Gayageum

CalligraphySijoTalchumMinyoDaechwitaSamulnoriGayageum

Gayageum

The Gayageum is one of the representative Korean native stringed instruments with the Geomungo. Its wooden board is made of
odong namu [paulownia wood], and anjok [movable bridges], which are the shape of the foot of a wild goose, supports twelve
strings which are made of twisted silk threads. Then tolgwae [pegs for adjusting tension of the strings] are put into the other side of
the board beside the yang`i du [literally "the ear of sheep" in order to tie the strings up] which is located at the end of the board.

e flat (the fifth string) being the central tone.

e flat (the sixth string) being the central tone.

http://school.kerinet.re.kr/taejang/kor/study/foreign/exchange/tradition/Gayageum/gayageum.htm (1 of 2)2003-09-14

7:02:36

Gayageum

There are two techniques of playing:

the left-hand is used by pressing the strings and its finger movements can be made various types of movements such as shaking,
bending, vibrating the strings. The right hand is used in plucking or stromping the strings. The tone of the Gayageum is soft, delicate
and subtle. It is said that Gayageum was made by King Kasil in the Kaya Kingdom around the 6th century and then it has been
developed by Wu Ruk in the time of King of Jinhung in the Silla dynasty. However, there is evidence that its use must have traced
back to much earlier time than the time of the Silla dynasty, as shown in the recent archeological excavations in the Kwangsan areas
in Jeolla-namdo Province, where some fragments of a Gayageum used in around B.C. 1st century were found. The Gayageum is
employed in three different types of music:
(i)for Sanjo- Gayageum which is completed in relatively recent time;
(ii)for Pungryu-Gayageum which is the original one. The size of the former is smaller than that of latter. In the case of SanjoGayageum, the gap between the two adjacent strings is narrow, so that is suits the music with fast tempo as in "sok-ak" such as
Sanjo, Sinawi. By contrast, in the case of the latter the gap of two strings is so wide that it suits the music, "Jeong-ak" with slow
tempo such as Yeongsan-hoesang, Mit-doduri, and so forth. Recently
(iii)in order to play the contemporary music, strings are added into a Gayageum by making its body much wider, known as "isibil
hyongeum [21 string instrument]", so that its range is widen. The Gayageum is used not only in ensemble music such as Gayageumbyeongchang but also as solo such as the Gayageum-sanjo.
Copyright (c) by
The National Center for
Korean Traditional Performing Arts

http://school.kerinet.re.kr/taejang/kor/study/foreign/exchange/tradition/Gayageum/gayageum.htm (2 of 2)2003-09-14

7:02:39

Samulnori Kkwaenggwari Janggu Jing Buk

CalligraphySijoTalchumMinyoDaechwitaSamulnoriGayageum

Instruments : Kkwaenggari Jing Janggu Buk

Samulnori is farmer's music played on the four main musical instruments of Pungmul:
Kkwaenggari (a small gong), Jing (a larger gong), Janggu (a hourglass-shaped drum) and Buk
(a drum). There are two classes of Samulnori, a sitting class and a standing class. Musicians
who sit down perform the sitting class. The standing class is performed by musicians who
stand up, whirling their Sangmo (decorative tassels on a hat with a long white piece of paper)
or dance while playing the music. When Samulnori startes, whether in a sitting-class or
standing class performance, it begins with Gosadeokdam, in which one of the players performs
songs that express a wish for happiness and long life to all members of the audience. After
Gosadeokdam, the main music begins.It starts slowly, then accelerates. The four different
instruments are played in a highly structured and harmonious fashion. Dozens of variations on
the music are possible. Percussion instruments played here are commonly used for folk music.
The drum and Janggu, fabricated of leather, make the sounds of Earth, and Kkwaenggari and Jing make the sounds of Heaven. These
sounds accompanied with the singers' voices. Therefore the sounds of instruments and the singer's voice, between Heaven and Earth,
are harmonized and create one sound made by Heaven, Earth and Man.

http://school.kerinet.re.kr/taejang/kor/study/foreign/exchange/tradition/samulnori/samulnori.htm2003-09-14

7:03:08

Kkwaenggwari

Kkwaenggari Jing Janggu Buk

Kkwaenggwari
The Kkwaenggwari has many names such as
the "soe [mean metal], maegu, Kkwaengmaegi,
Kkwaengsoe and sogeum" and is the Korean
representative percussion instrument. Its manner
of playing is that players hold it with their lefthand and they stuck it with stick which is made
of hard wood. It represents the main instrument
with the janggu as "jangdan" instrument.

