have dominant characteristics that have been kept alive until today. By many accounts, primitive rites to the heavens were the forebearers to dance as an artistic form. It was also influenced by folk dances that were closely interwoven with daily life. In agrarian societies, communal groups danced in impromptu fashion. As their lifestyle and thought were inseparable from nature, folk dances were executed in spontaneous simple steps, without employing much in the way of learned techniques or choreography. One of the unique aspects of Korean dance is its streamlined curvilinear movements. Angular movements were seldom used. Below is a brief account of the distinctive characteristics of Korean dance. First, unlike Western dancers, Korean dancers concentrate energy in their torsos and move their shoulders and arms. Second, there is great emphasis placed upon natural movements. Korean dance tries to impact and express natural phenomena. For instance, refined court dances such as Chunaengjon (the Dance of the Spring Nightingale), Hakchum (or Hangmu, Crane Dance), or Sajachum (Lion Dance) are all based upon depictions of nature. Other dances inspired by natural things include the crane dance of the Yangsan and Dongnae areas, the tortoise and stork dances seen in Heoteunchum (farmers' impromptu dances), the lion and monkey dances common in mask dance dramas, dances of mystic animals in farmers' percussion music and dance performances, and Nabichum (Butterfly Dance) in a Buddhist ceremony. Third, Korean dance emphasizes movement in the upper torso. Most Western dancers basically follow the tempo of the heartbeat, while Korean dancers follow the tempo of breathing. Fourth, all movements are streamlined, curvilinear, without isolated parts. If Western dancers accentuate angular, linear, and acrobatic movements acquired by years of hard training, Korean dancers are not that concerned with acquiring acrobatic traits. Fifth, Korean dancers tends not to stick to any specific. A dancer pursues master skills through the technique of "no technique." He expresses his inner mood by dancing freely and spontaneously. When he pauses for a moment, he suspends his breathing and maintains a static equilibrium. At that moment, his suspended breathing itself becomes part of his movement. In a broad sense, Korean dance seeks harmony. Like the rounded shapes engaged together inside the great Taegeuk circle, a dancer extends mellifluous lines from his chest to his extremities. Attuning himself to his respiration, he lets his body undulate in the air, so that it is hard to see where his movements begin and end, like the interlocking um and yang symbols turning endlessly in a circle as one unity. Korean dance seeks the aesthetics of "repose amidst motion." Interacting constantly with the world, the dancer lets his bodily energy flare up and out and then draws it back. Seungmu (Monk Dance) and Salpurichum (in short Salpuri, the Spirit-Cleansing dance or Exorcist) are representative of this kind of dance. The long sleeves in the Seungmu and the long white silk scarves in the Salpurichum are the media with which he expresses his inner mood. These two dances use the Gi-gyong-gyol-hae technique. That is, they unleash energy gradually at first, build up to dramatic movements, halt at the climax, and then find release in repose. Sixth, Korean dance is closely related to folk performances. Traditionally, Nong-ak, or performances by farmers' percussion bands, Talchum, or mask dance dramas, Jisinbalggi, or a lunar new year's celebration, Juldarigi, or tug of war as well as many other communal entertainments, express Korean's dynamic optimistic spirit. Korean dances are largely classified into court, folk, ritual, mask, shaman, and new dances. The special features of each category are described below.

* 한국전통음악 Korean Traditional Music

  Korea is rich in terms of musical culture and its music is distinctive despite tremendous influences from China.

  Korean traditional music can be roughly divided into two major categories, Jeong-ak and Sog-ak, music for the ruling class and for the common people, respectively. Within these two major types are various subcategories that make up the whole of Korean music. Thus, in Jeong-ak there are two different, but somewhat related meanings. In this broader sense, the term refers to the elegant musical style that was considered "right" for the Korean ruling class in terms of Confucian philosophy, and within this broader meaning it also refers to ensemble music for men of high social status outside of the court. In this context, three important terms are Ah-ak, Tang-ak, and Hyang-ak, and Confucian ritual music. In its narrower sense Ah-ak refers to ritual temple music, of which at this present time only one example remains, Munmyoak. Munmyoak is music performed ay Munmyo, the shrine where Confucius and his disciples are honored.  

