The present study was initiated to compare Pyeongtaek nongak (traditional Korean music performed by farmers) and Daejeon Wootdali nongak, which have been relatively well preserved within the Wootdali nognak zone of Gyeonggi and Chungcheong Provinces, and discuss their common and different features b...
The present study was initiated to compare Pyeongtaek nongak (traditional Korean music performed by farmers) and Daejeon Wootdali nongak, which have been relatively well preserved within the Wootdali nognak zone of Gyeonggi and Chungcheong Provinces, and discuss their common and different features based on the regional musical foundation called Wootdali nongak. According to the examination on the transmission process of the utensils, costumes, panje (the organization of pangut; a round of nongak), and rhythms of the music from the two regions of the same musical origin, this study reached the below findings. Firstly, according to the comparison of the utensils and costumes used in Pyeongak nongak and Daejeon Wootdali nongak, no differences were observed in their utensils. As for costumes, both in Pyeongtaek and Daejeon, a white lower jeogori (the lower garment of Korean traditional clothes), a blue vest, and three-color sashes are worn as basic costumes. However, in terms of the colors on the areas of tying the three-color sashes, Pyeongtaek nongak basically wraps yellow and red sashes over the right-side shoulder and ties a blue sash around the waist. On the other hand, Daejeon Wootdali nongak wraps blue and red sashes over the shoulder and ties a yellow sash around the waist. In addition, Pyeongtaek nongak allows only kkwaenggwari players to use a paper bupo (adornment on top of the hat), whereas Daejeon Wootdali nongak let all chibae (instrument player) members use it. While chaesang (the hat with a long cloth stick used in nongak) is used by all chibae and beokgu (drum) members in Pyeongtaek nongak, it is only used by beokgu players in Daejeon Wootdali nongak. The nonggisu (a man holding a symbolic village flag) in Pyeongtaek does not wear a sangmo (a hat used in nongak) with the same costumes to those of chibaes. However, the nonggisu in Daejeon is characterized by wearing a white lower jeogori, wrapping a piece of white cotton cloth or wearing jeonlip (a traditional solder's or servant's hat) with no objects attached, and not wrapping colored sashes over the upper clothes. Secondly, when the panje sequences were compared, in Pyeongtaek nongak, Dangsanbeolim 1 was not immediately followed by Dangsanbeolim 2. Instead, Obangjin was inserted in the middle, directly leading to Dangsanbeolim 2. On the other hand, Daejeon Wootdali nongak was found to consecutively perform Dangsanbeolim 1 and 2 before the performance of chilchae obangjin. Satongbaeki and jwauchigi follow after the Obangjin with the same performances as those of Dajeon Wootdali nongak though their titles slightly differ. Entering the middle phase, both nongak types perform jeokjeoki. Thereafter, Dolimbeopgo 2 is performed in Pyeongtaek nongak, immediately showing the essence of a round of individual plays and mudong (body dancer) plays. In particular, the mudong play presented in the latter part of the pangut, various types of high-level techniques are exhibited. Such techniques of sangmo and mudong plays heighten the excitement of the pungmul gut (Korean folk band exorcism). On the other hand, in Daejeon Wootdali nongak, a larger number of jins (performing teams) are positioned based on jeokjeoki as compared to Pyeongtaek nongak and exhibit three-dimensional and diverse jin plays to the audience. Rather than showing off individual techniques, these performances are organized in harmony with the shape of an overall formation. The common features of Pyeongtaek nongak and Daejeon Wootdali nongak are that while their basic panje does not change, their contents are occasionally modified from the viewpoint of the audience or reconstructed suited to contemporary sentiments. However, although such flexible formats can demonstrate creativity according to performers, they might hinder the maintenance of the traditionality held by nongak. In this regard, these nongak types need to maintain the essentially required formats. Thirdly, in comparing the rhythms of Pyeongtaek nongak and Daejeon Wootdali nongak, chilchae, jwauchigi, and insagut have the same rhythms and titles. On the other hand, jeokjeoki is the common title for the two nongak types, but consists of different rhythms. In addition, the rhythms that are similar between the two types but use different titles include deongdeogungee, jajingarak, deodraegi, yeongsan deodraegi, yeonpungdae, and madangilchae in Pyeongtaek nongak, and samchae, doensamchae, hwimori, eopeobaegi, pungnyeon gut, and yukchae in Daejeon Wootdali nongak. Deongdeogungee in Pyeongtaek is similar to samchae in Daejeon. Jeokjeoki in Pyeongtaek is similar to doensamchae in Daejeon. In addition, each pair of jajingarak and hwimori, deodraegi and eopeobaegi, yeongsan deodraegi and jeokjeoki, yeonpungdae and pungnyeon gut, madangilchae and yukchae in Pyeongtaek and Daejeon respectively have similar rhythms. The above indicates that Pyeongtaek nongak and Daejeon Wootdali nongak have either the same or different titles for their rhythms. However, regardless of using the same or different titles, within each rhythm, differences were found in the number of melodies and the rhythms and dynamics within each melody. This study identified that Pyeongtaek nongak and Daejeon Wootdali nongak were rooted in the same tradition of namsadang (wayfaring male entertainers), and passed down and developed according to respective regional characteristics. The two groups developed in the above manners can be regarded as taking an prominent place not only as ethnic arts, but also as local cultural assets. In order to continue to pass down the values of these two regional nongak types, today's traditional music players will need to devote themselves to further research. In specific, more profound studies on the establishment of esthetics and the principles of creation related to nongak should be conducted. Moreover, to provide more systematic study methods, specialized research institutes are required. To th