In particular, it is the principal instrument in both Pungmullori and Samullori. . One of the players is called a
"sang-soe (leader of the performers)" who also leads not only musical aspect but also "chumsawi (dance
movements)" and "chinbob [literally a disposition of troops]". In the past the Kkwaenggwari was called as a
"sogeum" in Jongmyo-Jeryeak performed in court, but in modern time its role was replaced in performance of
Pungmullori.
There are two theories about its origin: one source informs that it had been used since the Chou dynasty in China
(Yun Byung-ha, Hanguk-muak-go [A Study of korean Indigenous Dance]) Soe is originally made of "not-soe
[brass and metal]", but it is nowadays used as a mixture of gold or silver. Not-soe is a combination between copper
and zinc. When a ratio of copper is higher than zinc up to 60~70%, its tone is much clear and high-pitched. In
other words, when a ratio of zinc is higher than copper or mixing it with plumbum, its tone is dark and low, so that
its resonance is immediately broken.
The two Kkwaenggwari in pair are metaphor for the "um-yang" principle concerning the performance of
P'ungmullori: one is called "su-Kkwaenggwari [su means male]", played by a "sangsoe", which produces a strong
and high pitched tone; the other "am Kkwaenggwari[am means female]", played by "pusoe (vice-leader)", whose
sound is soft and low. These two Kkwaenggwari lead their important roles toward the end of music which brings
an ecstasy into the event.

http://school.kerinet.re.kr/taejang/kor/study/foreign/exchange/tradition/samulnori/Kkwaenggwari.htm2003-09-14

7:09:48

Samulnori Kkwaenggwari Janggu Jing Buk

Kkwaenggari Jing Janggu Buk

Jing
The Jing is made of brass and called several names such as the chong, geumChing,
geum, geumra, na and so on. It is ambiguous in differentiating the Jing from the
Daegeum (large gong) used in court music, as the both are identical to each other in their
forms. The Jing was once nicknamed as a kochwi-Jing in relation to its massive use by
people, paralleling to the popular uses of the Buk(Korean barrel drum), but now kochwiJing became the Jing.
It is using in various types of musics such as Chwita, Jeongmyocheryaek, Buddhist
music, indigenous ritual music as well as Nong-ak in P`ungmullori. Because of its wide
uses, it has various sizes. The role of the Jing lies mainly in two functions: one is as an
indicator of the first beat on each changdan so as to make each section musically fluent
and clear; the other is as a complementary function which integrates various different
timbres with its magnificent and soft tone.

The Jing is approximatly 37.27 centimeter in diameter and the Daegeum is about 48.48 centimeter, thus is bigger than the Jing. The
Jing is an essential instrument in the performance of Samullori, earler mentioned, and the sound of the Jing is analogous to a sound of
a wind. Another types od the Jing, Daegeum, is used in the music of Jeongdaeop in A-han [the ritual in the second order for Offering]
and Chond-hon [the third Offering in turn] in Chongmyo-Jeryeak with a sogum (a small Jing) or kkwaenggwri.
The music of A-hon is started by beating ten times with a Jing'go(the largest barrel drum) and in the case of Chong-hon, the music
finished by beating ten times with a Daegeum. The concepts of the sound in the both instruments can be compared in terms of its
meaning practiced in army in the past: a sound of the Daegeum implies "forward" and a sound of a Jing "backward/retreat".
The tone of the Jing is soft, as its stick is covered by clth. The manner of playing the Jing is that the left-hand holds its strip, whereas
the right-hand holds the stick. There is an exception for playing Sinawi which is played by directly inside the left-hand with out
holding the strip. This makes it to produce various acoustics by the technique of closing and opening the sound. Otherwise, the Jing is
beaten by a little wooden frame from which is suspended.

http://school.kerinet.re.kr/taejang/kor/study/foreign/exchange/tradition/samulnori/jing.htm2003-09-14

7:09:54

Samulnori Kkwaenggwari Janggu Jing Buk

Kkwaenggari Jing Janggu Buk

Janggu
The Janggu is the representative instrument for jangdan [refers to
various rhythmic units] among the Korean drum family. It is widely used
as a principle rhythmic percussion instrument in not only Aak and jeongak, but also sock-ak. It is also used in an accompaniment of Korean
dances. The name of the Janggu denotesa drum by beating with a stick
and is also called "seyogo" which means an hourglass shape. It is said
that the Janggu was imported in the Goryeo period from China through
the Middle East and Central Asia. However, there is a possibility that the
Janggu was used in Korea much earlier than the time of Goryeo from the
recently found evidence of the painting of a tomb fresco in Korguryo.

