• The Journal of the Korea Contents Association
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• v.12 no.3
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• pp.114-122
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• 2012

Traditional music should be succeeded and developed through the systematic education since music represents culture and history of one country. In Korea, even through the importance of Korean traditional music has been emphasized through the seven times of revision of national curriculum, music education has been still Western-oriented. This study aims to make students have experience Uttari Samul-nori and investigate the perception changes about the Korean traditional music. It is ultimately expected that students inherit the Korean traditional music and further recreate our own traditional culture. Samul-nori class was organized in the regular music curriculum twice a week, for 10 hours and various activities were tried during that time. 1st-year high school students participated in this research and they were allowed to play Samul instruments directly and play the basic rhythm suggested in the newly designed curriculum. Before and after the research, the questionnaires were sent to examine the attitude changes toward the Korean traditional music. The result of the questionnaire are as follows: First, Samul-nori activities affect positively the students' interest in the Korean traditional music and Samul-nori itself. Second, Danso(short bamboo flute) education which has been implemented most frequently during the Korean music education, is not satisfactory to the students. Third, students were satisfied with the new teaching method of Samul-nori and most students wanted to continue to take Samul-nori class. Last, students recognized the importance of Korean traditional music education after the research activities.

• (The) Research of the performance art and culture
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• no.41
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• pp.353-380
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• 2020

Samul nori/Pungmul-gut is the symbol of ethnic identity for the Koreans abroad. It is the representative diaspora musical genre which is performed many cultural events held by Koreans. It is, at the same time, a global music which is appreciated by not only the Koreans but also the foreigners. Many musical communities in various countries exhibit the cultural migration through the discourse of 'tradition/variation' and 'authenticity/hybridity' in the course of the acculturation and enculturation of samul nori/pungmul-gut. The pungmul-pae 'Bichoe June' active in Toronto, Canada was organized by a foreign performer. For the foreigners pungmul-gut is easy to access as a genre of world music. As a percussion ensemble, it is easy to learn for the foreigners. The pungmul-pae 'Bichoe June' is a 'music community' consist of the Koreans and foreigners. The band tries to preserve the traditionality and authenticity of the Korean music. There is no variation or hybridity in its music since the member still learns the authentic music through various available textbooks and internet sites. Through the participation of the Koreans and foreigners, the band stimulates the globalzation of the pungmul-gut. The enculturation of the pungmul-gut is exhibited in two performances held by the band. One was host by the Canadian progressive group and the other was by the Korean conservative community. The former understood the nature of pungmul-gut as the music of the common people. The latter, however, accepted the music as the representative traditional music but was not easy to enjoy the 'noisy' music. In other words, the positive/negative acceptance of the pungmul-gut depends of the ideological nature of the listeners rather than the ethnical nature.