Cheon Ju-mi: Research on North Korean Gayageum Byeongchang

Before the war, the South and North gold bars had no significant difference in form or manner of playing. The major music players who led the early North Korean national music were the famouss who went up from the south. But as the socialist system and the social lifestyle settled, the North Korean palm-barts have had a huge appeal in the way they play, perform, and lyrics. Especially since the 22th and 21st-parted harps have changed the way the instruments are played, the way they are played has changed dramatically. Moreover, before the South Musical World, the blend of instruments with the sheep was introduced, and the singing of the windows became more common than the solos. The change has given rise to a lot of concern and homework in the North and South music trade in the field of palm-barts. The book is analyzing the characteristics of North Korean folk music for the first time by analyzing the timing of the palm cage and its work. The transformation of the palm-bart window in North Korea, unlike its traditional style of playing, was converted from solo to singing, and was re-syntheticized from conversational lyrics into poetic lyrics, and a new form of playing was adopted to separate singing from singing. Also, 21-tparted palm oil was commonly used in 12-year-olds and as a result of improved palm-size metal. The nature and type extension of the North Korean palm-barts raise the essential problem of the palm-seat. The style of the cadal window in North Korea, while diseased with harps and spears, has been enhanced by the fact that it has separated its soles from one window and has also been removed from the original meaning of musical representation as a combination of playing and singing.

Korean title: 북한의 가야금병창 연구

Korean author: 천주미

Korean publisher: 민속원

ISBN-13: 9788928518814