A Research on Korean Kayagŭm Sanjo: The Development and Style of Choi Ok-Sam School

• Main Authors: Hsing-Hui Chen, 陳幸惠
• Other Authors: 顏綠芬
• Format: Others
• Language: zh-TW
• Published: 2010
• Online Access: http://ndltd.ncl.edu.tw/handle/4623m4

碩士 === 國立臺北藝術大學 === 音樂學系碩士在職專班 === 98 === Abstract Korean traditional music includes both the court and folk music styles. Court music, which is similar to “yayue” in Tan Dynasty, is played at imperial courts; while folk music, containing vocal and instrumental music, is wide-spreading among the popular folks. “Sanjo”, a solo genre and a kind of folk music with particular characteristics, is performed by traditional instruments, such as sanjo kayagŭm (twelve-stringed zither), kayagŭm, haegeum (two-stringed bowed instrument), daegeum (bamboo flute) and so on. A sanjo is quite technically brilliant and flexible for improvisations. Therefore, performers can spontaneously create melodies within a prescribed form. Among them, the most popular kayagŭm sanjo, enriches the traditional music with its melody, rhythm, emotional twists, and esthetic presentation. Accordingly, it has become a representative of sanjo. The genre of kayagŭm sanjo was first developed by Kim Chang-Jo in 1890. Afterwards, lots of kayagŭm instrumentalists established various schools, in which Choi Ok-Sam school is quite typical. This research begins with the history of Korean traditional music and the origin of kayagŭm. Besides, it examines not only the history and kayagŭm organology, but also the characteristics and development of kayagŭm sanjo school. Moreover, it traces the step of life of Choi Ok-Sam (1905-1956) and his disciple Ham Kim-Deok (1917-1994), exploring the music characteristics of Tasǔrǔm and Chinyangjo of Choi Ok-Sam school.