KOREA

MUSIC OF KOREA
Traditional Korean music includes both the folk, vocal, religious and ritual music styles of the Korean people. Korean music, along with arts, painting, and sculpture has been practiced since prehistoric times. Two distinct musical cultures exist in Korea today: traditional music (Gugak) and Western music (yangak).

Korean Folk music

Korean folk music is varied and complex, but all forms maintain a set of rhythms (called ; Jangdan) and a loosely defined set of melodic modes. Because the folk songs of various areas are categorized under Dongbu folk songs, their vocal styles and modes are limited. Therefore, currently scholars are attempting to categorize the Dongbu folk songs further based on different musical features. These songs are mostly simple and bright. Namdo folk songs are those of Jeolla Province and a part of Chungcheong Province. While the folk songs of other regions are mostly musically simple, the folk songs of the Namdo region, where the famous musical genres pansori and sanjo were created, are rich and dramatic. Some Namdo folk songs are used in pansori or developed by professional singers and are included as part of their repertories. Jeju folk songs are sung on the Jeju Island. They are more abundant in number than any other regional folk songs, and approximately 1600 songs are transmitted today. Jeju folk songs are characterized by their simple and unique melodic lines and rich texts.

Pansori
Pansori:() is a long vocal and percussive music played by one singer and one drummer. In this traditional art form, sometimes rather misleadingly called 'Korean Opera', a narrator may play the parts of all the characters in a story, accompanied by a drummer. The lyrics tell one of five different stories, but is individualized by each performer, often with updated jokes and audience participation. One of the most famous pansori singers is Park Dongjin (hangul: ). Many Koreans still enjoy this music. The National Theatre of Korea provides monthly opportunities to experience traditional Korean narrative songs or pansori. Where: National Theatre of Korea, Seoul City Hall, South Korea

Pungmul
Pungmul:() is a Korean folk music tradition that is a form of percussion music that includes drumming, dancing, and singing. Most performances are outside, with dozens of players, all in constant motion. Samul Nori, originally the name of a group founded in 1978, has become popular as a genre, even overseas. It is based on Pungmul musical rhythmic patterns and uses the same instruments, but is faster and usually played while sitting down.

Sanjo
Sanjo:() is played without a pause in faster tempos. It is entirely instrumental music, and includes changes in rhythmic and melodic modes during an individual work. The tempos increases in each movement. The general style of the sanjo is marked by slides in slow movements and rhythmic complexity in faster movements. Instruments include the changgo drum set against a melodic instrument, such as the gayageum or ajaeng. Famous practitioners such as Kim Chukp'a, Yi Saenggang and Hwang Byungki.

Jeongak
Jeongak:() means literally "right (or correct) music", and its tradition includes both instrumental and vocal music, which were cultivated mainly by the upper-class literati of the Joseon society. The Yongsan hoesang is the main repertoire of instrumental chongak tradition and the most representative chamber ensemble of Korea. The title is derived from a Korean Buddhist chang with the short text 'Yongsan hoesang pulbosal,' which literally means "Buddha and Bodhisattvas meet at the Spirit Vulture Peak." The Korean Buddhist music with the texts notated in the fifteenth-century manuscript Taeak Hubo was a vocal work accompanied by an orchestra.

Nongak
Nongak:(), means "farmers' music" and represents an important musical genre which has been developed mainly by peasants in the agricultural society of Korea. The farmers' music is performed typically in an open area of the village. The organization of nongak varies according to locality and performing groups, and today there are a great number of regional styles.

Shinawi
Shinawi:(), means in broadest sense, the shamanistic music of Korea which is performed during a Korean shaman's ritual dance performance to console and to entertain deities. In this sense of word, the term is almost identical with another term, shinbanggok (lit. 'spirit chamber music'), which indicated general shamanistic music performed at a folk religious ceremony known as kut.

