Japan

YellowSea

China“I want to share my cultural heritage... becasue I believe thatthrough exposure to the diversecultures of the world, people willlearn to better understand oneanother as individuals.

Don Kim

Title of Work:Toraji TaryongKahng-Gang-Sool-Le

Creators:Producer: Korean Classical Music and Dance CompanyDirector: Don Kim (b. 1945)

Background Information:A childhood interest developed into a rewarding career

for Don Kim, director of the Korean Classical Music

and Dance Company. At the age of twelve, he began to

study the music and dance of his birthplace, Korea. His

studies eventually led to membership in a Korean

government-sponsored troupe which performed the music

and dances of their country on a world tour. As part of that

tour, Don visited the United States. He decided to make

this country his new home, and settled in Southern

California. Fortunately, he was able to continue his studies

of the music, dance and culture of Korea at the University

of California, Los Angeles (UCLA). His extensive taining

and experience ultimately served as a perfect background for

founding a school for the study of Korean music and dance,

as well as the company he now directs. Each has been in

operation since 1973. Don also teaches at Cal State

University, Los Angeles. The Korean Classical Music and

Dance Company’s repertoire includes folk as well as the

ancient formal court music and dance. The group is

dedicated to the preservation of their culture, thus the

beautiful costumes and authentic instruments are careful

reproductions drawn from venerable Korean traditions.

About The Artwork:This unit features songs from the Korean folk tradition,

which are based on a Korean scale structure

(pentatonic) as compared to a Western scale structure

(diatonic). On the Artsource® audio recording, two

songs will be presented. Toraji Taryong, sung in Korean

and English, is a beautiful, flowing melody whose

lyrics extol one of nature’s wonders. It is accompanied

by a string instrument called kaya-gum. The second

folk song is accompanied by the chang-go (drum) and

a gong, instruments which often accompany Korean

folk music and dance. In this performance, an

authentic vocal style is heard which may seem strange

to Western ears. As with folk music from other

cultures, both songs reflect the spirit of the people.

Creative Process of the Artist or Culture:Much of the Korean folk music can be traced back

more than 2000 years. It is remarkable that this

tradition has survived and exists in modern times,

becasue the music training was not formal. It was

passed from generation to generation by rote. Perhaps

its existance can be attributed to the fact that it has

remained a strong

tradition as part of

everyday work and life.

Groups like the Korean

Classical Music and

Dance Company keep

the traditions alive.

(Continued on p. 2)

KOREA

MUSIC

TRANSFORMATIONTHE POWER OF NATURE

FREEDOM &OPPRESSION

ENDURING VALUES

THE HUMANFAMILY

ARTISTIC PERCEPTION (AP)

CREATIVE EXPRESSION (CE)

HISTORICAL & CULTURAL CONTEXT (H/C)

AESTHETIC VALUING (AV)

CONNECT, RELATE & APPLY (CRA)

rtsource ®The Music Center’s Study Guide

to the Performing Arts

A TRADITIONALCLASSICALCONTEMPORARY

EXPERIMENTAL

MULTI-MEDIA

Seoul

Photo Courtesy of Don Kim

2* Indicates sample lessons

*

*

*

Audio-Visual Material:• Artsource® audio recording: Toraji Taryong and

Kahng-Gang-Sool-Le. Courtesy of Korean Classical Music and

Dance Company.

• Artsource® video excerpts of Korean Classical Music and

Dance Company, courtesy of the Performing Tree of Los

Angeles, California. Featured excerpts include: Hwa

Kwan Moo, Chang-Go-Chum, Buchae Chum and Buk

Chum.

Additional References:• Lee, Hye-gu. An Introduction to Korean Music and

Dance. Korean Cultural Service; 5505 Wilshire Blvd., Los

Angeles, CA 90036. (323) 936-7141.

Sample Experiences:LEVEL I• Learn simple movements to Kahng-Gang-Sool-Le.

• Discover how many songs you know which are

pentatonic. Learn a new pentatonic song. (Refer to music

textbooks under “Pentatonic Songs.”)