  Tang-ak refers to secular music of both the Chinese Tang and Sung dynasties, which was altered to become court music after its introduction to Korea. Hyang-ak simply means native Korean music, a noted example of which is Sujecheon, a piece of instrumental music often claimed to be at least 1,300 years old. That would predate the first compilation of Gregorian chants.

  Court music, a subcategory of Jeong-ak, includes three types : ritual, banquet, and military music. Ritual music includes Confucian music and royal shrine music, while banquet music is of course music for courtly banquets. Sujecheon is one of the most famous pieces of banquet music.

  Music for the upper class consists of a type of ensemble music, Pungryu, the most sophisticated Korean lyric song genre; kagok, and the indigenous Korean popular song, Sijo. Pungryu is an archaic word that formerly meant music in general.

  Its present literal meaning denotes the state of being in which a man at leisure physically and mentally removes himself from the everyday world into a harmonious mood suitable for the appreciation of poetry, music, and female companionship. When the term is used in the context of Korean classical music, however, it refers to a type of ensemble music for the nobility. One variety of this music, called Julpungryu, consists mainly of stringed instruments. A second variety, Daepungryu, consists mainly of wind instruments, and a third is a combination of the first two.  Gagok used a rhythmic pattern of either a 16-beat Jang-dan (which literally means 'long-short") or its varied form, a 10-beat Jang-dan. Any Kagok selection is based on the Ujo or Gyemyonjo mode, or sometimes on both. Instruments used for accompaniment are the Geomungo, Gayageum, Yanggeum, Haegeum, Piri, Janggo.

  Sog-ak, music for the commoner includes shaman music, Buddhist music, folk songs, farmers' music called Nong-ak, a form of dramatic song called Pansori, and an instrumental solo music called Sanjo. In shaman music, the role of an inspired female shaman priest called a Mudang is very important.

  The Mudang plays the part of a medium between the visible world and the supernatural.  Singing, dancing, and instrument playing are always involved. One of the important types of Buddhist music is called Beompae, a song of praise to Buddha, and today preserved by only a few priests. To promote this music, the government has designated Beompae as a national cultural treasure and is taking steps to encourage new devotes of the art.

   Since Korea traditionally has been an agricultural nation, the life of the farmer has always had significant influence on the musical history of the country. The most interesting characteristic of farmers' music is its 12 different rhythmic patterns called Sipichae, which are led by a small gong called Ggwaenggwari. One of the more appealing types of Sok-ak is the Sanjo, an instrumental solo piece originally in improvisational style for various instruments : the Gayageum, Geomungo, Daegeum, Haegeum, Danso, and Piri. Pansori is another musical treasure of leading as song in drama, an indigenous opera-like production. Within the Pansori, Aniri is the spoken description of the dramatic content between songs, and Balrim is the physical motion of the drama.

 Traditional Korean music is comprised of the Jeong-ak and Minsogak genres. As the music was enjoyed by the intelligentsia, Jeong-ak roughly corresponds to classical music in the West, whereas Minsogak, as the music of the common people, corresponds to Western folk music and popular music. As a general rule, the Jeong-ak style of music has a spiritual, contemplative quality, while Minsogak openly celebrates emotions in a lively fashion. The latter thus leads the listener toward an ecstatic state of mind. In Western terms, the former is close to Classicism while the latter resembles Romanticism. The representative compositions of Jeong-ak include Sujecheon, Yongsan Hoesang and Gagok, while those of Minsogak include Sanjo, Samulnori and Pansori.

* 한국현대무용 Korean Contemporary Dance

After the Korean War, many changes took place in all fields of Korean society, and dance was no exception. From the mid- 1960s, a new trend came into the fore to create original dances on the basis of traditional pieces. Centering around university campuses, there was increasing interest in modern reproductions of traditional pieces during the 1970s. At that time, academic studies of Korean dance were undertaken. These efforts contributed to the emergence of Korean contemporary dance which combined both Korean traditional and Western dance. The Original Dance Society, established by Ewha Womans University in 1976, and the Korean National Dance Festival, hosted by the Korean Culture and Arts Foundation which was initiated in 1979, employed traditional materials in experimental, creative modern pieces.