Salpuri
Salpuri:() is a dance for soul cleansing and literally means : "to wash away bad ghosts". Salpuris modern movements represent the shown human hopes and aspirations.

Court/Ritual music
Korean court music preserved to date can be traced to the beginning of the Joseon Dynasty in 1392. It is now rare, except for government-sponsored organizations like The National Center for Korean Traditional Performing Arts. There are three types of court music. One is called Aak, and is an imported form of Chinese ritual music, and another is a pure Korean form called Hyang-ak; the last is a combination of Korean and Chinese influences, and is called Dang-ak.

Aak
Aak was brought to Korea in 1116 and was very popular for a time before dying out. It was revived in 1430, based on a reconstruction of older melodies. The music is now highly specialized and uses just two different surviving melodies. Aak is played only at certain very rare concerts, such as the Sacrifice to Confucius in Seoul.

Dang-ak
Modern dangak, like aak, is rarely practiced. Only two short pieces are known; they are Springtime in Luoyang and Pacing the Void.

Hyang-ak
By far the most extant form of Korean court music today, hyangak includes a sort of oboe, called a piri and various kinds of stringed instruments.

Aristocratic chamber music

Originally designed for upper-class rulers, to be enjoyed informally, chongak is often entirely instrumental, usually an ensemble playing one of nine suites that are collectively called Yongsan Hwesang. Vocals are mainly sung in a style called kagok, which is for mixed male and female singers and is accompanied by a variety of instruments.

Traditional instruments
Traditional Korean instruments can be broadly divided into three groups: string, wind and percussion instruments. The gayageum (12-string zither) and geomungo (six-string plucked zither) are part of the string fold instruments. The haegum (twostring vertical fiddle) and the ajaeng (seven-string zither) is part of the string T'ang. Court string music also included use of the sevenstring zither and the 25-string zither. The daegeum (large transverse flute), piri (cylindrical oboe) and grass flute are all called wind folk. Wind T'ang includes the Bells and Piri. Chinese oboe, vertical flute and hojok or taepyongso (shawm). The saenghwang (mouth organ), panpipes, hun (ocarina), flute with mouthpiece, danso (small-notch vertical flute), and flute are wind court instruments. Percussion folk instruments include jing (large hanging gong), kkwaenggwari (hand-held gong), buk (barrel drum), janggu (hourglass drum). The bak (clapper) and the janggu (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).

CULTURE OF KOREA
The current political separation of North and South Korea has resulted in divergence in modern Korean cultures; nevertheless, the traditional culture of Korea is historically sha red by both states

Dancheong, decorative paintings on a building at Gyeongbok Palace

Lotus lantern festival

Traditional arts
Korean arts include traditions in calligraphy, music, painting and pottery, often marked by the use of natural forms, surface decoration and bold colors or sounds.

Landscape of Geumgangsan in Korea, by Jeong Seon (16761759). Ink and oriental watercolour on paper.

Painting

A scenery on Dano day

The earliest paintings found on the Korean peninsula are petroglyphs of prehistoric times. With the arrival of Buddhism from India via China, different techniques were introduced. These techniques quickly established themselves as the mainstream techniques, but indigenous techniques still survived. There is a tendency towards naturalism with subjects such as realistic landscapes, flowers and birds being particularly popular. Ink is the most common material used, and it is painted on mulberry paper or silk. In the 18th century indigenous techniques were advanced, particularly in calligraphy and seal engraving. Arts are both influenced by tradition and realism. For example, Hans near -photographic "Break Time at the Ironworks" shows muscular men dripping with sweat and drinking water from tin cups at a sweltering foundry. Jeong Sons "Peak Chonnyo of Mount Kumgang" is a classical Korean landscape of towering cliffs shrouded by mists.

