{"id":257649,"date":"2026-04-18T00:13:39","date_gmt":"2026-04-17T15:13:39","guid":{"rendered":"https:\/\/tenbizt.com\/en\/news\/uncategorized\/2026\/04\/18\/explore-the-innovative-sounds-of-%ec%88%98%ec%9e%91-%e2%85%b1-a-modern-take-on-traditional-korean-music\/"},"modified":"2026-04-18T00:13:39","modified_gmt":"2026-04-17T15:13:39","slug":"explore-the-innovative-sounds-of-%ec%88%98%ec%9e%91-%e2%85%b1-a-modern-take-on-traditional-korean-music","status":"publish","type":"post","link":"https:\/\/tenbizt.com\/en\/news\/music\/2026\/04\/18\/explore-the-innovative-sounds-of-%ec%88%98%ec%9e%91-%e2%85%b1-a-modern-take-on-traditional-korean-music\/","title":{"rendered":"Explore the Innovative Sounds of ‘\uc218\uc791 \u2161’: A Modern Take on Traditional Korean Music"},"content":{"rendered":"
Translation result<\/p>\n
\n\n Photo: National Gugak Center \n <\/figcaption><\/figure>\n<\/div>\n
By Sangwan Lee, News Culture. The names of traditional pieces have a way of lasting. At the National Gugak Center\u2019s Creative Orchestra, those names are being revived and recast as new sounds. The program presents seven world\u2011premiere chamber works derived from the titles and alternate names of traditional repertoire. Each premiere offers a fresh interpretation of a long\u2011standing name, as young composers excavate the emotions and textures embedded in those titles and translate them into contemporary musical language.<\/p>\n
The Creative Orchestra\u2019s curated concert, Sujak II, begins with the titles themselves. In the history of gugak, a title often pointed to a piece\u2019s character, mood and status. The ensemble returned to that clue and reread familiar names through a modern lens, moving the feelings, scenes and questions those names conceal into chamber\u2011music forms. Seven composers\u2014Kim Sang\u2011uk, Kim Yang\u2011sang, Kim Jeong\u2011geun, Ra Ye\u2011song, Lee Ye\u2011jin, Lee Jae\u2011jun and Hwang Jae\u2011in\u2014contributed pieces, each scored for different forces that expand the program\u2019s sonic range.<\/p>\n
The most striking choice is the instrumentation. The concert brings in court instruments and modified models from the National Gugak Center\u2019s research institute that rarely appear on creative gugak stages. The intent is clear: don\u2019t keep repeating familiar timbres. Tradition is treated as raw material, not as a form to be copied intact.<\/p>\n
\n\n Composers of the Creative Orchestra\u2019s Sujak II, from top left: Kim Yang\u2011sang, Kim Sang\u2011uk; bottom left: Lee Ye\u2011jin, Ra Ye\u2011song. Photo: National Gugak Center \n <\/figcaption><\/figure>\n<\/div>\n
\u25c7 Seven premieres rooted in titles<\/p>\n
Kim Yang\u2011sang\u2019s Blind Spot I: Agreed Stillness is a quartet for daegeum (large bamboo flute), piri (double\u2011reed pipe), haegeum (two\u2011stringed fiddle) and daeajaeng (large zither). He takes as his starting point Manpajeongsik (\u842c\u6ce2\u505c\u606f), an alternate name for the procession piece chuita that literally means \u201call waves come to rest.\u201d Though the phrase suggests calm, Kim probes what lies beneath: unspoken words, emotions that haven\u2019t settled and subtle tremors that refuse to disappear. The term \u201cblind spot\u201d signals that stillness can conceal suppressed movement.<\/p>\n
Kim Sang\u2011uk\u2019s Cut Flower (Jeolhwa) is a duet for piri and 25\u2011string gayageum. He reimagines the alternate name for the marching court music Gilgunak within a contemporary emotional frame. The image of a cut flower evokes life at its peak, abruptly severed; Kim maps that onto arcs of climax and loss, parting and eventual acceptance. Rather than magnify sorrow, he attends to the quiet steps and serenity that follow farewell.<\/p>\n
