Music of Korea

This article is about music of Korea prior to 1945. For Korean music after 1945, see Music of South
Korea and Music of North Korea.

Traditional music parade in Seoul.

The music of Korea refers to music from the Korean

peninsula ranging from prehistoric times to the division
of Korea into South and North in 1945. It includes court
music, folk music, poetic songs, and religious music
used in shamanistic and Buddhist
traditions.[1] Together, traditional Korean music is
referred to as gugak(Hangul: 국악), which literally
means "national music."[2]

History[edit]

Proto-Three Kingdoms of Korea[edit]

Not much is known about music from the Proto-Three Kingdoms of Korea period (before 57 BCE). It is
believed that Korean people practiced shamanistic rituals involving music at agricultural
festivals.[1] Tomb murals and ceramics from this period depict string instruments with complex features
that suggest the instruments were quite developed.[3]

Three Kingdoms of Korea[edit]

The Three Kingdoms of Korea refers to the period from 57 BCE to 668 CE when the Korean peninsula
was ruled by three kingdoms: Goguryeo, Baekje, and Silla.[4] Each kingdom was known for favoring
different musical instruments.[5]

Goguryeo[edit]

In Goguryeo, an oboe called a piri, a lute called a bipa, and a zither that is still used today called
a geomungo were popular instruments.[5] According to the Korean historical record, Samguk sagi,
written in 1145, the geomungo was invented by prime minister Wang San-ak, who had received a
Chinese zither called a guqin as a gift. Wang did not know how to play the guqin so he used it as a model
in order to build a new instrument he called the geomungo.[6] A painting of the instrument is found in a
tomb in modern-day Jilin Province, China.[7]

The Chinese historical text Records of the Three Kingdoms noted "The people of Goguryeo like to sing
and dance. Men and women in villages throughout the country gather every night to sing and
dance."[8]Surviving songs from the era include, "Song of the Turtle," and "Song of Nightingales," the
latter of which was sung by King Yuri of Goguryeo.[8]

Baekje[edit]

The only song of Baekje conveyed until now is Jeongeupsa (en hangul: 정읍사), but since there are no
specific relics such as the mural tombs of Goguryeo, it is quite difficult to grasp what it would be like. It is
evident that Baekje also celebrated a harvest festival in May and October similar to that of Goguryeo.[9]

The music of Baekje was known to Liu Song Dynasty and Northern Wei, while some music players were
invited to Japan.[10] Notably, a man of Baekje named Mimaji (en hangul: 미마지) learned music and
dance in China and emigrated to Japan in 612.[11][12] In 2001, Emperor of Japan Akihito said the music
of Baekje is the root of Japanese royal music, since Emperor Kanmu (r.871-896) himself was a
descendent of King Muryeong. (r.501-523).[10]

Silla[edit]

The museum of Ureuk in Goryeong, Gyeongssangbuk-do where it demonstrates the development of

music in Gaya and Silla.

Before Silla unified three kingdoms, the music of Silla

is represented by a traditional
instrument, gayageum which was said that Ureuk
from Gaya brought it in the reign of King
Jinheung when his kingdoms were incorporated by
Silla forces. Although Samguk Sagi conveys 12 names
of compositions Ureuk did, those are not fully
inherited. In 13th year of Jinheung, Ureuk taught
gayageum, songs and dances to three disciples of
Gyego, Beopji y Mandeok.[13]

Later the famed scholar, Choi Chiwon who studied in Tang dynasty away from bone rank system of Silla
chartered five poems of hyangak (The local music) which depict performing arts in Silla toward the end
of its era. These figures are found in history books, Goryeosa as a court ballet performance consisting of
hyangak and dangak in subcategories of Korean music.[14]

North and South States Period[edit]

Unified Silla[edit]

After unification, the music of Silla experienced the influx of diverse music from Baekje and Goguryeo
with wider development of hyangak, especially in gayageum, geomungo, bipa of three string
instruments and other three pipes.[15] Additionally, music from Tang dynasty was introduced under the
reign of King Munmu. The Buddhist chant, Beompae (hangul 범패, hanja 梵唄) was widely adopted with
variety of instruments, forming a unique art of Silla.[16][17] During unified Silla, the royal institute of
music (en hangul:음성서) was established.[18]

