Goryeo Music
Introduction
The music of the Goryeo dynasty (918–1392) represents a significant period in the history of Korean music, characterized by the synthesis of indigenous Korean musical traditions with influences from neighboring cultures, particularly those of China and Central Asia. This era saw the development of court music, religious music, and folk music, each contributing to the rich tapestry of Goryeo's musical heritage. The Goryeo period is notable for the establishment of a distinct musical identity that would influence subsequent Korean musical developments.
Historical Context
The Goryeo dynasty emerged following the unification of the Later Three Kingdoms under King Taejo. During this time, the Korean peninsula was a cultural crossroads, absorbing and adapting elements from the Tang and Song dynasties of China, as well as from the broader Silk Road network. The Goryeo court actively engaged in cultural exchanges, which included the importation of musical instruments and styles. This era also saw the codification of musical practices and the establishment of institutions dedicated to music and performance.
Court Music
Court music, or "aak," played a central role in the ceremonial and ritual life of the Goryeo court. It was heavily influenced by Confucian ideals, emphasizing order, harmony, and propriety. The court maintained a music bureau, known as the "Aaksa," responsible for the performance and preservation of court music. Aak was performed during state rituals, banquets, and diplomatic events, showcasing the cultural sophistication of the Goryeo court.
Instruments
The instrumentation of Goryeo court music included both indigenous and imported instruments. Indigenous instruments such as the gayageum and geomungo were prominent, alongside imported instruments like the pipa and guqin from China. The integration of these instruments created a unique soundscape that was both familiar and exotic to contemporary audiences.
Repertoire
The repertoire of Goryeo court music was diverse, encompassing both native compositions and adaptations of Chinese works. The "Bongnaeui" and "Yeomillak" are examples of pieces that were performed during important state ceremonies. These compositions were characterized by their stately tempos and intricate melodic lines, reflecting the ceremonial nature of their performance contexts.
Religious Music
Religious music in the Goryeo period was primarily associated with Buddhist practices, which were a dominant spiritual force during this era. Buddhist music, or "beompae," was performed in temples and monasteries, serving both liturgical and meditative purposes. The Goryeo dynasty was known for its patronage of Buddhism, which facilitated the flourishing of religious music.
Buddhist Chanting
Buddhist chanting, an integral component of beompae, was characterized by its solemn and repetitive nature, intended to aid meditation and spiritual reflection. Chants were often performed by monks and nuns, utilizing a range of vocal techniques to convey the sacred texts. The "Beompae" and "Hwaeomgyeong" are notable examples of Buddhist musical works from this period.
Instrumental Accompaniment
In addition to vocal chanting, instrumental accompaniment played a role in Buddhist music. Instruments such as the moktak (wooden percussion instrument) and bamboo flute were used to enhance the spiritual ambiance of religious ceremonies. These instruments provided a rhythmic and melodic foundation for the chants, creating an immersive auditory experience.
Folk Music
Folk music during the Goryeo dynasty was an expression of the everyday life and cultural identity of the Korean people. It encompassed a wide range of musical forms, from work songs and lullabies to festive dance music. Unlike court and religious music, which were more formalized, folk music was characterized by its spontaneity and regional diversity.
Work Songs
Work songs, or "nongyo," were an essential part of agricultural life, helping to coordinate labor and alleviate the monotony of repetitive tasks. These songs often featured call-and-response structures and were performed by groups of workers in the fields. The lyrics of work songs typically reflected themes of nature, labor, and community.
Dance Music
Dance music, or "jeongjae," was performed during festivals and celebrations, providing entertainment and fostering social cohesion. This genre of music was lively and rhythmic, often accompanied by traditional Korean dances. Instruments such as the janggu (hourglass drum) and taepyeongso (double-reed wind instrument) were commonly used in dance music ensembles.
Musical Notation and Theory
The Goryeo period saw the development of musical notation systems that facilitated the transmission and preservation of musical knowledge. The "Jeongganbo" system, which used a grid-based notation, was one of the earliest forms of musical notation in Korea. This system allowed musicians to record and share compositions, contributing to the continuity of musical traditions.
Theoretical Developments
Theoretical writings from the Goryeo period reflect a sophisticated understanding of music, encompassing concepts of melody, rhythm, and harmony. These writings often drew from Chinese musical theory, adapting it to the Korean context. The "Akhak Gwebeom," a later compilation of musical theory, includes references to Goryeo musical practices, highlighting the enduring influence of this period on Korean musicology.
Legacy and Influence
The musical traditions of the Goryeo dynasty laid the foundation for subsequent developments in Korean music. The synthesis of indigenous and foreign elements during this period created a distinctive musical identity that would be further refined in the Joseon dynasty. Goryeo music also influenced neighboring cultures, contributing to the broader East Asian musical landscape.