The present study was initiated to compare Pyeongtaek nongak (traditional Korean music performed by farmers) and Daejeon Wootdali nongak, which have been relatively well preserved within the Wootdali nognak zone of Gyeonggi and Chungcheong Provinces, and discuss their common and different features based on the regional musical foundation called Wootdali nongak. According to the examination on the transmission process of the utensils, costumes, panje (the organization of pangut; a round of nongak), and rhythms of the music from the two regions of the same musical origin, this study reached the below findings. Firstly, according to the comparison of the utensils and costumes used in Pyeongak nongak and Daejeon Wootdali nongak, no differences were observed in their utensils. As for costumes, both in Pyeongtaek and Daejeon, a white lower jeogori (the lower garment of Korean traditional clothes), a blue vest, and three-color sashes are worn as basic costumes. However, in terms of the colors on the areas of tying the three-color sashes, Pyeongtaek nongak basically wraps yellow and red sashes over the right-side shoulder and ties a blue sash around the waist. On the other hand, Daejeon Wootdali nongak wraps blue and red sashes over the shoulder and ties a yellow sash around the waist. In addition, Pyeongtaek nongak allows only kkwaenggwari players to use a paper bupo (adornment on top of the hat), whereas Daejeon Wootdali nongak let all chibae (instrument player) members use it. While chaesang (the hat with a long cloth stick used in nongak) is used by all chibae and beokgu (drum) members in Pyeongtaek nongak, it is only used by beokgu players in Daejeon Wootdali nongak. The nonggisu (a man holding a symbolic village flag) in Pyeongtaek does not wear a sangmo (a hat used in nongak) with the same costumes to those of chibaes. However, the nonggisu in Daejeon is characterized by wearing a white lower jeogori, wrapping a piece of white cotton cloth or wearing jeonlip (a traditional solder's or servant's hat) with no objects attached, and not wrapping colored sashes over the upper clothes. Secondly, when the panje sequences were compared, in Pyeongtaek nongak, Dangsanbeolim 1 was not immediately followed by Dangsanbeolim 2. Instead, Obangjin was inserted in the middle, directly leading to Dangsanbeolim 2. On the other hand, Daejeon Wootdali nongak was found to consecutively perform Dangsanbeolim 1 and 2 before the performance of chilchae obangjin. Satongbaeki and jwauchigi follow after the Obangjin with the same performances as those of Dajeon Wootdali nongak though their titles slightly differ. Entering the middle phase, both nongak types perform jeokjeoki. Thereafter, Dolimbeopgo 2 is performed in Pyeongtaek nongak, immediately showing the essence of a round of individual plays and mudong (body dancer) plays. In particular, the mudong play presented in the latter part of the pangut, various types of high-level techniques are exhibited. Such techniques of sangmo and mudong plays heighten the excitement of the pungmul gut (Korean folk band exorcism). On the other hand, in Daejeon Wootdali nongak, a larger number of jins (performing teams) are positioned based on jeokjeoki as compared to Pyeongtaek nongak and exhibit three-dimensional and diverse jin plays to the audience. Rather than showing off individual techniques, these performances are organized in harmony with the shape of an overall formation. The common features of Pyeongtaek nongak and Daejeon Wootdali nongak are that while their basic panje does not change, their contents are occasionally modified from the viewpoint of the audience or reconstructed suited to contemporary sentiments. However, although such flexible formats can demonstrate creativity according to performers, they might hinder the maintenance of the traditionality held by nongak. In this regard, these nongak types need to maintain the essentially required formats. Thirdly, in comparing the rhythms of Pyeongtaek nongak and Daejeon Wootdali nongak, chilchae, jwauchigi, and insagut have the same rhythms and titles. On the other hand, jeokjeoki is the common title for the two nongak types, but consists of different rhythms. In addition, the rhythms that are similar between the two types but use different titles include deongdeogungee, jajingarak, deodraegi, yeongsan deodraegi, yeonpungdae, and madangilchae in Pyeongtaek nongak, and samchae, doensamchae, hwimori, eopeobaegi, pungnyeon gut, and yukchae in Daejeon Wootdali nongak. Deongdeogungee in Pyeongtaek is similar to samchae in Daejeon. Jeokjeoki in Pyeongtaek is similar to doensamchae in Daejeon. In addition, each pair of jajingarak and hwimori, deodraegi and eopeobaegi, yeongsan deodraegi and jeokjeoki, yeonpungdae and pungnyeon gut, madangilchae and yukchae in Pyeongtaek and Daejeon respectively have similar rhythms. The above indicates that Pyeongtaek nongak and Daejeon Wootdali nongak have either the same or different titles for their rhythms. However, regardless of using the same or different titles, within each rhythm, differences were found in the number of melodies and the rhythms and dynamics within each melody. This study identified that Pyeongtaek nongak and Daejeon Wootdali nongak were rooted in the same tradition of namsadang (wayfaring male entertainers), and passed down and developed according to respective regional characteristics. The two groups developed in the above manners can be regarded as taking an prominent place not only as ethnic arts, but also as local cultural assets. In order to continue to pass down the values of these two regional nongak types, today's traditional music players will need to devote themselves to further research. In specific, more profound studies on the establishment of esthetics and the principles of creation related to nongak should be conducted. Moreover, to provide more systematic study methods, specialized research institutes are required. To th
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