Goryeo Dynasty[edit]

Taejo of Goryeo, the founder of Goryeo followed several customs of Silla which can be found in series of
Buddhist celebrations such as Palgwanhoe and Yeondeunghoe. However, the influence of Silla
dramatically diminished in the middle of its period owing to the influx of musics from Song, establishing
a strong influence on Korean court music.[16] A large banquet where performances handed down from
Silla such as the sword dance was conducted.[19] Most of Goryeo songs were recorded in Akhak
gwebeom after the 15th century of which features were the lyrics of Korean language, different from
those of previous eras.[19]

Goryeo court dance named jeongjae can be divided into two categories: native dances of hyangak
jeongjae(향악정재); Tang-derived dangak jeongjae (당악정재). Additionally, folk dances were practiced
by monks and shamans.[20][self-published source]

Joseon Dynasty[edit]

As Yi Seong-gye founded Joseon in 1392, the itot batad dynasty adopted anti-Buddhism and pro-
Confucianism which affected the musical pattern of Yeak (예악, 禮樂). Although some scholars
like Jeong Do-jeon made several songs for celebrating the initial moments of Joseon, the notation
followed the trends of Goryeo.

Joseon periods saw considerable developments of its music during the reign of Sejong which were
largely attributable to a musician Park Yeon.[21] Park firstly established an independent organ of music
and created Korean-style notation including Jeonganbo (en Hangul: 정간보). King Sejong himself also
composed songs.[22] A son of Sejong, Sejo who killed his nephew, Danjong also recorded his own score
in pitch pipe notation. The two kings above are the only rulers whose musical records are now
traceable.[23]

Music and dance enjoyed favorable positions in the court banquets and also within elite yangban class.
The feasts hosted by high-rank officers involved in several entertainers like clowns and
acrobats.[24] After the middle of its period, what-so-called middle men (중인, Jungin) came to play
diverse instruments mixing lyric poems and long cyclical songs.[24]

A page of "Akhakgwebeom".
The process of compiling traditional Korean music continued until the reign of Seongjong with the
publication of first independent musical text Akhakgwebeom.[25]

Because of two mega-hit wars, the culture of Joseon went through series of hardship which resulted the
loss of instrumental music and songs in court and also royal shrine.[26] The musical situation in the late
Joseon can be described as declining contrary to its expansion period.[27]

Ancestor worship ceremonies called Munmyo jerye and Jongmyo jerye were revived and performed
annually, chiefly to commemorate the deaths of Confucian scholars and Korean kings.[28]

The public enjoyed the genre of pansori, sanjo and namsadang-nori.[24][29] Pansori first emerged as a
common culture in the mid-Joseon. Although it’s hard to grasp exact points of its evolution, the oral
tradition of this genre came to be followed by musical experts only to expand its sphere not only to
commoners but also to aristocrats.[30]

In 1894, Joseon government dispatched ten court musicians to Boston Exposition in the United States to
build an independent foundation.[31]

After Korean Empire[edit]

Joseon was transformed into the Korean Empire with a view to organizing its sphere out of the external
interruption, while the rituals of empires were revived and practiced Confucian court music to celebrate
expansion of the nation. However, the Japanese colonization of Korea in 1910 brought tremendous
change inside and outside Korea with an influence of western music. After the collapse, Korean court
music found almost no way to make celebrations and rituals, which was replaced with marching songs.
Instead of pansori and gagok, the musical trends were largely changed into modern-style performances
and classical music. Followed by cultural suppression in the 1920s, Korean traditional music barely
survived.

