Stories & Insights

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Blending of Traditional and Modern Korean Music

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The Korean music scene is not only about modern trends but also represents traditions. Thus, the singer Song So Hee links the past to the present by successfully fusing traditional Gyeonggi minyo folk singing with contemporary musical genres. In a similar manner, @_sabristar demonstrates the synergy between modern Korean music and cultural tradition by fusing BTS’s ‘2.0’ with the traditional Indian dance Bharatanatyam, a South Indian classical dance from Tamil Nadu that combines expressive movement, music, and rhythm. The performance displays amazing footwork to the beat of the BTS song.

 

The fusion of traditional and modern Korean musical genres emerged in the 1980s. Western music started to interact with traditional Korean music, called Kugak. Musicians experimented with writing new songs while being inspired by Korean folk traditions. They also started to perform Western music on traditional instruments. This formed the foundation for contemporary Korean fusion music.

 

As a result of these experiments musicians created hybrid genres. Examples of new genres that have emerged are Kugak kayo, which are traditional melodies in a pop format, and Kugak gyeongeumak, which is classical or traditional music performed in a contemporary or popular style. Young musicians made experimental music, formed new bands, and pushed innovation while drawing inspiration from Korea’s musical heritage. As a result, younger audiences were introduced to and familiarized with traditional music. Instead of going extinct, Kugak managed to survive by evolving.

 

Fusion is more than simply a style. It also involves combining traditional instruments like the daegeum (a big bamboo flute), haegeum (a vertical violin with two strings), and gayageum (a plucked zither with twelve strings) with Western instruments like electric guitars and synthesizers. Joining sound, technique, and performing style resulted in the creation of a new musical language.

 

In the same way that groups in the 1980s blended pop and gugak music, K-pop musicians and fusion bands now adopt the same style. Artists like BTS, BLACKPINK, and LEENALCHI continue this process by fusing contemporary global music styles with traditional Korean sounds, stories, and aesthetics. Musicians seek to produce relevant, modern music while cultivating its traditional roots. Undoubtedly, musicians put fusion music on their repertoire because they like performing it. But as Kim argues, in so doing they also maintain their musical legitimacy in Korea while being part of the international pop scene. By combining pop music with traditional music, artists show that they take Korean tradition seriously. 

 

The career of Song So Hee demonstrates how tradition can get a boost from modernity. Through her voice she combines the culture of Gyeonggi minyo, meaning folk song of the Gyeonggi Area, with modern musical styles. Rather than sticking to a standard form, she makes mutual adjustments, which creates a natural connection between the past and the present. In this way Song So Hee ensures that the practice lives on by adapting and finding new ways to express itself, rather than becoming extinct through inflexibility. 

 

Korea’s blend of traditional and contemporary styles demonstrates how Korean culture is still developing while maintaining its foundations. Through the fusion genre, traditional music is able to endure by changing rather than by staying the same. Together, these examples demonstrate how innovation, adaptation, and engagement with contemporary audiences preserves heritage. K-pop is instrumental in preserving traditional music. And the musical traditions contribute to the success of K-pop. 

 

Sources: 

This, too, is Korean pop – The Korea Herald 

 

Daegeum Jeongak (Classical Daegeum Solo Music) – Korea Heratige Service  

 

Korea’s Traditional String Instruments – gayageum and the haegeum – by Corina Sferdenschi, Korea.net  

 

K-pop Begins Embracing Korean Traditional Music – Korean-culture  

 

Bharatanatyam Cover – @_sabristar, Instagram  

 

Introduction to Bharatanatyam – ipassio  

 

Kim, H. (2022). Appropriating Gugak and negotiating K-Heritage K-Pop’s reconstruction of Korean aesthetics in the age of digital globalization. DOAJ (DOAJ: Directory of Open Access Journals). https://doi.org/10.5281/zenodo.6639744

 

Killick, A. P. (1992). Musical composition in Twentieth-Century Korea. Korean Studies, 16(1), 43–60. https://doi.org/10.1353/ks.1992.0002

 

Finchum-Sung, Hilary Vanessa. “Designing a Fresh Tradition: Young Kugak and Sonic Imaginings for a Progressive Korea.” The World of Music, vol. 1, no. 1, 2012, pp. 121–44. JSTOR, http://www.jstor.org/stable/41699979.