rhythmic complexity, repetition, an acceleration in tempo toward the end, and the chance to bang away on drums and gongs. Once students are able to play their respective instruments, the process of learning to perform as a group can be a gratifying experience. Each instrument has an independent part (or a different way of rendering a karak) that must be learned separately. But when “Yŏngnam nongak” is played in ensemble formation, the changgo, puk, ching, and kkwaenggwari function together as part of a larger, interdependent unit. Progressing through the various rhythmic patterns, for instance, the four instruments weave into an almost polyphonic musical texture. This texture is not shaped by tonal counterpoint (as heard in conventional Western polyphony), but rather by the timbral sounds produced by four different instruments made of leather and metal. Perhaps this may be best described as a percussive polytimbral texture—where distinct percussive sounds interact in a way to produce varied timbral contours. Additionally, a rhythmic “groove” emerges when performers are able to fully synchronize their beats within a cycle.5 All these combined elements make for an exciting piece to learn and perform.
Thus far, I have been using the term “composition” or “piece” to categorize “Yŏngnam nongak.” While this is by no means incorrect, the terms “arrangement” and “adaptation” may be equally valid descriptors. In Korean, the words chaegusŏng (“reconfigure” or “restructure”) and chaech’angjo (“re-create”) are frequently used to describe the first musical explorations by the SamulNori quartet in 1978–1982.6 A more colloquial term, tcha’da (“to form or organize”), is also employed by musicians.
The first presentation of what eventually became known as “Yŏngnam nongak” was an arrangement of existing rhythmic patterns drawn from a specific region of South Korea. Yŏngnam (meaning “south of the mountain range”) is the former provincial name for the southeastern swath of the peninsula. It is bordered by the expansive T’aebaek Mountains to the north, the Sobaek Mountains to its west, and two disputed bodies of water—one to the east (East Sea / Sea of Japan) and one to the south (Korea Strait / Tsushima Strait). Present-day North and South Kyŏngsang Provinces constitute the Yŏngnam region (figure 2.1).7 Partly owing to its physical borders, Yŏngnam/Kyŏngsang is known for its colorful dialects (generally characterized by strong accents and dramatic fluctuations in intonation), cuisine, politics, culture, and, of course, music.
The rhythmic patterns featured in “Yŏngnam nongak” hail from a regional style of p’ungmul called Chinju Samch’ŏnp’o nongak. Although it has been associated with other labels, Chinju Samch’ŏnp’o nongak refers to both the name of a regional band and the representative style of p’ungmul performed in the Yŏngnam/Kyŏngsang region. The term nongak (literally, “farming music”) is sometimes used interchangeably with p’ungmul.8 Thus, Chinju Samch’ŏnp’o nongak is understood as the style of p’ungmul practiced in the southern cities of Chinju and Samch’ŏnp’o.
After performing their first arrangement of rhythms from South Korea’s central Uttari region, the two main percussionists (Kim Duk Soo and Kim Yong-bae) were encouraged to continue their experimental musical endeavors in the months following. Choi Jong Sil [Ch’oe Chongsil] and Ch’oe Chongsŏk, brothers from the southern port city of Samch’ŏnp’o, were then invited to join the quartet. They replaced Yi Chongdae and Ch’oe T’aehyŏn, who were trained in wind and string instruments, respectively.9 Raised as percussionists in the nongak tradition of their local town, the Choi [Ch’oe] brothers served as faithful guides for the next (ad)venture—an adaptation of Chinju Samch’ŏnp’o nongak for percussion quartet.10 The collaboration resulted in an arrangement entitled “Sibi-ch’a samsip-yuk karak” (twelve sections, thirty-six rhythmic patterns) that was premiered in April 1978, and then repeated on March 1, 1979, and renamed “Kyŏngsang nongak.”
Chinju Samch’ŏnp’o nongak is one of five regional styles of p’ungmul that have been designated as “Intangible Cultural Heritage” by the South Korean government.11 This style of p’ungmul (also referred to as maegu kut) exhibits the historical residue of the role p’ungmul once held within the Korean military. Martial legacies can be witnessed in the retention of particular flags, a buglelike instrument called the napal, tasseled hats known as sangmo, and rhythmic patterns that were once used to marshal troops into choreographed formations. The rhythmic patterns are thought to be powerful and energetic, with a general tendency to accelerate and crescendo toward the conclusion of a section. Like other versions of p’ungmul, Chinju Samch’ŏnp’o nongak is performed outdoors, by a large number of musicians and dancers. Performances involve the playing of particular rhythmic patterns (karak), which are repeated as cycles for an indefinite number of times. Depending on the event, a performance can last for several hours. Despite this variability in terms of duration, there is a basic organizational structure to Chinju Samch’ŏnp’o nongak that features twelve sections with distinct rhythmic patterns, functions, and choreographies.
FIGURE 2.1 Map of provinces in South Korea. © Indos82 | Dreamstime.com
FIGURE 2.2 Minsogakhoe Sinawi program from March 1, 1979. Photograph courtesy of SamulNori Hanullim.
Section 1: Obangjin
Section 2: Ŏllimgut nori—tadŭraegi
Section 3: Pŏkku nori (Samch’ae tŏppaegi)
Section 4: Kil kunak
Section 5: Yŏngsan tadŭraegi
Section 6: Mŏt pŏkku nori
Section 7: Tŭngmajigut—tadŭraegi
Section 8: Anjŭn pŏkku nori—tadŭraegi
Section 9: Hohogut
Section 10: Kaein yŏngsan kut nori
Section 11: Pyŏlkut nori
Section 12: Hŏt’ŭngut (hyech’imgut)
It is this rhythmic repository that the quartet of musicians drew upon to create the seated arrangement of “Kyŏngsang nongak” in 1978. With the elder brother Cho’e Chŏngsok on the lead kkwaenggwari part, the younger Choi Jong Sil on ching, and Kim Yong-bae on puk and Kim Duk Soo on changgo, the quartet performed the arrangement again at the Space Theater on March 1, 1979 (figure 2.2).
The reverse side of the program (not pictured) identifies the different sections that appeared as part of the presentation of “Kyŏngsang nongak”:
Section 1: Ŏllimgut nori
Section 2: Kil kunak nori
Section 3: Pan kil kunak nori
Section 4: Tŏppaegi pŏkku nori
Section 5: Pan tadŭraegi
Section 6: Chajin ŏllim pŏkku nori
Section 7: Yŏngsan tadŭraegi
[NEW SECTION: PYŎLGŎRI TALGŎRI]
Section 8: Obangjin nori
Section 9: Kutkŏri nori
Section
