Pansori
is a Korean genre of musical storytelling performed by a singer and a drummer. The term ' is a compounds of the Korean words and , the latter of which means "sound." However, pan has multiple meanings, and scholars disagree on which was the intended meaning when the term was coined. One meaning is "a situation where many people are gathered." Another meaning is "a song composed of varying tones."
In music, Gugwangdae describes a long story that takes as little as three hours and as much as eight hours or more. It is one of the traditional forms of Korean music that mixes body movements and songs to the accompaniment of a buk drum played by a gosu. The dramatic content of the drama is changed according to various rhythms based on the melody of Korea's local music. Pansori was originally called the "sori", and it was called Taryeong, Japga, Clown Song, and Geukga. It was also commonly used in terms such as Changgeukjo.
In the late 20th century, the sorrowful "Western style" of pansori overtook the vigorous "Eastern style" of pansori, and pansori began being called the "sound of han". All surviving pansori epics end happily, but contemporary pansori focuses on the trials and tribulations of the characters, commonly without reaching a happy ending because of the contemporary popularity of excerpt performances. Such modern changes to the character of pansori, including its recent emphasis on han, have led to concern within the traditional performing community.
Pansori has been designated as Korea's National Intangible Cultural Heritage No. 5 since 1964. On November 7, 2003, pansori was registered as the UNESCO's Masterpiece of the Oral and Intangible Heritage of Humanity of Korea. In 2011, the pansori practiced by the ethnic Koreans in China were also nominated as the UNESCO's intangible cultural heritage by the governments of Yanbian Korean Autonomous Prefecture and Tieling.
Originally a form of folk entertainment for the lower classes, pansori was embraced by the Korean elite during the 19th century. While public interest in the genre temporarily declined in the mid-20th century, today's South Korean public and government are passionate in registering and recognizing many pansori singers as "living national treasures of Korea." North Korea, on comparison, has yet to implement the systematic support of pansori at the government level, as Kim Jong Il believed that ''pansoris performance voice was too hoarse and did not distinguish between male and female to suit the taste of today's people.
Name
Pansori is a form of musical entertainment that has persisted in Korea from the 17th century to the present day.A related term, "pannoreum," refers to plays such as Sandae-do Gamgeuk and geundu, as well as tightrope walking. The pansori of the Joseon Dynasty included sijo poetry accompanied by music. Therefore, it is not appropriate to refer to pansori as Changgeuk or Changgeukjo. Changgeuk is based on the name of Pansori dramatized after Wongaksa Temple, but it is not suitable for pure Pansori. Therefore, Changgeukjo is appropriate for the musical term of the song sung in Changgeuk, but it is not appropriate for the form of pansori.
"Pansori" as a musical term originated independently from the term "pannol". Likewise, the literary form of this form of pansori is also called pansori. It is therefore necessary to distinguish between pansori as a musical term and pansori as a literary term, but it is still appropriate to use the term "pansori" to refer to sijo.
Description
Pansori performances are performed by "Clown", "Gosu", and "Audience".A clown sings with a fan in their right hand, and the singing part and the speaking part intersect. The singing part is called "aniri" or "broader" in terms of sound and speech, which is called "applied" or "spacious."
Gosu is another important component of the performance that plays drums. As the expression "one Gosu two master singers" is often used, in the soundboard, a singer and a clown lead the game together. The drummer beats the emotional circuit of the song and adds more charm to the performance.
Rather than listening quietly, the audience adds a "Chu-imsae".
''Pansori'' repertoire
During the 18th century, 12 song cycles, or madang, were established as the repertoire of pansori stories. Those stories were compiled in Song Man-jae's Gwanuhi and Jeong No-sik's Joseon Changgeuksa.Of the 12 original madang, only five are currently performed. They are as follows.
Contemporary performances of the madang differ greatly from the original works. Rather than performing an entire madang, which can take up to 10 hours, musicians may only perform certain sections, highlighting the most popular parts of a madang.
