Tradition and Creativity in Korean Taegŭm Flute Performance

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Introduction
Learner's Position
Performer's Position
History and Background of the Taegum
History of the Taegum
Court and Folk Taegum
Notations for the Taegum
The Contemporary Practices of the Taegum
Nationalism and Orientalism
Orientalism and Korean Traditional Music
Nationalism and Korean Traditional music
Music Analysis I: Youngdong Kim
'Son: Zen'
'Manp'a shik chok'
Music Analysis II: Sukhi Kang
'Manp'a'
Music Analysis III: Sngkn Kim
'Sujech'on'
'Taegum Quartet 2006'
Performance I: Jazz
The History of Korean Jazz
Collaboration with Simon Barker
Performance II: Western Art Music
Composer, Dae-seong Kim
Universal Gestures in Nongum
Performance III: Electroacoustics
Improvisation
The Sori Art Project
'Pojagi'
Conclusion
Interviews
Bibliography
Chronicles/Annals
Discography

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Tradition and Creativity in Korean Taegŭm Flute Performance describes the taegŭm as a representation of Korean culture in the contemporary world. Through the development and performance of creative works, this horizontal bamboo flute reflects both tradition and contemporary creativity. The first part of the book outlines the historical background of the taegŭm. The author illuminates the potential future of the Korean flute in a globalised world through the analyses of three musical works for taegŭm. The second part of the book draws on approaches of Practice Research within ethnomusicology and sociology to examine the ways in which the taegŭm tradition interacts with, and responds to, different genres in performance. Documenting collaborative encounters with musicians from three musical cultures: jazz, Western art and electroacoustic music, the result is an innovative exploration of the musical and social relationships between composers, performers and audiences in intercultural performances, contrasting traditional uses of the taegŭm with perspectives on its use today.

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