Nevertheless, the Janggu became the essential and characteristic Korean percussion instrument which was adapted to suit
Korean rhythms and sensitivities. It is not possible to think of jangdan of Korean music without considering the Janggu. Its
sound became very familiar and its use is so popular and close to the Korean lives that there are some sayings in Korean
expression: "mat-Janggu-chinda [literally two persons beat their Janggu alternatively]" and "mul-Janggu-chimyo-nonda
[literally two persons play harmoniously in water]" which both expressions have the same meaning that they are in
agreement to their opinions. In particular, the Janggu has an important role in Samullori as that of the Kkwaenggwari and it
became a well known instrument world-widely.
It has two ways of playing: one is to strike the drumhead of one side which is called "chae-pyon or yolchae, a thinly cut
bamboo stick. It sounds high pitched, like "ttaeng-ttaeng" and neat; the other is to strike normally the 'Buk-pyon' of the
opposite side with the palm of the hand. Its sound is low and loud like "kung-kung" as well as a thick tone. Its resultant
sound makes a contrastive tone which is produced alternatively or simultaneously by a sound of the chae-pyon and Bukpyon. By independently resonated, it achieves great variety of Korean rhythms with great effect and harmony. Its
construction has three different parts in terms of materials used:
(i) Buk-pyon, the drumhead and chae-pyon are made of leather.
(ii) a resonator box is made of paulowniaa tree;
(iii) "choimjul", whose cords are stretched to the both drumheads, are also made of the cotton.
Leather for both sides of the drumhead is usually made of cow and horse. But these materials can be substitued by other
available ones. Both sides of the drumhead in the Janggu are used in Pungmullori. The body of the Janggu was used to be
made of various materials, such as sagi (bone china), giwa (tile or roof), soe (metal), namu (wood), Baghaji (gourd),
yangchol (tin), and so on.
But nowadays it is made of popular or paulowina tree which provides a light tone. Its body is usually painted red or just
painted by varnish. In order to produce a nice tone. Its body is usually painted red or just painted by varnish. In order to
produce a nice tone, it is important to use a proper box for resonance as a material of the drumheads. In this respect, using
one piece of wood for the body is much better than two or three pieces of wood. The body made by one pieces of wood
makes its tone rich and full. There are other accessories: "te [frame]" for attaching the both sides of the choimjul.

http://school.kerinet.re.kr/taejang/kor/study/foreign/exchange/tradition/samulnori/janggu.htm (1 of 2)2003-09-14

7:10:02

Samulnori Kkwaenggwari Janggu Jing Buk

The Janggu has several sizes according to its uses and functions: (i) a big size is used in Pungmullori, aak, jeongak, and
by male players; (ii) a small one, called the "sol-Janggu", by female dancers who hold it to their waists or necks and chilren.

http://school.kerinet.re.kr/taejang/kor/study/foreign/exchange/tradition/samulnori/janggu.htm (2 of 2)2003-09-14

7:10:02

Samulnori Kkwaenggwari Janggu Jing Buk

Kkwaenggari Jing Janggu Buk

Buk(Pyngmukbuk)
The PungmulBuk refers to a particular drum of various types of
the Korean barrel drums which is used in Nongak [farmers`
percussion performance] in Pungmullori. Its name differs from the
sori-buk. It is also called a Buk which the prefix "pungmul" is
taken of. There are different sizes of the drums.
However, Pungmullori in Sosan in Ch`ungchong Province
employs three different sizes of drums such as large, medium and
small. In particular, a portable size of the drums in Pungmullori
normally is required to carry on players` shoulders in order to
obtain a firm and loud tone. For this, the PungmulBuk is made of
one pieces of paulowina or popular tree.

