- Library Home /
- Search Collections /
- Open Collections /
- Browse Collections /
- UBC Theses and Dissertations /
- Drinking straws and shaman melodies: a historical and...
Open Collections
UBC Theses and Dissertations
UBC Theses and Dissertations
Drinking straws and shaman melodies: a historical and analytical study of the taepyeongso Francis, Aaron
Abstract
This paper is about the taepyeongso (also known as hojoek, saenap, nallari), a Korean double-reed instrument closely related to the Chinese suona and a descendent of the Persian zurna. The instrument is examined from a number of perspectives: historical, theoretical, practical, and personal. For historians and musicologists, I compile core background information about the instrument from a variety of key sources; for amateur players and avid listeners, I attempt to provide new avenues for theoretical understanding and analytical inquiry. My own experience as a participant in learning the music in Korea serves as a backdrop to later analyses of melodic forms and structures from the taepyeongso “folk” repertoire. The repertoire may be divided into main three regional styles: neunggye (or gyeong-tori) in the central regions, sinawi in the southwest, and menari in the east. I examine each of these styles in relation to Korean theoretical perspectives on mode and melody. I then focus on gyeong-tori melodies, demonstrating through transcription and analysis of commercial recordings four characteristic approaches to variation and improvisation. In addition to musical analysis, I provide short biographies of important performers, a catalogue of performance contexts, and basic background to the instrument’s construction and playing technique.
Item Metadata
Title |
Drinking straws and shaman melodies: a historical and analytical study of the taepyeongso
|
Creator | |
Publisher |
University of British Columbia
|
Date Issued |
2008
|
Description |
This paper is about the taepyeongso (also known as hojoek, saenap, nallari), a Korean double-reed instrument closely related to the Chinese suona and a descendent of the Persian zurna. The instrument is examined from a number of perspectives: historical, theoretical, practical, and personal. For historians and musicologists, I compile core background information about the instrument from a variety of key sources; for amateur players and avid listeners, I attempt to provide new avenues for theoretical understanding and analytical inquiry. My own experience as a participant in learning the music in Korea serves as a backdrop to later analyses of melodic forms and structures from the taepyeongso “folk” repertoire. The repertoire may be divided into main three regional styles: neunggye (or gyeong-tori) in the central regions, sinawi in the southwest, and menari in the east. I examine each of these styles in relation to Korean theoretical perspectives on mode and melody. I then focus on gyeong-tori melodies, demonstrating through transcription and analysis of commercial recordings four characteristic approaches to variation and improvisation. In addition to musical analysis, I provide short biographies of important performers, a catalogue of performance contexts, and basic background to the instrument’s construction and playing technique.
|
Extent |
3950171 bytes
|
Genre | |
Type | |
File Format |
application/pdf
|
Language |
eng
|
Date Available |
2008-09-02
|
Provider |
Vancouver : University of British Columbia Library
|
Rights |
Attribution-NonCommercial-NoDerivatives 4.0 International
|
DOI |
10.14288/1.0066569
|
URI | |
Degree | |
Program | |
Affiliation | |
Degree Grantor |
University of British Columbia
|
Graduation Date |
2008-11
|
Campus | |
Scholarly Level |
Graduate
|
Rights URI | |
Aggregated Source Repository |
DSpace
|
Item Media
Item Citations and Data
Rights
Attribution-NonCommercial-NoDerivatives 4.0 International