ALL
string instruments
ICH Elements 5
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Kazakh traditional art of Dombra Kuy
Traditional Kazakh dombra kuy (kaz 'kuy') - instrumental play performed on dombra - a traditional pear-shaped musical instrument with two strings and a long neck. The true meaning of kuy execution dates back to the sacred relationship with the Creator and the desire to establish the internal harmony of the individual. Kazakhs say 'Kuy - Tanyrdyn sybyry' ('Kuy - a whisper of Tengri'). Dombra had been hung on the wall of each nomad house (yurta) for the play before guests and home owners. The art of DombraKuy refers to a short solo composition performed on a traditional pear-shaped, long-necked, two-stringed, plucked musical instrument known as a dombra. The music aims to connect people to their historic roots and traditions through classical and improvised pieces that engage the audience at a spiritual and emotional level. Public engagement in the performance serves as one of the most important means of social communication between people and contributes to the transfer of knowledge and skills related to Kazakh culture. The music is usually accompanied by narrated stories and legends. It is traditionally performed at social gatherings, holidays and festive celebrations, amid a rich variety of food and musical entertainment. It serves as a vital social and cultural experience, strengthening people’s identity and promoting solidarity and mutual understanding in society. Aspiring and talented musicians are apprenticed to masters from the moment a child demonstrates an interest in the philosophy and virtuosity of traditional music and performance. Amateur musicians then apprentice themselves to other more experienced and talented performers from their region to increase their skills and repertoire.
Kazakhstan 2014 -
Gayageum Sanjo and Byeongchang (Free-style Gayageum Solo and Music and Singing)
National Intangible Cultural Heritage, Republic of Korea Sanjo refers to the playing of an instrument solo to the accompaniment of janggo (hourglass-shaped drum), moving from slow to fast rhythm, in four to six movements. Gayageum Sanjo is Korean instrumental folk music played solo with gayageum (twelve-stringed zither). Gayageum Byeongchang refers to the singing and playing of gayageum at the same time. All Sanjo start with slow rhythm and gradually changes to faster rhythm, making listeners feel tense and increasingly delighted. Gayamgeum Sanjo is made up of four to six rhythms: jinyangjo (slow), jungmori (moderate), jungjungmori (moderately fast), jajinmori (fast), and hwimori (fastest). Compared to other instrument-based Sanjo, Gayageum Sanjo masters could form diverse schools thanks to the unique characteristics of gayageum. A singer engaging in Gayageum Byeongchang sings a part of danga or pansori to the accompaniment of his/her own gayageum playing. Gayageum Byeongchang used to be sung by Gayageum Sanjo masters, but the current tendency is for the separation between players of Sanjo and Byeongchang. A song sung as Byeongchang creates its own atmosphere due to the unique melody of gayageum. The following are well-known parts of Gayageum Byeongchang: Jebinojeonggi (Route of the Swallow's Trip) of Pansori Heungboga (Song of Heungbo), Sarangga (Song of Love) of Chunhyangga (Song of Chunhyang), Gogocheonbyeon (Brightness of the Sunshine in the Sky) of Sugungga (Song of the Rabbit and the Turtle), and “Sim Cheong’s Father on His Way to Hwangseong” of Simcheongga (Song of Sim Cheong).
South Korea -
Geomungo Sanjo (Free-style Geomungo Solo Music)
National Intangible Cultural Heritage, Republic of Korea Sanjo refers to the playing of an instrument solo to the accompaniment of janggo (hourglass-shaped drum), moving from slow to fast rhythm in four to six movements. Geomungo Sanjo is Korean instrumental folk music played solo with geomungo (six-stringed zither). Geomungo, which is also called hyeongeum (literally “black zither”), is said to have been made by Wang San-ak during the Goguryeo Period (circa 37 BC - 668 AD). It has six silk strings made of twisted silk thread tied to a wooden body 1.5m long and 25cm wide. A player sitting on the floor plays it while it is placed on his/her lap the way one plays a guitar, with the left hand tuning melody with string support called “gwae” and the right hand striking strings with thin bamboo (“suldae”). Geomungo Sanjo was first played by Baek Nak-jun in 1896 (33rd year of Emperor Gojong’s reign), but some people said that it was music that degraded the gracefulness of geomungo. Thus, it was only years later that a particular type of geomungo playing was accepted by majority of the people. At first, it was composed of monotonous melodies or rhythms; gradually, however, exquisite and complicated rhythms were added. Geomungo Sanjo has five rhythms: jinyangjo (slow), jungmori (moderate), jungjungmori (moderately fast), eonmori (irregular), and jajinmori (fast). Overall, its melodies are made up of ujo (calm and steadfast feeling), which appears in the first and middle parts of each movement, and gyemyeonjo (sad, soft, and plaintive feeling), which appears mostly at the end of each movement. Geomungo Sanjo is a piece of music containing a sense of subdued masculinity, featuring moderate yet grand and unrestricted feeling; its rhythms, slow and fast, express the sense of delight, anger, sorrow, and joy well.
South Korea -
Gagok, lyric song cycles accompanied by an orchestra
Inscribed in 2010 (5.COM) on the Representative List of the Intangible Cultural Heritage of Humanity In Korean music, jeongga (translated as ‘right song’) refers to vocal music that falls under jeongak (translated as ‘right music’). Gagok, gasa, and sijo are examples of jeongga, which were sung by the members of the high society for character development. Unlike other forms of jeongga, gagok is sung to the accompaniment of orchestral instruments, such as geomungo (six-string zither), daegeum (large transverse bamboo flute), gayageum (twelve-string zither), and piri (small double-reed instrument). Gagok is highly esteemed for its musical and artistic perfection. Gagok complies with the definition of the intangible cultural heritage within the Convention for the Safeguarding of the Intangible Cultural Heritage, as ‘practices,representations, expressions, knowledge and skills… that communities, groups, and… individuals recognize as part of their cultural heritage’. Gagok fits within the domain of ‘performing arts’. Traditional gagok is an original art form that has been sung by the Korean people for a long time, and is distinct from Western vocal music. Gagok is vocal music that was popular in the high society of the Joseon Dynasty (A.D. 1392-1897). Gagok is composed of twenty-six namchang, or songs for men, and fifteen yeochang, or songs for women. Thus, gagok features both masculine and feminine qualities. All notes in namchang are sung in geotsori, a strong voice resonating within the body. On the other hand, yeochang uses geotsori and soksori, a highpitched, thin voice. Gagok is composed in ujo, a key that is solemn and peaceful, or gyemyeonjo, which is melancholy. Gagok is played in either 16-beat or 10-beat rhythm. Accompaniment is typically comprised of orchestral instruments such as geomungo (six-string zither), gayageum (12-string zither), sepiri (small double-reed instrument), daegeum (transverse flute), haegeum (fiddle-like instrument), and janggu (hourglass drum). Yanggeum (hammered dulcimer) and danso (bamboo flute) are sometimes included in the accompaniment. Gagok has been preserved without transmutation for a long time, and it continues to be transmitted through the hands of master musicians. Gagok is intangible cultural heritage of great historical and artistic value.
South Korea 2010