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The gayageum or kayagum (Korean: 가야금; Hanja: 伽倻琴) is a traditional Korean musical instrument. It is a plucked zither with 12 strings, though some more recent variants have 18, 21 or 25 strings. It is probably the best known traditional Korean musical instrument. [1]
Seul (슬; 瑟) – A long zither with 25 strings, derived from the Chinese se; used today only in Munmyo jeryeak (Korean Confucian ritual music) photo; Geum (금; 琴) – A 7-stringed zither, derived from the Chinese guqin; also called chilheyongeum; used today only in Munmyo jeryeak (Korean Confucian ritual music) photo
The haegeum (Korean: 해금) is a traditional Korean string instrument, resembling a vertical fiddle with two strings; derived from the ancient Chinese xiqin.It has a rodlike neck, a hollow wooden soundbox, and two silk strings, and is held vertically on the knee of the performer and played with a bow.
The educational standard is the North Korean standard language. Chinese Korean vocabulary is very similar to the North Korean standard, as is orthography; a major exception of orthography is that the spelling of some Chinese cities is different (for example, Hong Kong is referred to by the Sino-Korean name of 香港, 향항, Hyanghang, rather ...
The koto (箏 or 琴) is a Japanese plucked half-tube zither instrument, and the national instrument of Japan. It is derived from the Chinese zheng and se, and similar to the Mongolian yatga, the Korean gayageum and ajaeng, the Vietnamese đàn tranh, the Sundanese kacapi and the Kazakh jetigen. [1]
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In the Kaya language, 'gate' is called '梁'. The Chinese character 梁 was used to write the Silla word for 'ridge', which was ancestral to Middle Korean twol 돌 'ridge', suggesting that the Gaya word for 'gate' may have been pronounced something like twol. This looks similar to Old Japanese to 1 (modern Japanese to, 戸), meaning 'door, gate'.
The geomungo's place in Korean culture is traditionally that of a scholars' instrument for self-cultivation, much like ancient Chinese had done with the guqin in China. [2] However, the Koreans never adopted the guqin as a folk instrument but instead inherited the Confucian and literati guqin lore wholesale and applied it onto their own ...