Synonyms for janggu or Related words with janggu
Examples of "janggu"
The drummer who beats the "
" also makes "chuimsae" (exclamations) in order to please the audience.
Percussion folk instruments include jing (large hanging gong), kkwaenggwari (hand-held gong), buk (barrel drum),
(hourglass drum). The bak (clapper) and the
(hourglass drum) are the percussion T'ang instruments. Percussion court includes the pyeongjong (bronze bells), pyeongyeong (stone chimes), chuk (square wooden box with mallet) and eo (tiger-shaped scraper).
In the Joseon period, scores of "buk" were used for the royal court music including
, jwago, yonggo, gyobanggo, jingo, jeolgo, nogo and others. Among them "
" was also used for folk music, and later became the most commonly used instrument.
During the Joseon period, many types of drums were used for the royal court music, including the "
", "jwago", "yonggo", "gyobanggo", "jingo", "jeolgo", "nogo", and others. Among these, the "
" was also used for folk music, and later became the most commonly used drum used in Korean music.
The first depiction of the instrument is on a bell belonging to the Silla (57 BC–935 AD) period and in a mural painting of the same period in Goguryeo (37 BC–935 AD) tomb. The oldest Korean historical records about an hourglass-shaped drum may be traced to the reign of King Munjong (1047–1084) of Goryeo as a field instrument. The "Goryeo-sa" (1451), or History of Goryeo, in chapter 70, records twenty "
" as part of a gift of instruments to be used in royal banquet music from the Song Dynasty Emperor Huizong to the Goryeo Court in Gaeseong in 1114. This book represents the earliest appearance of the word "
" in a Korean source. Later in chapter 80, for the year 1076, the term "
-opsa" (one who plays or teaches the "
") is used.
The galgo (or yangjang-go or yang-go) is a traditional Korean drum. The drum has an hourglass-shaped wooden body and two drum heads of identical diameter, similar to the "
". Compared to the "
", the "galgo" is fitted with a sound-adjusting funnel different from that of the "
". The "galgo" also uses thinner drum skins and is struck with two bamboo sticks called "chae" but mallet shaped "gungchae" is not used. The pitch of the drum can be controlled on both sides of the drum rather than only one pitch per-side for the
. This instrument is popular after the rule of King Yeongjo in the Joseon dynasties, and is always mentioned in the Jinyeoneuigwe (historical records of the palace). However, today, the "galgo" has fallen out of use by traditional music performers and if one wishes to see this instrument, normally it will be in The National Center for Korean Traditional Performing Arts.
Traditionally the "
" is played using "yeolchae" on the right hand high pitch area and uses the bare hand on the low pitch area. Such an example can be seen on "pungmul" players for a number of folk songs and shamanistic rituals. But today, it is common to see the use of "gungchae" and "yeolchae" together. 'Gungchae' is used to play the low pitch side. "
" can be played on the floor such as for traditional sanjo music or carried with a strap on the shoulder. The way performers carry the
differs from person to person, from region to region and varies depending on his or her taste.
Choi was born in Seoul, Korea. She began studying
at age 6. Choi studied traditional Korean percussion instruments at the National High School of Korean Music and at the Music College of Seoul National University. She is a student of two Important Intangible Cultural Properties of Korea master percussionists, studying
with Kim Yeong-taek and soribuk (barrel drum Buk (drum) used in Pansori) with Park Geun-young.
"Pungmul nori" (풍물놀이) is the first performance of "namsadang nori", combined with music, dance, "sangmo nori" (상모놀이, spinning streamer hat performance) and various other activities. "Pungmul" instruments comprise four percussion instruments such as "jing" (gong), "kkwaenggwari" (another kind of gong), "buk" (drum), "
" (double-headed drum) and several "sogo" (tabors) and nallari/Taepyeongso (double-reed), which make unique melodies and rhythms. The music played by the four instruments of "pungmul" (i.e. "jing, kkwaenggwari, buk,
") is called "samul nori" (four piece playing).
Instruments used in Yeongsanhoesang are "sepiri" (small piri), daegeum (large bamboo flute), danso (short bamboo flute), haegeum (2 stringed fiddle), gayageum (12 stringed-zither), geomungo (7 stringed-zither),
(hourglass-shaped drum) and yanggeum (western style zither).