The method of constructing the drum is to dig up the middle part and to put a cow or horse leather and then weave and screw the
strings. At this time a wedge is put beneath the strings which is putting on the both sides of the drumheads so as to tighten the strings.
This tension creates its tone firm and loud, whereas the sori-buk controls its sound adjusted by the technique of the drum rim.
The function of the pungmulbuk is to provide an indication of the main changdan in performance that is a crucial part for dance
movements. The pungmul-uk is also used in various types of dances such as buk-chum of Miryang-Baekjung-nori, game playing, and
so forth.

http://school.kerinet.re.kr/taejang/kor/study/foreign/exchange/tradition/samulnori/buk.htm2003-09-14

7:10:16

Korean Folk Song Rhythm Pattern

CalligraphySijoTalchumMinyoDaechwitaSamulnoriGayageum

Minyo (Folk Song)

In contrast to the folk songs of China and Japan, those in Korea are characterized by their triple meter and dotted rhythms. Phrases are
clearly arranged according to a rule, usually four measures to a phrase. The texts of the Korean folk songs vary according to the localities in
which they are sung. According to different musical dialects, Korea is divided into three parts: central, northern and southern.

Korean Folk Song Rhythm Pattern

characteristic of korean folk song

Neural Network to classify rhythm pattern
Experiment results

Characteristic of Korean Folk song

On of the notable characteristic of Korean folk Song is the rhythm pattern. Korean music uses five musical scales while western music
uses seven musical scales. Hence, the melody pattern of Korean folk song is rather simple compared with that of western. However, with
the rhythm pattern, Korean music shows a speculiar characteristic. A rhythm pattern in a Korean folk song is obvious compared with
Western folk song. In a song, a rhythm pattern exists from beginning to the end.
The rhythm pattern of Korean folk song is divided into twenty. Almost of Korean folk song has one of these rhythm patterns. This
property makes it possible to roughly classify all stored music data according to rhythm pattern. Historically, the instrument JangGo, one
of the widely used instruments in Korean Music, has influenced the rhythm pattern of Korean folk song.
Neural Network to classify rhytm pattern
We use a neural network to extract rhythm pattern from a given note sequence. Neural networks can deal with complex boundary decision
problem effectively. For a given note sequence, the neural network produces one of the categories of Korean folk songs rhythm patterns.
The structure of neural network is shown in figure.

http://school.kerinet.re.kr/taejang/kor/study/foreign/exchange/tradition/folksong/song-1.htm (1 of 2)2003-09-14

7:10:48

Korean Folk Song Rhythm Pattern

Experiment Results
We have implemented a music database system and performed several experiments to see the search time improvements. The Korean folk
song database has 100 songs and the system was developed on Pentium 230 MHz. Table 1 shows the performance of the neural network,
which extracts the rhythm pattern of input query.
Table 1. Performance of neural network for each rhythm pattern
Type 1 Type 2 Type 3 Type 4 Type 5
Rate of
Success(%)
92% 96%
100% 100% 98%
Number of
Success
23/25 26/27 20/20 14/14 14/14

http://school.kerinet.re.kr/taejang/kor/study/foreign/exchange/tradition/folksong/song-1.htm (2 of 2)2003-09-14

7:10:48

Calligraphy Ceramic Art Sijo Talchum Folk Song Daechwita Samulnori

CalligraphySijoTalchumMinyoDaechwitaSamulnoriGayageum

Talchum is a famous performance art in which the dancer wears a mask and special costumes, and sings,
dances, and tells dramatic stories. This dance has been performed mainly on holidays such as New Year's Day,
Full Moon Dano Day and Chuseok.
The Mask Dance used to be performed on certain nationally auspicious occasions or when villagers gathered
for Daedongje festivals. The Talchum or mask game begins in earnest after the performers complete Gilnork, a
tour of the whole village. The performing site is a round open space where spectators sit to watch the
performance. According to traditional beliefs, masks for Talchum are sacred and should not be made where
onlookers may watch the fabrication process.
It was also believed that outsiders who touch masks carelessly would suffer bad luck. Therefore, after the
event, all masks were gathered and burned. Korean masks have a distinctive appearance and facial expression.
The Nobleman Mask looks authoritative but also faintly comical. The Malttugi Mask is young and playful. The
Old Monk Mask looks sneaky, while the Young Lass is decidedly prim. The Hahoe Mask has its chin attached separately, so that the
wearer can move the mouth easily. The curves of the masks allow facial expressions to vary greatly, depending on the angle of
illumination.