Folk music[edit]

Korean folk music or minyo, is varied and complex, but all forms maintain a set of rhythms (called
장단; Jangdan) and a loosely defined set of melodic modes owing to diverse instruments, while even
drums were eligible to demonstrate variety of rhythmic cycles.[32]

Because the folk songs of various areas are categorized under Dongbu folk songs, their vocal styles
and modes are limited. Therefore, currently, scholars are attempting to categorize the Dongbu folk
songs further, based on different musical features. These songs are mostly simple and bright. Namdo
folk songs are those of Jeolla Province and a part of Chungcheong Province. While the folk songs of
other regions are mostly musically simple, the folk songs of the Namdo region, where the famous
musical genres pansori and sanjo were created, are rich and dramatic. Some Namdo folk songs are used
in pansori or developed by professional singers and are included as part of their repertories. Jeju folk
songs are sung on Jeju Island. Jeju folk songs are more abundant in number than any other regional folk
songs, and approximately 1600 songs are transmitted today. Jeju folk songs are characterized by their
simple and unique melodic lines and rich texts.

Pansori[edit]

Pansori (판소리) is a long vocal and percussive music played by one singer and 1 drummer. In this
traditional art form, sometimes rather misleadingly called 'Korean Opera',[24] a narrator may play the
parts of all the characters in a story, accompanied by a drummer. The lyrics tell one of five different
stories, but is individualized by each performer, often with updated jokes and audience participation.
One of the most famous pansori singers is Park Dongjin (hangul: 박동진). In 2003, Pansori was
designated as intangible cultural property in UNESCO's Memory of the world.[33]

The National Theatre of Korea provides monthly opportunities to experience traditional Korean
narrative songs or Pansori.

Pungmul[edit]

Pungmul

Main article: Pungmul

Pungmul:(풍물) is a Korean folk music tradition that is a

form of percussion music that includes drumming,
dancing, and singing.[34] Most performances are
outside, with dozens of players, all in constant
motion. Samul Nori, originally the name of a musical
group founded in 1978, has become popular as a genre,
even overseas.[35] It is based on Pungmul musical
rhythmic patterns and uses the same instruments, but
is faster and usually played while sitting down.

Sanjo[edit]

Sanjo:(산조) is played without a pause in faster tempos as one of the most popular genres of traditional
Korean music.[36] It is entirely instrumental music, and includes changes in rhythmic and melodic
modes during an individual work. The tempo increases in each movement. The general style of the sanjo
is marked by slides in slow movements and rhythmic complexity in faster movements. Instruments
include the changgo drum set against a melodic instrument, such as
the gayageum or ajaeng.[34]Famous practitioners include such names as Kim Chukp'a, Yi
Saenggang and Hwang Byungki. Notably Hwang established new type of sanjo genre which involved in
repertory of gayageum on the basis of aiming to identify and explain distinctive musical features and
creativity.[37]
Jeongak[edit]

Jeongak (정악, 正樂) or Chongak means literally "right (or proper) music", and its tradition includes both
instrumental and vocal music, which were cultivated mainly by the upper-class literati of
the Joseonsociety.[38] The instrumental branch has several versions of a lengthy chamber,
chiefly Yongsan hoesang, while the vocal branch sometimes include the meaning of jeongga (Right Song)
with a wide range of gagok, gasa, and sijo.[32]

Although jeongak has things in common with court music but it can't be categorized as popular song
since most public would never hear of these melodies by incorporating various court dances.[32] Vocals
performed in jeongak are normally sung in a style of kagok (가곡), which is for mixed male and female
singers and is accompanied by a variety of instruments.[39] The best-known piece of jeongak
is Yeongsan hoesang of 9 suites which has now had only instrumental notes.[39]

Nongak[edit]

Nongak parade of several players.

