The Korean Transverse Flute TaegÅŁm and Its Music TaegÅŁm Sanjo

158 Pages·2015·7.65 MB·English

by  Jong-in Angela Heo

Florida State University Libraries
Electronic Theses, Treatises and Dissertations The Graduate School
2002
The Korean Transverse Flute Taeg#m and
Its Music Taeg#m Sanjo
Jong-in
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THE FLORIDA STATE UNIVERSITY

SCHOOL OF MUSIC

THE KOREAN TRANSVERSE FLUTE TAEGǍM

AND ITS MUSIC TAEGǍM SANJO

By

JONG-IN HEO (ANGELA)

A Treatise submitted to the
School of Music
In partial fulfillment of the
Requirements for the degree of
Doctor of Music

Degree Awarded:
Fall Semester, 2002
“This treatise is dedicated to my parents”

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ACKNOWLEDGEMENTS

I would like to express a special thanks to professor Dr. Andrew Killick
who advised me in writing this treatise and to his wife, Cho Sukyeon. Without
their help and encouragement, this treatise could not have been written. I am
also grateful to the other professors on my committee: Eric Ohlsson, Jeffery
Keesecker, Charles Brewer, Eva Amsler.
I am especially grateful to Chŏng Kwangsŏn who taught me Yi Saenggang
taegŭm sanjo with much consideration, and to Lee Sangwŏn, a principal taegŭm
player at the National Center for Korean Traditional Performing Arts. In addition,
Alan Scott and Park Changwoo helped me with the technical process. I thank
them.
I most want to thank my parents for their consistent support and
encouragement during the years of my study at FSU and throughout my whole
life.

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TABLE OF CONTENTS

TABLE OF CONTENTS OF THE CD ……………………………………. vi
LIST OF FIGURES ………………………………………………………… vii
ABSTRACT …………………………………………………………………. x

INTRODUCTION …………………………………………………………… 1

CHAPTER ONE: THE KOREAN TRANSVERSE FLUTES

1. Taegŭm …………………………………………… 4
2. Chunggŭm ………………………………………... 8
3. Sogŭm …………………………………………….. 9
4. Chŏngak taegŭm and sanjo taegŭm …………… 10

CHAPTER TWO: HISTORY OF THE TAEGŬM

st th
1. The Three Kingdoms period: 1 –7 century ….. 14
th th
2. Unified Shilla: 7 –10 century ………………….. 15
3. Koryŏ: 918–1392 ………………………………… 20
4. Chosŏn: 1393–1910 ……………………………... 20
5. Modern period: 1910– …………………………… 24

CHAPTER THREE: HISTORY OF SANJO MUSIC

1. Ancestry of sanjo ………………………………… 31
2. Creation and development of taegŭm sanjo ….. 34

CHAPTER FOUR: TAEGŬM PERFORMANCE TECHNIQUE

1. Posture, embouchure and breath ……………… 38
2. Fingering, pitch and mode ……………………… 41
3. Techniques ……………………………………….. 46
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CHAPTER FIVE: ANALYSIS OF TAEGŬM SANJO

1. Changgo ……………………………………………… 54
2. Rhythm ……………………………………………… 57
3. Melody and mode ...………………………………… 60
4. Differences between schools ……………………… 62
5. Analysis of taegŭm sanjo ……...………………….. 65

APPENDIX A: Korean musical notation ……………………………………... 77
APPENDIX B: Yi Saenggang taegŭm sanjo ……………………………... 81
APPENDIX C: Glossary …………………………………………………….. 132
REFERENCES …………………………………………………………….. 138
BIOGRAPHICAL SKETCH …………………………………………………….. 144

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TABLE OF CONTENTS OF THE CD

Taegŭm Myŏngin, Yi Saenggangŭi Taegŭm Sanjo (The master of taegŭm,
Yi Saenggang’s Taegŭm sanjo)

