pansori

Pansori (Korean: 판소리) is a Korean genre of musical storytelling performed by a singer and a drummer. The term pansori is a compounds of the Korean words pan 판 and sori 소리, the latter of which means "sound." However, pan has multiple meanings, and scholars disagree on which was the intended meaning when the term was coined. One meaning is "a situation where many people are gathered." Another meaning is "a song composed of varying tones." In music, Gugwangdae describes a long story that takes as little as three hours and as much as eight hours or more. It is one of the traditional forms of Korean music that mixes body movements and songs to the accompaniment of a buk drum played by a gosu. The dramatic content of the drama is changed according to various rhythms based on the melody of Korea's local music. Pansori was originally called the "sori", and it was called Taryeong, Japga (잡가; 雜歌), Clown Song, and Geukga (극가; 劇歌). It was also commonly used in terms such as Changgeukjo (창극조; 唱劇調). In the late 20th century, the sorrowful "Western style" of pansori overtook the vigorous "Eastern style" of pansori, and pansori began being called the "sound of han". All surviving pansori epics end happily, but contemporary pansori focuses on the trials and tribulations of the characters, commonly without reaching a happy ending because of the contemporary popularity of excerpt performances.¶

Name

Pansori is a form of musical entertainment that has persisted in Korea from the 17th century to the present day. A related term, "pannoreum," refers to plays such as Sandae-do Gamgeuk (산대도감극; 山臺都監劇) and geundu (근두; 筋斗), as well as tightrope walking. The pansori of the Joseon Dynasty included sijo poetry (시조; 時調) accompanied by music. Therefore, it is not appropriate to refer to pansori as Changgeuk (창극; 唱劇) or Changgeukjo (창극조; 唱劇調). Changgeuk is based on the name of Pansori dramatized after Wongaksa Temple (원각사; 圓覺社), but it is not suitable for pure Pansori. Therefore, Changgeukjo is appropriate for the musical term of the song sung in Changgeuk, but it is not appropriate for the form of pansori. [1] "Pansori" as a musical term originated independently from the term "pannol" (pannoreum). Likewise, the literary form of this form of pansori is also called pansori. It is therefore necessary to distinguish between pansori as a musical term and pansori as a literary term, but it is still appropriate to use the term "pansori" to refer to sijo. [2]¶

Description

Pansori performances are performed by "Clown", "Gosu", and "Audience". A clown sings with a fan in their right hand, and the singing part and the speaking part intersect. The singing part is called "aniri" or "broader" in terms of sound and speech, which is called "applied" or "spacious." Gosu is another important component of the performance that plays drums. As the expression "one Gosu two master singers" is often used, in the soundboard, a singer and a clown lead the game together. The drummer beats the emotional circuit of the song and adds more charm to the performance. Rather than listening quietly, the audience adds a "Chu-imsae".¶

Pansori repertoire

During the 18th century, 12 song cycles, or madang (마당), were established as the repertoire of pansori stories. Those stories were compiled in Song Man-jae's Gwanuhi (관우희) and Jeong No-sik's Joseon Changgeuksa (조선창극사). Of the 12 original madang, only five are currently performed. They are as follows.¶

Chunhyangga Simcheongga Heungbuga Sugungga Jeokbyeokga Contemporary performances of the madang differ greatly from the original works. Rather than performing an entire madang, which can take up to 10 hours, musicians may only perform certain sections, highlighting the most popular parts of a madang.¶

Transmission

Pansori training has historically been conducted through one-on-one apprenticeships with pansori masters. Apprentices first learn to perform in the style of their teacher before developing their own personal style and technique. Significant time and care is taken to memorize and internalize the repertoire.¶

Relationship between Shaman songs and Pansori

If Pansori comes from a shaman's husband, a clown, the musical wish should be saved in their connection. The rhythm of the unearned value shared by "Lee Bo-hyung" is as follows: 1. Sinawi-Gwon: This is called the "Yukja-baegi-jo" and belongs to the southern part of the Han River in Gyeonggi-do and Chungcheong-do and Jeolla-do provinces. 2. Menarizo : This is called an "Sanyuhwa-garak", and "Gyeongsang-do" and "Gangwon-do" provinces belong to it. 3. Susimga·Sanyeombuljo: "Pyeongan-do" and "Hwanghae-do" provinces 4. Changbu Taryeong ·Noraegarakjo: belong to Muga in northern Gyeonggi Province, Kaesong, Seoul, Cheorwon, and Yangju. In addition, there is a theory that "Gyeong-dereum" is similar to the rhythm of the northern Gyeonggi Muga's Changbu Taryeong. Again, the rhythm of Pansori has a tempo from the slow beat of Jinyangjo, Jungmori, Jungjungmori, Jajinmori, Hwimori, Ujungmori, etc. It is necessary to value the term "Mori" that appears here. In other words, if you compare Salpuri Gut in Jeolla-do Province, which is called Sinai Gijo, and Do Salmori, Balae in Gyeonggi-do and Chungcheong-do provinces, the sound of goso sung by clowns is Jungmori, especially in old Hongpagosa and Antaek. Therefore, it is the Muga of Hongpae Gosa, Seongjo, and Antaek, which are called by this southern clown, that is, the theory that pansori was produced in the clowns of Chungcheong-do. This is a problem that needs to be further clarified in the future, but even from this, it can be seen that the reasoning that pansori came from the reading voice that some argue is vain. Since clowns are folk singers, it would be right to say that they assimilated various folk songs based on the rhythm of these mugas and completed them.¶

The text above is adapted from the Wikipedia article “Pansori”, available under the Creative Commons Attribution-ShareAlike 4.0 licence.¶

pansori is Korean genre of musical storytelling performed by a singer and a drummer, according to the structured record cited below. This entry was generated automatically from that record and has not yet been reviewed by a person familiar with the tradition.¹¶

The source record links this tradition to 16 external registers, which can be verified through the citation.¹¶