Talchum had an important social function. It was, so to speak, a safety valve for social tensions. The lower class, treated
contemptuously by their superiors, could express their view of about the injustices of society and moral decay safely through the
mask drama. Behind the mask, a commoner could make fun of a nobleman. So, the mask drama was a kind of catharsis, or release of
pent-up resentment by ordinary Korean people in the past. At the same time, Talchum gave the nobility a chance to put down the
burdens of rule for a while and behave like everyone else. The upper crust forgot its exalted status during the Talchum. The nobles
sometimes even sponsored the mask plays. Talchum, therefore, was as much a social institution as an artistic event. On this
occasion, if none other, everyone in the community, from top to bottom, could meet on the same level ground. Today, Talchum is
performed in various regions together with festivals

http://school.kerinet.re.kr/taejang/kor/study/foreign/exchange/tradition/talchum/talchum.htm2003-09-14

7:11:09

()

CalligraphySijoTalchumMinyoDaechwitaSamulnoriGayageum

Sijo(short lyric song) has several other titles: sijo-chang tanga,sijulga and sijojajo.
As sijo-chang, without exception, uses poems also sung in kagok. Its origins seem to
go far back in history.

A scholar and literary figure of the time of King Yungjo, Sin Kwang-su, wrote in Kwansu-akbu, part of his longer
work Sukbukjip, "Lee Se-chun from Hanyang first arranged the rhythmic cycles for general sijo." This is the first
book about the orgin of sijo to appear. It is fairly certain that sijo developed in the reign of King Yungjo and the first
sijo music scores appeared in the section entitled Yuyeji of Imwunkyongjeji by Su Yu-gu, the Yang-Kum Shin-Bo
and the Kura-Chulsa-Kumjabo during the reigns of King Chungjo(1776-1800) and Sunjo(1800-1834).
The basic form of sijo is known as pyung sijo. The sjio music score in Kura-Chulsa-Kumjabo is that of pyung sijo.
However over a long period of time, sijo chang developed a number of other forms. They are as follows:

Name of Sijo

Pyung(plain) sjio

Chung huri sijo

Chirum sijo

Sasul sijo
Sasul chirum sijo

Yukkum chirum sijo

Description
the basis of many kinds of sijo chang. The old poetic form had about 45 words and
was known as tha-hyung(short form) or chunhyung(formal form) sijo which is divided
into 3 sections. Pyung implies neither high now low, and is sung in a fairly level tone.
Sijo chang is based on a 3 note kyemyun mode and is characterized by dignity,
calmness and a leisurely flowing style.
similar in form to pyung sijo but the first beat of the third rhythmic pattern is sung in a
high falsetto voice
as the first note of this type of sijo is sung in a high register and with a forced so-called
"yelling" voice, it is comparable to tugu or samsudaeyup of kagok. Yu-chang chirum
sijo is sijo of the above type for female voice-but it can also be sung by men. Unlike
those for male voice, they do not begin on a high, piercing note but the section from
the first beat of the second rhythmic pattern to the end of the third rhythmic pattern is
sung in a high register. The moving theme of a lonely or deserted woman is well
suited to the female style of singing
has comparatively more words and so is a longer form but is sung in the same
rhythmic pattern and tempo as that of pyung sijo. Between the short and the long
forms is a middle form known as pansasul sijo(also called pan-kak sijo
has long lyrics like that of sasul sijo, and begins in a high register like chirum sijo. But
most of it does not fit the formal rhythmic cycle used for pyung sijo
also called su-chapga, meaning the most important of the chapga) combines a longer
text with a high register. Usually the first note of the first section is sung in a yelling
voice like that of chirum sijo but from the middle of this sijo, the faster 3 beat rhythm
of chapga(miscellaneous) is used. The rhythm and melodic line of the last section
returns to that of the last section of pyung sijo. But it is a pity that only 2 songs of this
kind of sijo are extant.

All sijo chang are in kymyunjo mode but Ujo sijo and Ujo chirum sijo originated from Ujo or Pyungjo. Besides the
above, there are on-chirum sijo which uses the high register in all sections, and kutkuri sijo which uses the kukkuri
http://school.kerinet.re.kr/taejang/kor/study/foreign/exchange/tradition/sijo/sijo.htm (1 of 2)2003-09-14

7:11:23

()

(typical rhythmic pattern of folk music) rhythmic pattern.

http://school.kerinet.re.kr/taejang/kor/study/foreign/exchange/tradition/sijo/sijo.htm (2 of 2)2003-09-14

7:11:23

Korea Panorama/Korean Culture

CalligraphySijoTalchumMinyoDaechwitaSamulnoriGayageum

Calligraphy

hen it comes to Oriental calligraphy, it is

important to understand the origin and structure of

the written characters. Chinese characters date back
to about 2000 BC when a Chinese official invented
letters patterned after the footmarks of birds.
Calligraphy was first started as a means of expressing
facts or ideas with succinct symbols.