The Igong Maji was recited by a shaman in peasant's clothing. He sat on a table and sang the myth with the help of a drum-like instrument called the
Hwang joined fellow Anti-folk act Ching Chong Song as a third member on their second album, "Everything is for the Babies", playing accordion,
(a traditional Korean drum), and providing a third vocal harmony.
In this treatise, noteworthy for containing the earliest written mention of "taepyeongso" in Korea, "taepyeongso" appears—together with "
", "haegeum" (spiked fiddle), "ajaeng" (bowed zither) and other instruments widely used in Korean folk traditions today—under "dangak".
This style of Korean military music is often used in the reenactment of the Guard Changing Ceremony at Seoul's Gyeongbok Palace, as well as in Deoksugung Palace. A special daechwita today is under the service of the Traditional Guard Unit, Republic of Korea Army, and is the only one that also has the "Ulla" (small tuned gongs) in its instrumentation. This is the same case for traditional Korean bands outside the homeland, which also have a pungmul marching percussion battery (with kkwaenggwari,
and Buk drums) at the rear with distinguishing uniforms between the two ensembles. Few modern bands sport bass drums with the kwaennggwari and
as part of their instrumentation.
Drumming is the central element of pungmul. Each group is led by a "kkwaenggwari" (RR- ggwaenggwari) (small handheld gong) player, and includes at least one person playing "
" (hourglass drum), "buk" (barrel drum), and "jing" (gong). Wind instruments (taepyeongso, also known as "hojeok", "senap", or "nalari", and "nabal") sometimes play along with the drummers.
Pangut (판굿) is a kind of Pungmulnori (풍물놀이) which is a Korean folk music tradition that includes drumming, dancing, and singing. It is performed with kkwaenggwari (a small handheld gong, 꽹과리),
(hourglass drum, 장구), buk (barrel drum, 북), and jing (gong, 징) and the wind instrument taepyeongso (태평소). According to a prefabricated order, they play the scene of spree and show their talents.
Sanjo, literally meaning 'scattered melodies,' is a style of traditional Korean music, involving an instrumental solo accompanied by drumming on the "
", an hourglass-shaped drum. The art of "sanjo" is a real crystalliization of traditional Korean melody and rhythm which may have been handed down by rote generation after generation.
Choi Eun-chang was recognized as the most skilled in Pyeongtaek Nongak Binari. Lee Seong-ho was a Binari singer and
player Lee Se-jin who had a perfect voice for singing Binari. As buk players, Kim Yong-rae, Kim Yook-dong and Lee Se-jin are famous.
A poet once described each of the four instruments of Samul nori, after seeing their performance, represents a different weather condition: the "
" represents rain, the "kkwaenggwari" thunder, the "jing" the sounds of the wind, and the "buk" clouds. The idea or philosophy of what Korea was founded on Chun-Ji-In (Chun heaven, Ji Earth, and In meaning people) philosophy is also reflected in these instruments: the "buk" and "
" (leather) represent the sounds of the earth, while the "jing" and "kkwaenggwari" (metal) represent sounds of the heavens and the people playing and enjoying represent people. So generally Samul nori without people sound in is considered incomplete. Although generally performed indoors, as a staged genre, Samul nori depicts the traditional Korean culture, an agricultural society rooted in the natural environment. Samul nori is characterized by strong, accented rhythms, vibrant body movements, and an energetic spirit.
The traditional Korean music of Geommu is Samhyeon-Nyukgak. Originally, Samhyeon designated three chordophones, Geomungo, Gayageum, and Hyangbipa and Nyukgak designated Buk,
, Haegeum, and Piri at the Unified Shilla period from 654 to 780. The significance of Samhyeon had disappeared and remained the import of Nyukgak. Nowadays Samhyeonnyukgak indicates the wind instrumental music. It is used to accompany marching and dancing with 6 instruments, Haegeum,
, Buk, Daegeum, and two Piri. Haegeum is a string instrument, resembling a violin. [Jangu] and [buk] are drums.
is made from a hollow wooden body and two leather skins. The two sides produce sounds of different pitch and tone. Puk is a barrel-shaped with a round wooden body covered on both ends with animal skin. It is played with both an open hand and a wooden stick in the other hand. Daegeum and Piri are aerophones. Daegeum is a large bamboo transverse flute and Piri is a double reed instrument made of bamboo. Its large reed and cylindrical bore gives it a sound mellower than that of many other types of oboe.
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