• In the song Kahng-Gang-Sool-Le the tempo chanegs from

slow to fast. Listen to examples of instrumental music in which

there are definite tempo changes. Suggestions: In the Hall of the

Mountain King from Peer Gynt Suite No. 1 (Grieg), The Little

Train of Caipira from Bachianas Brasileiras No. 2 (Villa-Lobos)

and March and Galop from The Comedians (Kabalevsky).

Level II• Learn simple bell, drum and gong accompaniments to

the songs Toraji Taryong and Arirang.

• Study the relationship of tones in the diatonic and

pentatonic scales. Cite the differences.

Level III• Working in groups, create a new culture (refer to

Artsource® Unit, American INdian Dance Theatre, Sample

Lesson III) and a new scale and symbol system for its

music. Revise a familiar folk song or compose a melody

which is based on the new scale structure. Notate it using

the new symbol system.

• Select a familiar pentatonic song and create simple tonal

and non-tonal accompaniments.

• Review the catagories of Western instruments. Learn

how Korean instruments are catagorized. Use these

catagories (Korean) to group Western instruments.

Discussion Questions:After listening to the audio recording:• How do the instruments presented by the Korean

Classical Music and Dance Company compare with

the instruments that you are used to hearing?

• In the Korean vocal styling, the voice often slides

from one note to another. Which contemporary

Western styles use similar techniques? (Blues,

gospel, country, etc.)

• The cultures of Korea and her Asia-Pacific

neighbors have been closely related for centuries.

Can you name musiccal instruments from China

and Japan that are akin to the Korean kaya-gum?

(Koto - Japan; Cheng - China) Read to discover in

which country the instrument originated. (India)

Can you name a Western instrument that resembles

the kaya-gum? (zither)

About the Artwork: (continued from p. 1)Long ago the majority of Koreans were farmers. As

with people everywhere whose existence is close to

the earth, Korean farmers have always honored

nature and teh resources it provides. Many of their

songs, such as Toraji Taryong, extol the beauty and

wonders of nature. The chang-go and gong are

especially important to Korean folk music. They

maintain the rhythm, perform that accented beats

and help to emphasize the traditional change in

tempo from slow to fast in the folk dances. These

features are heard int he performance of Kahng-

Gang-Sool-Le.

Multidisciplinary Options:• Refer to a map of Korea. Notice its location in

regard to its neighbors, China and Japan. Read to

find out what makes Korea unique, and also

similarities that exist among these neighboring

countries.

• Compare the arts and crafts of Korea with the

works of its Asia-Pacific neighbors. Suggested

contacts: the Los Angeles County Museum of Art,

The Asia-Pacific Museum (Pasadena, CA), the

Korean Cultural Service (Los Angeles, CA), the

Korean Consulate.

3

LEVEL I Sample Lesson

INTRODUCTION:

Korean dancers generally place emphasis upon the movements of the shoulders, arms and head. Themovements suggested in this lesson borrow from that traditional concept to emphasize the graceful flowof the melody in the Korean folk song, Kahng-Gang-Sool-Le.

OBJECTIVE: (Student Outcomes)

Students will be able to:

• Perform simple movements to a Korean folk song. (Historical and Cultural Context)

•Describe, discuss, analyze and connect information and experiences based on this lesson. Refer toAssessment at the end of this lesson. (Aesthetic Valuing)

MATERIALS:

• Artsource® audio recording - Kahng-Gang-Sool-Le.

PROGRESSION:

• Listen to the recording and tap the accented beat which is emphasized by the chang-go (drum) and thegong. (The meter is in threes, with the accent on the first beat, i.e. 1-2-3, 1-2-3, 1,2,3, etc. The childrenshould tap the first beat only.)

• Discuss the lovely, flowing melody. Play a short segment of the recording and have the children swayfrom side to side on the accented beat. The swaying will help them feel the gentle flow of the melody andprepare them for the movements described below.

• Teach the following movements to accompany the song. The movements consist of three basic steps,repeated. Each phrase of the song contains four measures of three beats each.

Formation: Circle, hands unclasped.

Step 1: Phrase 1 (4 slow counts - 1 for each measure) REPEAT Step 1: Phrase 2

Step and sway to the right on measure 1; swing arms slightly to the right.Step and sway to the left on measure 2; swing arms slightly to the left.Step and sway to the right on measure 3; (as above).Step and sway to the left on measure 4; (as above).