  Since the 1980s, Korean contemporary dance has become liberalized in expression‎ and style, broadening the boundaries of the genre. The modernist style of the 1960s became the rave, a new aesthetic that inspired many dancers to explore new and original styles. This trend, led by the Korea Contemporary Dance Company, was enriched by Yuk Wan-sun, Hong Shin-ja, Kim Pok-hui, Yi Chong-hui, Kim Hwa-suk, Pak Myong-suk, and Pak Oe-son. In line with this, dancers like Kim Mae-ja, Pae Chong-hye, Kim Hyon-ja, Mun Il-chi, Kuk Su-ho, and Kim Yong-hui began to recreate contemporary performances on the basis of traditional styles. Yuk Wan-sun introduced the techniques of Martha Graham(1894-1991) and achieved remarkable success with the modern dance drama, Jesus Christ Superstar. Hong Shin-ja studied avant-garde dance in the United states in 1963. She attempted to express Korean spiritualism through contemporary Western dance techniques. Kim Mae-ja who led the Chang Mu Dance Company, sought to rediscover the value of Korea's indigenous dance culture and translate it into modern dance expressions. Since the 1990s, open-air classical ensembles and full-score Pansori (narrative solo opera) began to be offered to the public in the amphitheater of the National Theater. The Friday Ballet performed by the National Ballet Company, the traditional dance programs performed at the Jeongdong Theater in downtown Seoul, and many contemporary dance performances throughout the country continue to enrich people's everyday lives. The Traditional Dance Institute of the Korean National University of Arts, established in 1998, also aims to educate future generations in Korea's traditional dance heritage. Together with other dance institutions, the institute will continue to exert influence in the field of Korean dance.

* 향악 Hyang-Ak

  'Hyang-ak' : 'Hyang' means a 'countury', 'ak' means music. This music are purely Korean natives, and come from traditional music of common people which performed at the Court.

* 해금(Haegeum)

  This two-stringed fiddle without a finger-board is played vertically with a bow and  is held on the left knee. The tone quality is markedly nasal and the sound is remarkably penetrating. The instrument is always found in Korea court chamber and folk musical ensembles.

 해 금

해금은 중현과 유현이라는 두 줄 사이에 활대(bow)를 끼워넣고 이를 문질러서 연주 하는 찰현악기이다. 울림통은 원래 대나무로 만들었지만 요즈음에는 단단한 나무로 깎아서 만들기도 하며 줄은 명주실, 활대는 말꼬리인 말총으로 만든다. 고려때부터 우리나라에서 사용된 이 악기는 넓은 음역을 가진데다가 여러가지 음악적 효과를 낼 수 있는 풍부한 표현력 덕분에 정악과 민속악에 매우 폭넓게 쓰인다. 울림통 위에 놓고 줄을 떠 받치는 데 쓰는 원산은 음량이 큰 합주음악일 때에는 중앙에 놓고 음량이 작은 음악을 연주할 때에는 울림통의 가장자리에 놓음으로써 음량을 크고 작게 조절하는 기능을 갖고 있다. 해금은 현악기이지만 관악합주에 빈번히 사용되는 이유로 일종의 '관악기 취급'을 받을 때도 있다. 일명 깡깽이라는 별칭도 갖고 있듯이 서민들과도 매우 친숙한 악기가 이 해금인데 그 음색이 콧소리인 비성에 가까운 특징을 갖고 있다. 서양악기 중 바이올린에 비교될 수 있겠다.

* 화관무 Hwa-Gwan-Mu (Flower Crown Dance)   

Hwa-gwan-Mu( flower crown dance) is one of the oldest form of court dances in Korea. It is believed to be originated in Silra period (57B.C-A.D935).  It was performed by court dancers in banquets for royalty and foreign envoys. Elegantly dressed in full court attire. the dancers dance gracefully to slow rhythm. another unique feature is that the dance is performed in rigid line and involves relatively little movement from place to place. for over 2.000years some 50 dance forms were developed and nurtured in royal courts of Silra, Koryo(918-1392) and Choson(1392-1910) periods.