Nongak (농악) refers to "farmers' music" and represents an important musical genre which has been
developed mainly by peasants in the agricultural society of Korea. The farmers' music is performed
typically in an open area of the village. The organization of nongak varies according to locality and
performing groups, and today there are a great number of regional styles and involvement of many
instruments. Since Nongak involves in many types of dances and formation changes, the dancers and
players have several types of artistic format due to their level of skill.[40]

Shinawi[edit]

Shinawi or Sinawi (시나위), means, in the broadest sense, the shamanistic music of Korea which is
performed during a Korean shaman's ritual dance performance to console and to entertain deities
mainly from Korea's southwest region.[41] In this sense of the word, the term is almost identical with
another term, shinbanggok (lit. 'spirit chamber music'), which indicated general shamanistic music
performed at a folk religious ceremony known as kut.[42] The format of this genre is comparatively
loose with several dancers being united and dispersed on the stage.[39]

Salpuri[edit]

Salpuri (살풀이)[citation needed] is a shamanistic ritual dance, conducted as exorcism of bad

ghosts.[43] The style of this ritual dance is characterized simple and serene. The long scarf with fluid
lines express long lines of the arms and fingers of the dancer from corner to corner of the space, utilizing
the vastness of space all the way.[44]

Court/Ritual music[edit]

Korean court music preserved to date can be traced to the beginning of the Joseon Dynasty in 1392. It is
now rare, except for government-sponsored organizations like The National Center for Korean
Traditional Performing Arts.[45]

There are three types of court music.[46]

Aak is an imported form of Chinese ritual music.

Hyang-ak is a Pure Korean form.

Dang-ak is a combination of Korean and Chinese influences.

Aak[edit]

The word Aak is the Korean pronunciation of two hanja characters, which indicate the equivalent form
of yayue in Chinese and gagoku in Japan.[47] Since Confucius used this term to distinguish elegant and
beneficial music from the melodies without harmony, it enjoyed favorable status during Joseon. Derived
from wider types of notations, Korea has maintained its melodies until now of which features were long
lost in China.[47] Aak is considered a special type of court music in specific ritual ceremonies[47] at very
rare concerts, such as the Sacrifice to Confucius in Seoul.[48]

Dang-ak[edit]

Dangak or Tangak refers to the music which came from the Tang dynasty.[49] The instruments from
Tang were imported. During the 12th century, Korea received musical instruments as gifts from the
Chinese ruler, which were used by the orchestra at Confucian rituals.[50] These influences provided
Unified Silla with robust opportunities to develop its music culture after Korean performers' visits to
China and vice versa Chinese performers visited Korea in 1116.[51]

Hyang-ak[edit]
Hyangak literally means The local music or Music native to Korea of which example is Sujecheon, a piece
of instrumental music as old as 1,300 years.[52] Hyangak firstly appeared as early as during Silla period
with four ensemble stringed instrument with woodwind instruments similar to the oboe, called
a piri.[53] Pares and English indicate the texts of Goryeosa: The most significant dates for music hyangak
(indigenous music; other texts refer to this as sogak) were 1114 and 1116, when the court received two
gifts from the eighth Song emperor, Huizong. Korea was fast becoming a Confucian state and kings had
begun to observe Confucian rites to heaven, to agriculture, land and grain, and to royal ancestors.[54]

Yongbieocheonga, Songs of the Dragons Flying to Heaven represents its uniqueness as hyangak, which
was originally tuned to various notes and lyrics but the text was lost and purely instrument rhythm left.

Traditional instruments[edit]

Traditional Korean instruments can be broadly divided into three groups:

String

Wind

Percussion

Percussion folk instruments include jing (large hanging gong), kkwaenggwari (hand-held
gong), buk (barrel drum), janggu (hourglass drum). The bak (clapper) and the janggu (hourglass drum)
are the percussion T'ang instruments. Percussion court includes the pyeongjong (bronze
bells), pyeongyeong (stone chimes), chuk (square wooden box with mallet) and eo (tiger-shaped
scraper).

Contemporary music[edit]

Main articles: Music of South Korea, K-Pop, and Music of North Korea

BTS is one of the many successful acts of Korean

contemporary music.