ENDURING VALUESBEAUTIFUL MUSIC - BEAUTIFUL MOVEMENT

MUSIC

Korean Classical Music and Dance CompanyPhoto: Craig Schwartz

4

Step 2: Phrases 3 & 4 (4 slow counts)

All take hands.Turn slightly to the right and walk 3 steps, one step per measure, tilt head to the right. Pauseon the 4th count.Turn slightly to the left and walk 3 steps as before. Tilt head to the left. Pause on the 4th count.

Step 3: Phrases 5 & 6 (4 slow counts)

Continue holding hands.Take 3 small steps, 1 per measure, toward the center of the circle, raising arms slowly upward.Pause on the 4th count.

Take 3 small steps backward, as before, away from the center of the circle, lowering arms slowly.Pause on the 4th count.

Interlude: (faster tempo) Clap 4 counts, picking up the faster tempo. (The steps will be executed as aboveat the faster tempo.)

Step 1: Phrases 7 & 8 (repeated as before)

Step 2: Phrases 9 & 10 (repeated as before)

Step 1: Phrases 11 & 12 (repeated as before)

Step 2: Phrases 13 & 14 (repeated as before)

Step 3: Phrases 15 & 16 (repeated as before)

EXTENSION:

• Add a classroom drum to softy play the accented beat.

VOCABULARY: accented beat, meter, tempo

ASSESSMENT: (Aesthetic Valuing)

DESCRIBE: Describe the three different steps of thedance using your own words.

DISCUSS: Discuss the feelings you had when you weredancing.

CONNECT: How is this dance similar to other groupdances you have seen or performed?

r.h.= right handl.h.= left hand

5

ENDURING VALUESINSTRUMENTAL TRIMMINGS

LEVEL II Sample Lesson

INTRODUCTION:

The folk songs of Korea are often enhanced by the accompaniment of instruments such as the kaya-gum, tan-so and/or chang-go. The easy-to-play accompaniments provided in this lesson will give students anopportunity to enhance the charming melody of Toraji Taryong.

OBJECTIVES: (Student Outcomes)

Students will be able to:

• Perform several accompaniments to the Korean folk song, TorajiTaryong. (Artistic Perception)

• Describe, discuss, analyze and connect information and experi-ences based on this lesson. Refer to Assessment at the end of thislesson.(Aesthetic Valuing)

MATERIALS:

• Artsource® audio recording of Toraji Taryong.

• Classroom instruments - autoharp, finger cymbals or a small triangle, drum, bells (e.g. songbells, resonator bells, glockenspiel, metallophones or xylophones).

PROGRESSION:

• Learn to sing Toraji Taryong.

• Listen to the recording of Toraji Taryong. Softly tap the metric beat (in threes). Slightly accent the first beat.

• Explain that the instrumental patterns used to accompany the song will be based on the metric beat.

• The ostinato for the first set of bells is played on the first and third beats.

Bell Pattern #1

MUSIC/DANCE

1 2 3 1 2 3 1 2 3 1 2 3

1 2 3 1 2 3 1 2 3 1 2 3

6

• Lead them in practicing the first pattern using the eraser ends of two pencils.

• Select several students, in turn, to demonstrate the pattern on the bells, as their classmates continue practicing.

• Follow the same procedure for learning the second bell pattern (ostinato).

Bell Pattern #2

• The following patterns are for the drums, finger cymbals and autoharp, as indicated.

Drums -

(Played softly, slightly accenting the first beat.)

Finger Cymbals -

Autoharp - Pluck the g string, using the following pattern:

• Sing Toraji Taryong with instrumental accompaniment. (Vary the number of patterns used.)

EXTENSIONS:

• Learn the bell pattern which accompanies the folk song, Arirang.

• Create additional instrumental patterns for Arirang.

1 2 3 1 2 3 1 2 3 1 2 3

l.h. r.h l.h.

VOCABULARY: accompaniment, metric beat, ostinato

ASSESSMENT: (Aesthetic Valuing)

DESCRIBE: Describe your impressions of this song.

DISCUSS: Discuss the feelings you had while playing the accompaniment to this song.

