The Geomungo: Korea’s Deep-Voiced Zither
The geomungo (거문고) is a traditional Korean zither known for its deep, rich, and resonant tone. Long associated with scholars and philosophers, it has come to symbolize reflection, learning, and spiritual refinement in Korean culture.
Origins and Legend
According to historical records such as the Samguk Sagi, the geomungo was developed by Wang San-ak, a musician of the Goguryeo kingdom. He is said to have adapted the Chinese guqin (or chilhyun-geum, meaning “seven-string zither”) to create a new instrument, composing over a hundred pieces for it.
A famous legend tells that when he played the geomungo, a black crane danced to the music. Because of this, the instrument was once called Hyeonhakgeum, meaning “black crane zither.”
Historical Evidence and Cultural Evolution
However, murals from the Muyongchong (“Tomb of the Dancers”)—a 5th-century Goguryeo tomb—show musicians playing instruments remarkably similar to the modern geomungo. These images predate Wang San-ak, leading some scholars to suggest that the geomungo evolved from indigenous Korean instruments rather than being solely derived from Chinese prototypes.
In this view, Wang San-ak is regarded less as an inventor and more as a refiner and formalizer of an existing musical tradition. This dual perspective underscores the geomungo’s significance as a hybrid cultural heritage—a fusion of local innovation and foreign influence.
Structure and Technique
The geomungo consists of:
-
Six silk strings stretched across a wooden body
-
A soundboard made of paulownia (front) and chestnut wood (back)
-
A suldae, a slender bamboo stick used in the right hand to pluck or strike the strings
-
The left hand presses or bends the strings to change pitch and add expression
The resulting sound is solemn yet vibrant, making it ideal for both solo and ensemble performance.
Role in Korean History and Culture
In the Silla dynasty, the geomungo was considered sacred and kept in royal storerooms. Over time, especially during the Goryeo and Joseon periods, it became closely associated with Confucian scholars.
It was valued not just as a musical instrument but as a tool for self-cultivation. Scholars believed that only a pure and focused mind could produce beautiful music—a belief known as Geum-sa-sim (琴思心), which means "a mind shaped by the zither’s thought." This concept emphasized the harmony between the performer’s inner state and the music itself.
댓글
댓글 쓰기