Transmission
Pansori training has historically been conducted through one-on-one apprenticeships with pansori masters. Apprentices first learn to perform in the style of their teacher before developing their own personal style and technique. Significant time and care is taken to memorize and internalize the repertoire.Relationship between Shaman songs and ''Pansori''
If Pansori comes from a shaman's husband, a clown, the musical wish should be saved in their connection. The rhythm of the unearned value shared by "Lee Bo-hyung" is as follows:1. Sinawi-Gwon: This is called the "Yukja-baegi-jo" and belongs to the southern part of the Han River in Gyeonggi-do and Chungcheong-do and Jeolla-do provinces.
2. Menarizo : This is called an "Sanyuhwa-garak", and "Gyeongsang-do" and "Gangwon-do" provinces belong to it.
3. Susimga·Sanyeombuljo: "Pyeongan-do" and "Hwanghae-do" provinces
4. Changbu Taryeong ·Noraegarakjo: belong to Muga in northern Gyeonggi Province, Kaesong, Seoul, Cheorwon, and Yangju.
In addition, there is a theory that "Gyeong-dereum" is similar to the rhythm of the northern Gyeonggi Muga's Changbu Taryeong.
Again, the rhythm of Pansori has a tempo from the slow beat of Jinyangjo, Jungmori, Jungjungmori, Jajinmori, Hwimori, Ujungmori, etc. It is necessary to value the term "Mori" that appears here. In other words, if you compare Salpuri Gut in Jeolla-do Province, which is called Sinai Gijo, and Do Salmori, Balae in Gyeonggi-do and Chungcheong-do provinces, the sound of goso sung by clowns is Jungmori, especially in old Hongpagosa and Antaek.
Therefore, it is the Muga of Hongpae Gosa, Seongjo, and Antaek, which are called by this southern clown, that is, the theory that pansori was produced in the clowns of Chungcheong-do. This is a problem that needs to be further clarified in the future, but even from this, it can be seen that the reasoning that pansori came from the reading voice that some argue is vain. Since clowns are folk singers, it would be right to say that they assimilated various folk songs based on the rhythm of these mugas and completed them. However, even if the song was originally adopted at the time of its establishment, it would have refined in the process of transmission and developed a new style as a pansori, which seems to be the result of this effort.
History
Origins: 17th century
Pansori is thought to have originated in the late 17th century during the Joseon Dynasty. The earliest performers of pansori were most likely shamans and street performers, and their audiences were lower-class people. It is unclear where in the Korean peninsula pansori originated, but the Honam region eventually became the site of its development.Expansion and golden age: 18th–19th centuries
It is believed that pansori was embraced by the upper classes around the mid-18th century. One piece of evidence that supports this belief is that Yu Jin-han, a member of the yangban upper class, recorded the text of Chunhyangga, a famous pansori he saw performed in Honam in 1754, indicating that the elite attended pansori performances by this time.The golden age of pansori is considered to be the 19th century when the genre's popularity increased and its musical techniques became more advanced. During the first half of the 19th century, pansori singers incorporated folk songs into the genre, while using vocal techniques and melodies intended to appeal to the upper class. Purely humorous pansori also became less popular than pansori that combined humorous and tragic elements.
Major developments in this period were made by pansori researcher and patron Shin Jae-hyo. He reinterpreted and compiled songs to fit the tastes of the upper class and also trained the first notable female singers, including Jin Chae-seon, who is considered to be the first female master of pansori.
Western performing arts first made their way to Korea in the late nineteenth century. Jeong Du-won brought Western music concept to Korea for the first time in 1632. He became familiar with Western music via the teachings of Chinese Catholic priests. Lee Eun-Dol, the first Korean to study Western music at the Japanese Army's staff sergeant school, began coaching bugle bands in Seoul in 1882. Seo Sang's 1884 presentation of Yun's religious music, notably protestant songs, also had a considerable effect.