ANALYZE: Discuss the different type of involvement you have when listening to a song and playing witha song.

CONNECT: Discuss other songs or types of music that have a meter of 3/4 time (waltz, many lullabies, etc.)

7

8

9

10

ENDURING VALUESNEW MUSIC FOR A NEW CULTURE

LEVEL III Sample Lesson

INTRODUCTION:

Most students’ experiences in music are no doubt limited to working with a single notation system andthe tonal scales generally used in Western cultures. In this lesson the students will be challenged to create a new culture whose music is based on a different scale and symbol system. The following information may motivate them to be adventurous in their designs. “Korean music, like Chinese, is basedon a 12-tone scale. The twelve tones are not used chromatically as they are in Western music. The Koreanmusician freely chooses five major tones to form a pentatonic scale. The five tones most common inKorean music are: dang (e flat), the central or ‘foundation’ tone, dong (f ), ji (g flat), jing (a flat), and dung(b flat). (It should be noted that our Western notation terms applied to Korean musical notes are notexact equivalents.)” *

OBJECTIVES: (Student Outcomes)

Students will be able to:

• Create a new culture and design a new scale and notation system for its music . (Creative Expression)

• Notate an original melody, or rewrite a familiar melodyusing the scale and notation systems of the newculture. (Artistic Perception)

• Describe, discuss, analyze and connect information andexperiences based on this lesson. Refer to Assessment at theend of this lesson. (Aesthetic Valuing)

MATERIALS:

• Artsource® audio recording of Toraji Taryong and Kahng-Gang-Sool-Le, as well as examples of Western music.

• Paper and pencils.

• Tonal instruments.

• Refer to the Artsource® Unit, American Indian Dance Theatre, Sample Lesson III, for more informationon designing a culture.

NOTE: Students should be familiar with the diatonic scale and the syllables which are normally used.

MUSIC/DANCE

Korean Classical Music and Dance CompanyPhoto: Craig Schwartz

PROGRESSION:

• Divide the class into small groups. Tell them their challenge is to create a new culture whose music isbased on an entirely different scale and symbol system than the ones we commonly use.

• As background information, have them listen to selected examples of music played in the diatonic scale(most Western music) and to the Artsource® audio recording or another Asian recording of music that usesthe pentatonic scale.

• Review the diatonic scale, using ‘c’ as the starting tone (tonic). Have the students sing do-re-me, etc.,and then play the scale on their instruments.

• Introduce and write the letter names of the chromatic scale using c as the starting tone. (c c# d d# e ff# g g# a a# b c' ). Explain that this is a scale which uses all twelve of the tones which are used by any ofour Western scales. Ask a student to play the scale.

• Ask them to use the chromatic scale from which to select their scale tones. Parameters: a minimum offour tones, a maximum of 10 tones.

• Once the scales have been designed, have the students create an original symbol system (notation).

• When the symbol systems are ready, ask them to compose short original tunes, using their new scale andsymbol systems. (Some students may find it easier to convert familiar songs to their new systems.)

• Have each group make a presentation, describing their cultures and performing their music.

EXTENSION:

• Listen to music from existing cultures who use scales and symbols other than those used by Western cultures.

VOCABULARY: chromatic scale, diatonic scale

ASSESSMENT: (Aesthetic Valuing)

DESCRIBE: Describe how you came up with your selection of tones to create a new scale.

DISCUSS: Discuss how a scale influences the melody of a song or piece of music.

* Hye-Ku Lee. Korean Classical Music Instruments. The Korean Information Service, Inc. Seoul, Korea, p. 3. 11

A BRIEF HISTORY OF KOREAN MUSIC

Music in Korea today divides itself into two categories: traditional music and music of the West.Traditional music includes court music and folk music. Some of the court compositions and associatedinstruments were imported from China and adapted over the centuries: other court music and instruments originated in Korea. Court music refers to that which was provided for religious ceremonies,special royal events, memorials for ancestors, military occasions, etc. When Korea’s last royal dynasty wasabolished in 1910 under the Japanese occupation, many old institutions disappeared: the court ceremonies, the royal processions, the royal banquets, and music for such occasions had no practical useand became obsolete ‘museum pieces.’ However, the royal orchestra was kept together and the old traditions preserved by careful conservation of books, manuscripts, and notated music as well as a handingdown of performing skills to later generations.