Lee Ye\u2011jin\u2019s Many Leaves Chiyo (\u842c\u8449\u71be\u7464) centers five percussionists. The alternate name Manyeopchiyo\u2014linked to Yeominakman\u2014evokes a carpet of lush plants. Lee translates it into a summer forest: wind, birdsong, sudden showers, sunlight and shifting air currents split across five scenes. She borrows cyclical patterns from traditional rhythms so the percussionists breathe as a single organism; the work foregrounds the ecological flow between sounds rather than isolated strikes.<\/p>\n
Ra Ye\u2011song\u2019s Dodeuri is scored for danso (end\u2011blown flute), sanjo gayageum, janggu (hourglass drum) and haegeum. The title will be familiar: dodeuri threads through the Yeongsan hoesang repertoire and salon music. Ra traces the formal beauty implied by \u201creturning.\u201d Melodies repeat and structures fold back on themselves, and the music follows how repetition subtly alters expression. It reads as an inward reexamination of the structural aesthetics of traditional music.<\/p>\n
\u25c7 A stage where old names meet contemporary sounds<\/p>\n
Lee Jae\u2011jun\u2019s provocatively titled Yeominak\u2014Broken Dopamine Receptors is the most overtly contemporary piece. Seven performers handle 21 instruments in a forceful lineup. He takes the original Yeominak\u2014whose name means \u201cenjoying with the people\u201d\u2014and collides it with today\u2019s stimulus\u2011hungry consumer culture. He borrows the opening Yeominak melody only to dismantle and twist it, creating friction with modern sensory habits. The piece satirizes an era accustomed to fast, intense sonic hits and instant gratification; on stage it reads as the program\u2019s most pointed commentary.<\/p>\n
Kim Jeong\u2011geun\u2019s Spring Dream (Chunmong) is an octet for ajaeng (bowed zither) and haegeum. It draws on Taepyeongchunjigok (\u592a\u5e73\u6625\u4e4b\u66f2), an alternate name associated with Yeominakryeong. As the title suggests, Kim captures the impulse of spring and dreamlike time\u2014not by painting airy, florid scenes, but by attending to a slow awakening inside stillness and the sudden surge of released energy. Layered sustained strings build dense textures; as the haegeum and ajaeng weave thicker sonic strata, spring arrives like life stirring from sleep.<\/p>\n
Hwang Jae\u2011in\u2019s Hwanghacheong: Toward Qing begins from Hwanghacheong, an alternate name for Boheosa. He refuses to reduce qing (\u6df8) to simple clarity and instead fixes on the East Asian aesthetic of qingqi (\u6df8\u5947)\u2014a quality that is lucid yet strange, uncanny even. The piece unfolds as a journey toward a complex, multifaceted notion of \u201cqing,\u201d with a strand of unpredictable vitality running through it.<\/p>\n
\n\n Composers Lee Jae\u2011jun, Kim Jeong\u2011geun, Hwang Jae\u2011in. Photo: National Gugak Center \n <\/figcaption><\/figure>\n<\/div>\n
Each of the seven pieces opens a different door, but they share a common trunk: a refusal to taxidermy tradition. The concert asks what remains when you translate the dignity, resonance and distance carried by old titles into a contemporary compositional voice. This is not a program that simply repeats traditional forms; it\u2019s an effort to turn the depth of traditional language into the sounds of today.<\/p>\n
Park Seong\u2011beom, head of programming at the National Gugak Center, said, \u201cThe Creative Orchestra\u2019s Sujak II brings the meanings embedded in our traditional music\u2019s titles into contact with the modern sensibilities of young composers. We hope this creative gugak, rooted in tradition, connects more deeply with audiences.\u201d<\/p>\n
The Creative Orchestra\u2019s curated concert Sujak II opens at 7:30 p.m. on the 23rd at Umyeondang, National Gugak Center.<\/p>\n
News Culture reporter Sangwan Lee prizewan2@nc.press<\/p>\n","protected":false},"excerpt":{"rendered":"
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