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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.
Geomungo Gayageum. Gayageum (가야금; 伽倻琴) – A long zither with 12 strings; modern versions may have 13, 15, 17, 18, 21, 22, or 25 strings; Geomungo (거문고) – A fretted bass zither with six to eleven silk strings that is plucked with a bamboo stick and played with a weight made out of cloth
After unification, the music of Silla experienced the influx of diverse music from Baekje and Goguryeo with the wider development of hyangak, especially in gayageum, geomungo, bipa of three string instruments and other three pipes. [15] Additionally, music from the Tang dynasty was introduced under the reign of King Munmu.
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 ...
The first evidence of Korean music appeared in the extant text of Samguk sagi (History of the three kingdoms) in 1145, which described two string-like instruments; Gayageum and Geomungo. [1] Traditional Korean music was brought to heights of excellence under the kings of the Joseon dynasty between 1392 and 1897.
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.
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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.