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On the Musical Characteristics of Ch lla Province The traditional music of Chŏlla province 全羅道 is commonly known as namdo ŭmak 南道音樂 (lit. music of southern province) including such traditional terms as namdo ch'ang 南道唱 (vocal music of southern province), namdo chapka 南道雜歌 (professional songs of southern province), namdo minyo 南道民謠 (folk songs of southern province), and so on. This paper aims at giving an introduction to the musical characteristics of Chŏlla province. In the main discourse the author points out the following three aspects of musical characteristics in the traditional music of Chŏlla province. First one is the appearance of hemitonic technique known as kkŏkknŭn ch'ŏng 꺾는청 or kkŏkknŭn mok 꺾는목, which would not be found at the other regions of Korean peninsular except for Chŏlla province. Second characteristics of namdo ŭmak is remarked by the appearance of modulating technique (or tonic shift) called kilbakkum 길바꿈 which would be found in p'ansori 판소리, sanjo 散調, and folk songs (see <musical example 1>) except for shamanistic songs (muga 巫歌) of Chŏlla province. Third one would be found in the variation of regular rhythmic cyle (changdan 長短)(<musical ex. 2 and 3>). <Musical example 1> “Song for Meeting of Ch'unhyang's Mother and Yi Mong-ryong” (Ŏsatto Ch'unhyangmo Sangbong 어사또 春香母 相逢) sung by Kim So-hŭi 金素姬 and transcribed by Paek Tae-ung. <Musical Ex. 2> “Nollyang” 놀량, One of Sŏnsori San t'aryŏng 선소리 山打令 songs, sung by Chŏng Tŭk-man 鄭得晩 and transcribed by Paek Tae-ung. <Musical Ex. 3> “Hwach'o sagŏri” 花草四巨里, a well known folk song of Chŏlla province, sung by Kim So-hŭi and transcribed by Paek Tae-ung.


On the Musical Characteristics of Ch lla Province The traditional music of Chŏlla province 全羅道 is commonly known as namdo ŭmak 南道音樂 (lit. music of southern province) including such traditional terms as namdo ch'ang 南道唱 (vocal music of southern province), namdo chapka 南道雜歌 (professional songs of southern province), namdo minyo 南道民謠 (folk songs of southern province), and so on. This paper aims at giving an introduction to the musical characteristics of Chŏlla province. In the main discourse the author points out the following three aspects of musical characteristics in the traditional music of Chŏlla province. First one is the appearance of hemitonic technique known as kkŏkknŭn ch'ŏng 꺾는청 or kkŏkknŭn mok 꺾는목, which would not be found at the other regions of Korean peninsular except for Chŏlla province. Second characteristics of namdo ŭmak is remarked by the appearance of modulating technique (or tonic shift) called kilbakkum 길바꿈 which would be found in p'ansori 판소리, sanjo 散調, and folk songs (see <musical example 1>) except for shamanistic songs (muga 巫歌) of Chŏlla province. Third one would be found in the variation of regular rhythmic cyle (changdan 長短)(<musical ex. 2 and 3>). <Musical example 1> “Song for Meeting of Ch'unhyang's Mother and Yi Mong-ryong” (Ŏsatto Ch'unhyangmo Sangbong 어사또 春香母 相逢) sung by Kim So-hŭi 金素姬 and transcribed by Paek Tae-ung. <Musical Ex. 2> “Nollyang” 놀량, One of Sŏnsori San t'aryŏng 선소리 山打令 songs, sung by Chŏng Tŭk-man 鄭得晩 and transcribed by Paek Tae-ung. <Musical Ex. 3> “Hwach'o sagŏri” 花草四巨里, a well known folk song of Chŏlla province, sung by Kim So-hŭi and transcribed by Paek Tae-ung.