Although national liberation in 1945 did not bring about restoration of the old dynasty itself, the property ofthe royal family was preserved, nationalized and made part of the Korean people’s cultural heritage. Thisincluded the court music and musicians, reorganized into the National Music Institute. The Institute wasable to preserve over 40 kinds of instruments, even though 13 types of drums were lost during the Korean War.

With the influx of Western ideas in every field at the close of World War II, public interest in the old culture continued to decline with only a few specialists and some older people maintaining any concernfor the traditional arts.

As time passed, along with increasing economic growth and political independence, renewed artistic energyand output and a fresh spirit of national pride developed; interest in the ancient culture revived, assistedby government support and encouragement. There was a vigorous drive, both privately and publiclyinspired, to preserve the traditional dances and music; and many ritual, court, and folk dances have beendesignated as intangible national cultural properties, which are protected under the law. Since 1966, various traditional performing groups have made world tours, successfully introducing the music anddance of Korea to those abroad. A member of one of these government sponsored groups was Don Kim.

Adapted from The Music Center Teacher Preparation & Study Guide: Korean Classical Music & Dance Company,by Norma Stuart and Wayne Scott Moore.

12

KOREAN INSTRUMENTS FEATURED

The songs which accompany this unit feature three Korean instruments which are frequently used toaccompany traditional folk songs.

KAYA-GUM (ki yu-gum)The kaya-gum is a long wooden zither with twelve silk stringsstretched over twelve movable bridges on a soundboard whichacts as a resonator. Its Korean origins date back to the 6th century. It is similar to the Chinese cheng and the Japanese koto.There are two versions of the kaya-gun; the original is used for court music, and thesecond version is used for folk music. The method of tuning depends upon the type of music to beplayed. The instrument is used for ensemble music, as a solo instrument and to accompany vocal music.It is a popular traditional Korean instrument.

The strings are plucked with either the fleshy part of the finger or flicked with the finger snapped frombehind the thumb. Each method produces an entirely different tone quality. Pitch is determined in twoways: by moving the bridge and by putting pressure on the string at the left of the bridge, thus changingthe vibrating length of the string. This is important since most music of the Far East is based on a variety of scales made up of notes of slightly different pitches. Three fingers of the left hand (forefinger,middle-finger, and ring-finger) stop the string, while the little finger is used to deaden the sound. Themusician usually plays in a seated position with the kaya-gum placed on the lap.

CHANG-GO (chango-go)The chang-go is a drum in the shape of an hourglass, having two heads, each tapering to a slender ‘waist,’It is the primary Korean percussion instrument and perhaps the single most popular of all Korean instruments.It is used for orchestral, ensemble and chamber music, accompaniment of vocal and instrumental solos,and is often carried by dancers. Each head of the chango-go produces contrasting timbres; one a deep andmuted tone whose thick skin is struck with the palm of the left hand, the other a sharp, harsh sound whosethin skin is struck on the right side with a stick held in the right hand. Cords, stretched between the drum

heads can be tightened or loosened to lower the pitch on the right drum head.

An ancient Central Asian instrument, the chang-go is used for court andfolk music. When it is used for folk or religious music, both sides are struckwith sticks, making it louder.

Chang-go TAN-SO (tan-so)This simple flute is made of bamboo with five or six finger holes, four (or five) on the front andone on the back. It is played vertically, and is blown from the end. Although it is very unsophisticated in appearance, it is very difficult to play. End-blown flutes are found on everycontinent, and examples exist dating from the Stone Age. (Refer to Artsource® Music Units, Xochimoki,Arco Iris and John Y. Mori.)

The tan-so can play pitches over more than two octaves. Its tone is clear and pure, making it avery popular instrument. However, it is not used to accompany dances. It is used exclusively inplaying instrumental music.

Adapted from The Music Center Teacher Preparation & Study Guide: Korean Classical Music & Dance Company,by Norma Stuart and Wayne Scott Moore.

13

Kaya-gum

Tan-so

14

Reproduction courtesy of Don Kim

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