Korea is a vibrant environment for contemporary

music, and produces a wide array of styles. The
country has produced internationally prominent
soloists and acts such as Psy, BoA, Rain, IU, Epik High, Wonder Girls, TVXQ, Super Junior, Girls'
Generation, SHINee, EXO, Big Bang, 2NE1, NCT, Seventeen, Momoland, Twice, GOT7, BTS and BlackPink,
whose music have become a worldwide phenomenon. Their music, though often electronic pop, hip-
hop and/or R&B in essence, is generally grouped under a genre called K-pop, which emerged during the
1990s and has since become increasingly and continuously popular as part of the Korean Wave.

String[edit]
Korean string instruments include those that are plucked, bowed, and struck. Most Korean string
instruments use silk strings, except as noted.

Plucked[edit]
Zithers[edit]

 Gayageum (hangul: 가야금; hanja: 伽倻琴) – A long zither with 12 strings; modern versions may
have 13, 17, 18, 21, 22, or 25 strings
 Geomungo (hangul: 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
o Cheolhyeongeum (hangul: 철현금; hanja: 鐵絃琴) – A geomungo with 8 steel strings plucked
with a bamboo stick and played with a slide made out of either glass or metal in the manner
of a slide guitar, developed in the 20th centuryphoto 1photo 2
 Daejaeng (hangul: 대쟁; hanja: 大筝) – A long zither with 15 strings, slightly larger than
the gayageum; it was used during the Goryeo period but is no longer usedphoto
 Seul (hangul: 슬; hanja: 瑟) – A long zither with 25 strings, derived from the Chinese se; used
today only in Munmyo jeryeak (Korean Confucian ritual music)photo
 Geum (hangul: 금; hanja: 琴) – A 7-stringed zither, derived from the Chinese guqin; also
called chilheyongeum; used today only in Munmyo jeryeak (Korean Confucian ritual music)photo
 Ongnyugeum (hangul: 옥류금; hanja: 玉流琴) – A large modernized box zither with 33 nylon-
wrapped metal strings, developed in 1973; used only in North Korea
(pronounced ongryugeum in North Korea)photo 1photo 2photo 3
Harps[edit]

 Gonghu (hangul: 공후; hanja: 箜篌) – Harps (no longer used). There were four subtypes
according to shape:
o Sogonghu (hangul: 소공후; hanja: 小箜篌; literally "small harp") – harp with angled sound
box, 13 strings, and a peg that is tucked into the player's beltphoto
o Sugonghu (hangul: 수공후; hanja: 豎箜篌; literally "vertical harp") – vertical harp without
sound box and 21 strings photo
o Wagonghu (hangul: 와공후; hanja: 臥箜篌; literally "lying down harp") – Arched harp with a
large internal sound box and 13 strings, similar to Burmese saung gauk photo
o Daegonghu (hangul: 대공후; hanja: 大箜篌) – large vertical harp with 23-strings
Lutes[edit]

 Bipa (hangul: 비파; hanja: 琵琶) – A pear-shaped lute with five strings
(hyangbipa or jikgyeongbipa) or four strings (dangbipa). Uncommon today; most modern
recreations are modelled on the Chinese pipa
 Wolgeum (hangul: 월금; hanja: 月琴) – A lute with a moon-shaped wooden body, four strings,
and 13 frets; no longer used
 Oungum (hangul: 어은금) – A pear-shaped lute with five strings similar to hyangbipa; used only
in North Korea
Bowed[edit]
Fiddles[edit]

 Haegeum (hangul: 해금; hanja: 奚琴) – A vertical fiddle with two strings; derived from the ancient
Chinese xiqin
 Sohaegeum (hangul: 소해금; hanja: 小奚琴) – A modernized fiddle with four strings similar to a
modern violin; used only in North Korea
 Junghaegeum (hangul: 중해금; hanja: 中奚琴) - A modernized fiddle with four strings similar to a
modern viola; used only in North Korea[1]
 Daehaegeum (hangul: 대해금; hanja: 大奚琴) - A modernized fiddle with four strings similar to a
modern cello; used only in North Korea[2]
 Jeohaegeum (hangul: 저해금; hanja: 低奚琴) - A modernized fiddle with four strings similar to a
modern double bass; used only in North Korea[3]
Zithers[edit]

