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The gayageum is employed in different types of music, leading to variations of the instrument, including the following: Pungryu gayageum is the original form, with more widely spaced strings for slower-tempo works. Sanjo gayageum is a smaller, modern version with more closely spaced strings to accommodate rapid playing.
A man playing the đàn tranh beside the singer. The đàn tranh (Vietnamese: [ɗâːn ʈajŋ̟], 彈 箏) or đàn thập lục [1] is a plucked zither of Vietnam, based on the Chinese guzheng, from which are also derived the Japanese koto, the Korean gayageum and ajaeng, the Mongolian yatga, the Sundanese kacapi and the Kazakh jetigen.
The zheng (pinyin: zhēng; Wade–Giles: cheng) or guzheng (Chinese: 古筝; pinyin: gǔzhēng; lit. 'ancient zheng'), is a Chinese plucked zither. The modern guzheng commonly has 21, 25, or 26 strings, is 64 inches (1.6 m; 5 ft 4 in) long, and is tuned in a major pentatonic scale. It has a large, resonant soundboard made from Paulownia wood ...
Gayageum player who went to China to study guqin under Li Xiangting. Has an album published in Korea called 琴聲還鳴 (금성환명). Sakata Shinichi 坂田進一 (act.) Japan Guqin player, composer, scholar in the Japanese and Chinese traditional music, writer, director of Tokyo Kin-sha (Tokyo Qin Society). Vigo, Joan M 易兆安 (act.) Spain
The kacapi is a traditional zither of Sundanese people in Indonesia.This musical instrument is similar to Chinese guzheng, Japanese koto, the Mongolian yatga, the Korean gayageum, the Vietnamese đàn tranh and the Kazakh jetigen.
The track was featured on the singer’s Grammy-winning album, 25. Image credits: Adele. Reacting to a clip of the two songs, many netizens agreed that Adele’s and da Vila’s melodies sounded ...
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]
After producing his fifth gayageum album in 2007, Hwang continued to compose innovative Korean music. Ranging in style from the evocation of traditional genres to avant-garde experimentation, a selection of these pieces is available on a series of five albums. He was an emeritus professor of Korean music at Ewha Womans University.