Traditional Music - II

Another characteristic of Korean music lies in its progresssion of tempos. Whereas Western music often exploits the contrast between slow and fast movements, Korean music begins with the slowest section and gradually accelerates as the performance continues. This process of acceleration reflects the shamanistic basis of Korean culture, gradually reaching a state of perfect self-effacement.
For a better appreciation of Korean music, one tip that should not be omitted is that in music that is used for rituals, the principles of the "five natural elements and of the yin and yang" play a prominent role. A good example is the use of the chuk (wooden box) and the eo (tiger-shaped scraper) in the piece entitled Botaepyeong that is played for the royal ancestral services at the Jongmyo Shrine. The chuk is played only at the beginning of the piece. Always placed at the eastern side of the traditional orchestra, it is painted blue, symbolizing the east. The eo is played only at the end of the piece. It is placed at the western side of the orchestra is painted white, and symbolizes the west. If you just listen to the sound without being aware of these symbols you cannot grasp the true nature of the music.
The tradition of Korean music is maintained today by samul nori percussion quartets and by such institutions as the National Traditional Music Orchestra and the National Center for Korean Traditional Performing Arts.


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