1. Chinyangjo (17:02)
2. Chungmori (10:13)
3. Chungjungmori (15:58)
4. Chajinmori (10:32)

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LIST OF FIGURES

1. The structure of the taegŭm ………………………………………… 4
2. The range of the taegŭm .………………………………………. 4
3. The measurements of the sanjo taegŭm and chŏngak taegŭm …… 7
4. The structure of the chunggŭm ………………………………… 8
5. The range of the chunggŭm ………………………………………… 9
6. The structure of the sogŭm ………………………………………… 9
7. The sanjo taegŭm and chŏngak taegŭm ………………………… 11
th th
8. Koguryŏ Munyŏng Tomb (estimated late 4 or early 5 century) … 14
th
9. Tomb No. 1 at Ch’ang-ch’uan (estimated 5 century) ...………… 14
10. Kamŭn Temple’s Sarigi (682) ………………………………… 16
11. Amitabul Samjonsŏksang (estimated 637) ………………………… 17
12. Sŏllim Temple bell (804) ………………………………………… 17
th
13. Shilsang Temple bell (estimated early 9 century) ……………… 18
14. Pongam Temple’s tower (882) ……………………………….. 18
15. The taegŭm in Akhak Kwebŏm ……………………………….. 21
16. Painting by Shin Yunbok (1705-?) ……………………………….. 22
17. Painting by Shin Yunbok ……………………………………….. 22
18. Painting by Shin Yunbok ……………………………………….. 23
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19. Painting by Kim Hongdo (1745-?) ……………………………….. 23
20. Painting by Kim Hongdo ………………………………………... 24
21. Comparing the blowing hole (ch’wigu) and fingering hole (chigong),
the modern taegŭm with the taegŭm in Akhak kwebŏm ………… 25

22. Accompanying voice ………………………………………………… 26
23. Royal ancestral shrine music ………………………………… 26
24. Court Music Ensemble (Pyŏngjo hoesang) ………………… 27
25. Confucius temple music ………………………………………… 27
26. Folk Music Ensemble (Shinawi) ………………………………… 28
27. Court orchestral ensemble (Nagyangch’un) with a chorus ……… 28

28. The relationship of sanjo to other folk genres ………………… 34
29. The genealogy of taegŭm sanjo ………………………………… 35
30. The posture for playing the taegŭm ………………………… 39
31. The embouchure on the taegŭm ………………………………… 40
32. The Position of seen from above The genealogy of taegŭm sanjo... 41
33. The holes covered by fingers ………………………………… 41
34. The fingering system for the chŏngak taegŭm ………………… 42
35. The fingering system for the sanjo taegŭm The fingering system for
the sanjo taegŭm ………………………………………………… 43

36. P’yŏngjo (above) and Kyemyŏnjo (below) in the taegŭm ………… 44
37. The three registers of the taegŭm ………………………………… 45
38. The position of the metal plate (ch’ŏng karigae) over the
membrane hole ………………………………………………………… 46

39. Ornamental techniques (shigimsae) for decoration in
taegŭm performance …………………………………………. 48-50
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40. Ornamental techniques (shigimsae) for expression in
taegŭm performance ………………………………………… 51, 52

41. Changgo ……………………………………………………….. 55
42. The posture of changgo performance ……………………….. 55
43. The techniques of changgo performance ...............................… 56
44. An example of a chungmori changdan in Korean changgo marks
and Western staff notation …….…………………………………. 57

45. The four basic rhythmic cycles in taegŭm sanjo ……………….. 58
46. Tritonic modal structure of kyemyŏnjo ……………………….. 62
47. Examples of tasŭrŭm in Yi Saenggang taegŭm sanjo ……….. 66
48. Kim Sunok, Taegŭm Sanjo, 12 ………………………………... 67
49. Ibid., 13 ……………………………………………………….. 68
50. Ibid., 17 ……………………………………………………….. 70
51. Ibid., 17 ……………………………………………………….. 70
52. Ibid., 21 ……………………………………………………….. 71
53. Ibid., 23 ……………………………………………………….. 72
54. Ibid., 24 ……………………………………………………….. 72
55. Ibid., 26 ……………………………………………………….. 73
56. Ibid., 30 ……………………………………………………….. 74
57. Ibid., 31 ……………………………………………………….. 74
58. Ibid., 32 ……………………………………………………….. 75
59. Column (haeng) and squares (chŏnggan) of chŏngganpo ……….. 78
60. Transcription of rhythms in chŏngganpo into Western notation…78, 79
61. Transcription of notes in squares into Western notation ………….. 80
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