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Tradition and Creativity in Korean Taeg-m Flute Performance describes the taeg-m 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 taeg-m. The author illuminates the potential future of the Korean flute in a globalised world through the analyses of three musical works for taeg-m. The second part of the book draws on approaches of Practice Research within ethnomusicology and sociology to examine the ways in which the taeg-m 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 taeg-m with perspectives on its use today.
Dr Hyelim Kim is a world-renowned traditional Korean taegum performer and academic, who is a Visiting Research Fellow, Bath Spa University (UK).
Introduction Learner's Position Performer's Position History and Background of the Taeg-m History of the Taeg-m Court and Folk Taeg-m Notations for the Taeg-m The Contemporary Practices of the Taeg-m Nationalism and Orientalism Orientalism and Korean Traditional Music Nationalism and Korean Traditional music Music Analysis I: Youngdong Kim 'S-n: Zen' 'Manp'a shik ch-k' Music Analysis II: Sukhi Kang 'Manp'a' Music Analysis III: Sngkn Kim 'Sujech'-n' 'Taeg-m 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 Nong-m Performance III: Electroacoustics Improvisation The Sori Art Project 'Pojagi' Conclusion Interviews Bibliography Chronicles/Annals Discography