 Ajaeng (hangul: 아쟁; hanja: 牙箏) – A zither bowed with a wooden stick, derived from the
Chinese yazheng
Struck[edit]

 Yanggeum (hangul: 양금; hanja: 洋琴) – A hammered dulcimer with metal strings, struck with
bamboo mallets; derived from the Chinese yangqin

Wind[edit]
Flutes[edit]
Transverse[edit]

 Daegeum (hangul: 대금; hanja: 大琴 or 大笒) – A large transverse bamboo flute with seven
finger-holes and an additional hole covered by a buzzing membrane
 Junggeum (hangul: 중금; hanja: 中琴 or 中笒) – A medium-sized transverse bamboo flute with
seven finger-holes, without a buzzing membrane; rarely used today
 Sogeum (hangul: 소금; hanja: 小琴 or 小笒) – A small transverse bamboo flute with seven finger-
holes, without a buzzing membrane
 Dangjeok (hangul: 당적; hanja: 唐笛) – A small transverse bamboo flute of Tang Chinese origin,
slightly smaller than the junggeum
 Ji (hangul: 지; hanja: 篪) – An ancient transverse bamboo flute with a protruding notched
blowhole and five finger holes (one in the back and four in the front), derived from the
Chinese chí. Used only in aakand Munmyo jeryeak (Korean Confucian ritual music)
End-blown[edit]

 Danso (hangul: 단소; hanja: 短簫) – A small notched vertical bamboo flute with four finger-holes

 Tungso (hangul: 퉁소; hanja: 洞簫) – A long notched vertical bamboo flute with five finger-holes;
originally called tongso
 Yak (hangul: 약; hanja: 籥) – A notched vertical bamboo flute with three finger-holes; used
in Munmyo jeryeak (Korean Confucian ritual music)
 Jeok (hangul: 적; hanja: 翟)
 So (hangul: 소; hanja: 簫) – A pan flute; derived from the Chinese paixiao; used only in Munmyo
jeryeak (Korean Confucian ritual music

 Hun (hangul: 훈; hanja: 塤) – A globular flute made of baked clay originating from prehistoric
times; end-blown like a shakuhachi, unlike an ocarina (which is a whistle design). Derived from
the Chinese xun
Oboes[edit]

 Piri (hangul: 피리) – A cylindrical oboe with a bamboo body. There are four varieties of piri:
o Hyang piri (hangul: 향피리; hanja: 鄕—)
o Se piri (hangul: 세피리; hanja: 細—)
o Dang piri (hangul: 당피리; hanja: 唐—)
o Dae piri (hangul: 대피리) – A modernised instrument with clarinet-like keys, used only in
North Korea[4]
 Taepyeongso (hangul: 태평소; hanja: 太平簫; also called hojeok, saenap or nallari) – A conical
oboe with a wooden body and metal bell
Free-reed[edit]

 Saenghwang (hangul: 생황; hanja: 笙簧) – A free-reed mouth organ with 17 bamboo pipes,
derived from the Chinese sheng; uncommon today
 U (hangul: 우; hanja: 竽) – A large mouth-organ, derived from the Chinese yu; no longer used
 Hwa (hangul: 화; hanja: 和) – A mouth organ with 13 bamboo pipes, derived from the
Chinese he; no longer used
A player of the nabal

Trumpets[edit]

 Nabal (hangul: 나발; hanja: 喇叭) – Long metal trumpet; used in daechwita
 Nagak (hangul: 나각; hanja: 螺角) – Sea shell horn, also called sora; used in daechwita

Percussion[edit]
Chimes[edit]

 Jong (hangul: 종; hanja: 鐘) – A bronze bell

 Pyeonjong (hangul: 편종; hanja: 編鐘) – A set of 16 tuned bronze bells used in ancient court
music; derived from the Chinese bianzhong
 Teukgjong (hangul: 특종; hanja: 特鐘) – A single large bronze bell
 Pyeongyeong (hangul: 편경; hanja: 編磬) – A set of 16 tuned stone chimes used in ancient court
music; derived from the Chinese bianqing
 Teukgyeong (hangul: 특경; hanja: 特磬) – A single large tuned stone chime
 Banghyang (hangul: 방향; hanja: 方響) – A metallophone with 16 tuned iron slabs; derived from
the Chinese fangxiangphoto
 Ulla (hangul: 운라; hanja: 雲鑼 or 雲羅) – A set of ten small tuned gongs in a wooden frame;
derived from the Chinese yunluophoto
Drums[edit]