Crafts

Lacquer drawer with mother-of-pearl inlay, at the National Museum of Korea in Seoul

There is a unique set of handicrafts produced in Korea. Most of the handicrafts are created for a particular everyday use, often giving priority to the practical use rather than aesthetics. Traditionally, metal, wood, fabric, lacquerware, and earthenware were the main materials used, but later glass, leather or paper have sporadically been used. Ancient handicrafts, such as red and black pottery, share similarities with pottery of Chinese cultures along the Yellow River. The relics found of the Bronze Age, however, are distinctive and more elaborate.

Many sophisticated and elaborate handicrafts have been excavated, including gilt crowns, patterned pottery, pots or ornaments. During the Goryeo period the use of bronze was advanced. Brass, that is copper with one third zinc, has been a particularly popular material. The dynasty, however, is renowned for its use of celadon ware. During the Joseon period, popular handicrafts were made of porcelain and decorated with blue painting. Woodcraft was also advanced during that period. This led to more sophisticated pieces of furniture, including wardrobes, chests, tables or drawers.

Ceramics

A celadon incense burner from the Goryeo Dynasty with Korean kingfisher glaze

The use of earthenware on the Korean peninsula goes back to the Neolithic. The history of Korean Ceramics is long and includes both Korean pottery a later development after the traditional use of coils and hammered clay to create early votive and sculptural artifacts. During the Three Kingdoms period, pottery was advanced in Silla. The pottery was fired using a deoxidizing flame, which caused the distinctive blue grey celadon color. The surface was embossed with various geometrical patterns. In the Goryeo period jade green celadon ware became more popular. In the 12th century sophisticated methods of inlaying were invented, allowing more elaborate decorations in different colours. In Arts of Korea, Evelyn McCune states, "During the twelfth century, the production of ceramic ware reached its highest refinement. Several new varieties appeared simultaneously in the quarter of a century, one of which, the inlaid ware must be considered a Korean invention." Neither the Chinese nor the Japanese had produced inlaid celadon, which was unique to Goryeo wares. William Bowyer Honey of the Victoria and Albert Museum of England, who after World War II wrote, "The best Corean (Korean) wares were not only original, they are the most gracious and unaffected pottery ever made. They have every virtue that pottery can have. This Corean pottery, in fact, reached heights hardly attained even by the Chinese." White porcelain became popular in the 15th century. It soon overtook celadon ware. White porcelain was commonly painted or decorated with copper. During the Imjin wars in the 16th century, Korean potters were brought back to Japan where they heavily influenced Japanese ceramics. Many Japanese pottery families today can trace their art and ancestry to these Korean potters whom the Japanese captured by the thousands during its repeated conquests of the Korean peninsula. In the late Joseon period (late 17th century) blue-and-white porcelain became popular. Designs were painted in cobalt blue on white porcelain.

CUSTOMES OF KOREA
Hanbok is a traditional clothing of Korea. This is a list of Korean clothing including the national costume, hanbok as well as headgear, footwear, and accessories.

Hanbok

Baji

baggy pants (see more pictures at commons:Category:Baji)

Chima

Chima is a type of skirt worn together with jeogori, short jacket.

Dangui

Dangui is a female upper garment worn for ceremonial occasions during [1] the Joseon Dynasty. Dangui was also called dang-jeogori (), dang[2] jeoksam (), or dang-hansam ().

Dopo

Dopo is a variety of po (an overcoat) mostly worn by male Confucian scholars called seonbi since the mid Joseon period.

Durumagi

Garot

Garot is a type of working and everyday dress dyed with juice of unripe persimmons. It has been worn by Jeju Island locals.

Gwanbok

Gwanbok is a Korean general term referring to all business attires of government officers given by government, with Rank badge on them to distinguish hierarchies.

Hakchangui

Hwarot

Hwarot is a type of traditional Korean clothing worn during the Goryeo and Joseon Dynasty by royal women for ceremonial occasions or by commoners [3] for weddings. It originated from the Kingdom of Khotan, Central Asia.

Jeogori

Jeogori is a basic upper garment which has been worn by both men and women. It covers arms and upper part of the wearer's body.