Koreans include paintings of the Four Gracious Plants (plum, orchid,

chrysanthemum and bamboo) in the category ofcalligraphy.

ith time, these characters became more organized, more ideographic and less pictorial. During China's Han Dynasty, inkstones were

invented and scholars began writing on paper with writing brushes. For the more than two thousand years since, Asians have continued to
use inkstones, ink sticks, writing brushes and paper for writing.
Calligraphy depends on the skill of the writer to create brush strokes of an interesting shape and to combine them to create beautiful
structures. The writer must do this without any retouching or shading and with-balanced spaces between brush and strokes. Calligraphy is
further characterized as an one time event as it is impossible to correct it once drawn. For this reason, the ink marks forming the characters
are referred to as strokes, not lines.

In Korea, calligraphy includes

woodblock prints and inscriptions
carved in stone.

http://school.kerinet.re.kr/taejang/kor/study/foreign/exchange/tradition/calligraphy/calligraphy-1.htm (1 of 3)2003-09-14

7:12:01

Korea Panorama/Korean Culture

"Dharma" drawn by Myong-Guk Kim.

n Korea, calligraphy includes brush writing in both

Chinese and Korean as well as inscriptions carved in

stone, woodblock prints and paintings of the Four
Gracious Plants (plum, orchid, chrysanthemum and
bamboo). Calligraphy is also pursued as an art form in
Japan.
However, the spirit behind calligraphy differs in all
nations due to differences in environment and customs.
Korean calligraphy is comparatively simple, Chinese
calligraphy elaborate and Japanese calligraphy strong and
energetic. Such phenomenon can be contributed to the
fact that China is a huge nation, Japan is an island state
and Korea is a peninsula.

A monument bearing an inscription about King Kwanggaeto (39-413) of

Koguryo and his achievements.1
Calligraphy is characterized as a one-time event as it is impossible to
correct a stroke once it is drawn.

rom an ideological

perspective, Confucianism and

Buddhism spread to Korea from
China and then to Japan. In
China, Confucianism,
Buddhism and Taoism coexist
but its very essence is
Confucianism. In other words,
Confucianism has been at the
center of calligraphy, backed by
the spirit of Lao-tau and
Chuang-tau and Buddhism. At

Chinese ink sticks have to be light weight yet solid.

The grinding of the ink stick is the most important part of calligraphy. Brushes made of lamb's wool

http://school.kerinet.re.kr/taejang/kor/study/foreign/exchange/tradition/calligraphy/calligraphy-1.htm (2 of 3)2003-09-14

7:12:01

Korea Panorama/Korean Culture

first glimpse, Chinese

are soft and versatile.
calligraphy seems to have the
spirit of no-ownership
advocated by Lao-tu ad Chuangtau and the spirit of Buddhist
salvation but at its center is the
spirit of Confucianism. For this
reason, Chinese calligraphy is
varied and extensive.

For the more than two thousand years since, Asians have continued to use inkstones, ink sticks, writing brushes and
paper for writing.

n the other hand, Japanese calligraphy has been heavily influenced by Zen Buddhism. Calligraphy in Korea is simple yet full of energy

and strength. In Korea, shamanism, Buddhism and Confucianism have mingled together in harmony. Korean calligraphy is succinct and
simple. At first glimpse, it may seen somewhat plain, but deep inside, it is full of energy.
This article is by Sang-Dong Rho, manager of the Calligraphy Department at Seoul Arts Center.

In Korea, shamanism, Buddhism and Confucianism have mingled together in

harmony.

Korean calligraphy is succinct and simple. At first

glimpse, it may seen somewhat plain, but deep inside, it
is full of energy.

http://school.kerinet.re.kr/taejang/kor/study/foreign/exchange/tradition/calligraphy/calligraphy-1.htm (3 of 3)2003-09-14

7:12:01

Taechwita

CalligraphySijoTalchumMinyoDaechwitaSamulnoriGayageum

Daechwita
Military music such as the Chwita, was played in military processions and on such occasions as when gates to military
headquarters were opened or closed.

There were two kinds of military bands. One was louder and marched in front of an important person, such as a king. The
other, the softer one, usually played following a procession escorting an important person. Conical oboes, brass trumpets,
cymbals, gongs and drums were used in the front band; the rear one consisted of oboes, horizontal flutes, Janggu and .Buk
(drums). These bands were commonly called Gochwi

file:///C|/Documents and Settings/Sang Cho/

/Taechwita.htm2003-09-14

7:19:55