 Buk (hangul: 북) – A barrel drum used primarily in pansori, pungmul, and samulnori. The
term buk is also used in Korean as a generic term to refer to any type of drum.
o Pungmul-buk(풍물북) – used in pungmul (풍물)
o Sori-buk (소리북) – used to accompany pansori (판소리)
 Janggu or Janggo (hangul: 장구 or 장고; hanja: 杖鼓 or 長鼓) – A double-headed hourglass-
shaped drum generally played with one stick and one hand
 Galgo (hangul: 갈고; hanja: 羯鼓) – Double-headed hourglass-shaped drum similar to
the janggo but played with two sticks and thinner drum heads; sometimes
called yanggo or yangjanggo; no longer commonly used [1]
 Jingo (hangul: 진고; : 晉鼓) – Largest barrel drum
 Jeolgo (hangul: 절고; hanja: 節鼓) – Barrel drum
 Jwago (hangul: 좌고; hanja: 座鼓) – A barrel drum in a wooden frame
 Geongo (hangul: 건고; hanja: 建鼓) – Huge barrel drum
 Yonggo (hangul: 용고; hanja: 龍鼓) – A barrel drum with a dragon painted on its shell; used
in daechwita
 Eunggo (hangul: 응고; hanja: 應鼓) – Barrel drum suspended from a frame
 Sakgo – (hangul: 삭고; hanja: 朔鼓) – A long barrel drum suspended from a wooden frame
 Gyobanggo (hangul: 교방고; hanja: 敎坊鼓) – Flat drum suspended from a frame
 Junggo (hangul: 중고; hanja: 中鼓) – Flat drum suspended from a frame; similar to
the gyobanggo but larger
 Sogo (hangul: 소고; hanja: 小鼓) – A small hand-held drum
 Nogo (hangul: 노고; hanja: 路鼓) – A set of two drums pierced by a pole
 Nodo (hangul: 노도; hanja: 路鼗) – A set of two small drums on a pole, which is twisted to play;
used in ritual music
 Yeongdo (hangul: 영도; hanja:靈鼗) – Four drums on a pole, which is twisted to play; used in
ritual music
 Noedo (hangul: 뇌도; hanja: 雷鼗)) – six small drums hung in a frame; used in ritual music
 Noego (hangul: 뇌고; hanja: 雷鼓) – Three small barrel drums on a pole, which is twisted to play;
used in ritual music
 Do (도) – single pellet drum on a pole

Gongs[edit]

 Kkwaenggwari (hangul: 꽹과리) – A small gong used primarily in folk music

 Jing (hangul: 징) – A large gong; originally pronounced jeong (정; hanja: 鉦)

Cymbals[edit]

 Jabara (hangul: 자바라; also called bara, bal, or jegeum) – pair of large brass cymbals, The
name Zabara comes from Calpara.
Wooden Instruments[edit]

 Bak (hangul: 박; hanja: 拍) – A wooden clapper; used in ancient court and ritual music
 Bu (hangul: 부; hanja: 缶) – A clay pot, derived from the Chinese fǒu; used in Munmyo jereak
 Chuk (hangul: 축; hanja: 柷) – A wooden box, played by hitting a stick on the inside, used to
mark beats or sections; derived from the Chinese zhù; used in ancient ritual music
 Eo (hangul: 어; hanja: 敔) – A wooden percussion instrument carved in the shape of a tiger with
a serrated back, played by running a bamboo whisk across it to mark the ends of sections;
derived from the Chinese yǔ
 Guhyeon – a jaw harp derived from the Chinese kouxian.