Jeonbok

Jeonbok is a type of sleeveless long vest mostly worn by military personnel. It does not have overlapped column on the front side, and was worn over dongdari.

Jokki

vest

Kkachi durumagi

Kkachi durumagi is a children's colorful overcoat worn on Korean New Year. It was worn over a jeogori or jokki while the wearer could put a jeonbok over it. Kkachi durumagi was also worn along with headgear such as bokgeon, hogeon or gulle.

Magoja

The magoja is a type of long jacket worn with hanbok, the traditional clothing of Korea, and is usually worn on top of the jeogori (short jacket).

Po

Sagyusam

Sagyusam is a type of po (outer robe) worn by young boys until they had a coming-of-age ceremony called gwallye. The name was derived from the shape; the lower end of the garment is divided into four parts.

Saekdongot

Saekdongot is any hanbok patchworked with colorful stripes. It began to be made since the Goryeo period (918 1392). The name literally means "many colored clothing". It was usually worn by children of the age at one to seven year old. The saekdong can be applied throughout jeogori (short jacket with sash), majoja(buttoned jacket), durumagi (overcoat) or among others.

Wonsam

Wonsam is a female ceremonial topcoat during the Joseon Dynasty. The queen, princess consort, and consort to the first son of the crown prince wore it as asoryebok, a robe for small ceremonies, while wives of high officers and sanggung (court matrons) wore it as daeryebok, a robe for major ceremonies. The color and decorations of the garment around the chest, shoulders and back represent the wearer's rank.

Headgear
An ayam is a traditional winter cap mostly worn by women during the Joseon period. It is also called aegeom meaning "covering a forehead". The ayam consists of a crown and trailing big ribbons. The upper part of the crown is finely quilted, and its outer fabric consists of black or purple silk. While black or dark brown fur is used for the rest of the crown. The fabric for the inner is red cotton flannel. A tassel attached to the upper center of both front and back. Some ayam worn bykisaeng (female entertainer) were luxuriously adorned with jewels. The ayam worn for spring and autumn has the same shape as the one for winter, but it is made of a lighter silk.

yam

Banggeon

Beonggeoji

Bokgeon

Chaek

Daesu

Gache

wig

Gat

Gulle

Hogeon

Hwagwan

Hwagwan is a type of Korean coronet worn by women traditionally for ceremonial occasions such as wedding.

Ikseongwan

Jangot

Jeongjagwan

Jeonmo

Jobawi

Jokduri

Joujeolpung

Manggeon

non la Nambawi

Pungcha

Tanggeon

Tongcheongwan

Satgat

Sseugae chima

Waryonggwan

Yanggwan

Yanggwan was a kind of crown worn by officials when they wore a jobok ( ) and jebok (, ceremonial clothing) during the Joseon Dynasty.

Footwear

Beoseon

Gomusin

literally "rubber shoes". In present it is mostly worn by elder people and Buddhist monks and nuns

Hwa

generic term referring to all kinds of boots

Hye ()

Varieties: Buntuhye (), taesahye (), danghye (), unhye ( )

Jipsin

Mituri ()

shoes made of paper

Mokhwa ( )

a variety of hwa, worn by officials along with gwanbok (official clothing) during the mid and late Joseon Dynasty.

Accessories

Baetssi

hair ornament for young girls

Balhyang

pendant including incense

Binyeo ()

a large decorative stick like a hairpin

Buchae

Korean fan

Cheopji ( )

a hair pin

Chimnang ()

pockets for needles

Daenggi

Donggot

pin for tying sangtu (men's topnot)

Dwikkoji ()

Eunjangdo

a women's ornamental silver dagger

Gakdae ( )

a belt worn by officials

Gwadae

ornament

Gwanja ( )

small holes attached to manggeon (hairband)

Gwansik

an ornament attached to crowns or hats

Jumeoni

Norigae

pendants

Tteoljam