Taepyeongso

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Korean spelling
Hangeul 태평소
Hanja 太平 簫
Revised
Romanization 		taepyeongso
McCune-
Reischauer 		taep'yŏngso
Taepyeongso players in front of the Gyeongbokgung Palace in Seoul

Taepyeongso , also taep'yŏngso , also soaenap, swaenap, hojŏk, hojeok, nallari; is a woodwind instrument with a short double reed that is played in Korean music .

origin

The type of cone oboen, which is widespread throughout Asia, belongs to the old surnais wind instrument group that originated in Persia . Common features are the three-part design and the loud, shrill sound, which limits the use of these oboes and the taepyeongso to music played outdoors. The name for the Indian oboe shehnai is derived from the Persian word surnai . The oboe, which is often played with a cylinder drum, found its way into military music of the Ottoman Empire as zurna , as serune to Malaysia and Sumatra and as suona in Chinese folk music. The Korean alternative name soaenap is also derived from this. The surnai type came to Korea via China during the Goryeo dynasty in the 10th to 14th centuries. The only difference between the surnais in the individual regions is the details of the shape and the mood that is adapted to the respective musical culture.

Design

The taepyeongso consists of a metal mouthpiece ( chorong mok ) made of copper or brass, in which a short double reed ( chwigu , hyŏ or sŏ ) is inserted, and a conical wooden melody tube ( gwandae ) three to four centimeters in diameter with seven finger holes on the Front and a hole on the back covered with the left thumb. The lower one or two finger holes are often not used. When playing, the lips attach to the broad edge ( dong-gu ) of the mouthpiece and enclose the reed. The reed traditionally consists of a reed that is dried and ground, but plastic straws are mainly used. The melody tube can be made from different types of wood such as the citrus fruit tree yuzu ( juja ), the Chinese jujube ( daechu ) or the wood of the mulberry tree . A wide detachable bell ( dongpallang or nabal t'ong ) made of copper, brass or tin is attached to the front . The range is over two octaves and is indicated by a flat 'to es' ''. Today's instruments are 30 to 32 centimeters long and are shorter than they used to be.

Style of play and meaning

Taepyeongso means “great pipe of peace”, hojeok “woodwind instrument of the strangers” (generally for “the people of Xinjiang ”) and nallari is an onomatopoeic expression that is only used in the field of folk music. According to the adopted Chinese classification of eight sounds , it belongs to the bamboo instruments, a newer Korean classification from 1983 counts it to the wooden instruments.

The use of the taepyeongso is limited to outdoor use because of its loud, shrill sound, as is the case with the overwhelming majority of the Asians. It is unsuitable for chamber music and for playing with other melody instruments.

It played the melody in the marching music in the royal procession Daechwita. The Chinese-Korean word chwita means "blow and beat", the prefix dae means "big". This means the interaction between the wind instrument and some double-headed barrel drums ( buk ) that are worn on a strap in front of the body. This noisy group of players went in front of the king, while a formation followed him in which the quieter, bamboo-made double-reed instrument piri led the melody.

The Korean military and processional music is collectively called Koch'wi , it was played at the royal court on ceremonial occasions and during the ruler's journeys. In the course of time the line-ups and their strengths changed, but the orchestra always consisted of wind and percussion instruments. This ensemble is mentioned in writing in a document from 238 AD. Wall paintings in graves near Pyongyang date to the 4th century. At the time of the Joseon Dynasty , award songs to the founder of the dynasty were accompanied by a brass and percussion ensemble. Based on a Korean musicological work from 1984, the orchestra consists of several taepyongso , the drums yonggo , snail trumpets , gongs ( ching ) and pair cymbals ( chabara ). The melodies are exclusively from the taepyongso played while the trumpets sound a carpet of Borduntönen add. There is a parallel here to Ottoman military music ( Mehterhâne ), as it was described in the 17th century. According to Korean mythology, with the destruction of the wind instruments and the drums of the palace orchestra, the ruler was also deprived of power.

In Buddhist dance rituals, the taepyongso is played together with a barrel drum, a large gong ( jing ), cymbals and occasionally with a long straight natural trumpet made of several sheet metal pipes ( nabal ) and a snail trumpet ( nagak ). It is also used in the shamanic ritual music Sinawi .

Taepyeongso player in a pungmul dance group

The main area of application of the taepyeongso is secular light music . These include folk theater, dances and songs from the peasant tradition, which are called pungmul , more rarely nong-ak . In the past, they were only performed by men in collective work in the fields and at village festivals in a ritualized form. The central element of the music is the rhythm, which is produced by the dancers themselves from drums that hang in front of their bodies or from tambourines carried in their hands. A taepyeongso can also be used as a melody instrument . The troop is led by a player with a small flat brass gong ( kkwaenggwari ). The traditional rural performances in an urban setting have survived to this day in a modified form. In the past, spectators and participants could not be distinguished from one another, but now professionally acting, traveling musicians and dancers appear who also perform acrobatic tricks.

literature

  • Nathan Hesselink: P'ungmul, South Korean Drumming and Dance. The University of Chicago Press, Chicago / London 2006, pp. 61–63

Web links

Individual evidence

  1. ↑ Aron Francis, p. 25 f
  2. ↑ Ludwig Finscher (Hrsg.): The music in past and present . (MGG) Sachteil 5, 1996, Sp. 739
  3. ↑ Hesselink: P'ungmul, South Korean Drumming and Dance . P. 62
  4. ^ Robert C. Provine et al. a. (Ed.): The Garland Encyclopedia of World Music. Volume 7. Routledge, New York / London 2002, p. 828
  5. ↑ 2. Wind Instruments. (PDF; 167 kB)  ( Page no longer available , search in web archives )  Info: The link was automatically marked as defective. Please check the link according to the instructions and then remove this notice. In: Theoretical Perspectives on Korean Traditional Music: An Introduction. National Center for Korean Traditional Performing Arts@1@ 2Template: Dead Link / www.gugak.go.kr  
  6. ↑ Wolfgang Suppan : From a melody that "lifts the bosom of cowardly souls too". Historical documents on "Turkish Music" and the Korean military music "Tae-ch'it'a". In: Rüdiger Schumacher (ed.): From the diversity of musical culture. Festschrift for Josef Kuckertz . At the end of the 60th year of life. (Word and music. Salzburg academic contributions) Ursula Müller-Speiser, Anif / Salzburg 1992, p. 542 f.
  7. ^ MGG, p. 739 and Aron Francis, p. 28 f
  8. ^ Nathan Hesselink: Folk Music: Instrumental. Pungmul and Samulnori. (PDF; 1.2 MB)  ( Page no longer available , search in web archives )  Info: The link was automatically marked as defective. Please check the link according to the instructions and then remove this notice. In: Byong Won Lee, Yong-shik Lee (Eds.): Music of Korea. National Center for Korean Traditional Performing Arts, Seoul 2007, p. 99@1@ 2Template: Dead Link / www.gugak.go.kr