{{short description|Court ceremonial music of Korea}} {{other uses|AAK (disambiguation)}} {{Italic title|reason=:Category:Korean words and phrases}} {{Infobox Korean name/auto|hangul=아악|hanja=雅樂}} '''''Aak''''' ({{Korean|hangul=아악|hanja=雅樂}}; {{IPA|ko|a.ak̚}}) is a genre of Korean court music. It is an imported form of the Chinese court music ''yayue'',<ref name="korean music">{{cite web |archiveurl=https://web.archive.org/web/20050327011554/http://www.worldmusiccentre.com/uploads/cdime/howard2001.PDF |url= http://www.worldmusiccentre.com/uploads/cdime/howard2001.PDF |title=Korean Music |author=Keith Howard |url-status=usurped |archivedate=March 27, 2005 }}</ref> and means "elegant music". ''Aak'' was performed almost exclusively in state sacrificial rites, and in the present day it is performed in certain Confucian ceremonies.<ref name=":22">{{Cite journal |last=Provine |first=Robert C. |date=1992 |title=The Korean Courtyard Ensemble for Ritual Music (Aak) |url=https://doi.org/10.2307/768472 |journal=Yearbook for Traditional Music |volume=24 |pages=107 |doi=10.2307/768472 |jstor=768472 |issn=0740-1558 |url-access=subscription }}</ref>
''Aak'' in Korea was facilitated and adapted through the gifting of instruments from a Chinese emperor to Korea in the 12th century.<ref name=":0" /> Due to Japanese occupation in the 20th century, performances of ''aak'' were limited to The Sacrifice to Confucius and The Sacrifice to Royal Ancestors.<ref name=":2" />
==Background== [[File:NogoIMG 6088.JPG|thumb|''Aak'' musicians at the Confucian ritual of Munmyo Shrine, Sungkyunkwan seowon]]''Aak'' is one of three types of Korean court music; the other two are ''dangak'' and ''hyangak''. ''Aak'' is similar to ''dangak'' in that both have Chinese origins. All the instruments used in ''aak'' are derived from Chinese originals, and very few of these are used in other kinds of traditional Korean music.<ref name="garland"/> Aak was first performed at the Royal Ancestral Shrine in the Goryeo period as ritual music of the court. The definition of ''aak'' later became narrowed to music for Confucian rituals, although ''aak'' in its broadest sense can still mean any kind of refined or elegant music and therefore can arguably encompass ''dangak'' and ''hyangak''.<ref>{{cite web |url=http://www.sapaan.com/vol3/jeon2.htm |title= Korean ritual music |archiveurl =https://web.archive.org/web/20040605230418/http://sapaan.com/vol3/jeon2.htm |archivedate=June 5, 2004 }}</ref>
The music is now performed by members of the Kungnip Kugagwon National Center for Korean Traditional Performing Arts in Seoul, Korea.<ref name="garland"/>
== History ==
=== Koryô Dynasty === ''Aak'' was brought to Korea in 1116 through a large gift of 428 musical instruments, as well as 572 costumes and ritual dance objects from China, a gift to Emperor Yejong of Goryeo from Emperor Huizong of Song.<ref name="korean music" /><ref name=":0">{{Cite encyclopedia |title=East Asia: China, Japan, and Korea |encyclopedia=The Garland Encyclopedia of World Music |publisher=Routledge |location=New York |last=Provine |first=Robert C. |date=December 21, 2001 |pages=862–863 |isbn= |chapter=Confucian Ritual Music in Korea: Aak}}</ref><ref>{{cite book |author=Keith Howard |url=https://books.google.com/books?id=JlWFbrJMy9sC&pg=PT225 |title=Music As Intangible Cultural Heritage: Policy Ideology and Practice in the Preservation of East Asian Traditions |publisher=Ashgate |year=2012 |isbn=978-1409439073}}</ref> The number of performers in Korea's ''aak'' ensembles were reduced to 190 from the 400 required for China's ensembles.<ref>{{Cite journal |last=Provine |first=Robert C. |date=1992 |title=The Korean Courtyard Ensemble for Ritual Music (Aak) |url=https://www.jstor.org/stable/768472 |journal=Yearbook for Traditional Music |volume=24 |pages=96 |doi=10.2307/768472 |jstor=768472 |issn=0740-1558|url-access=subscription }}</ref> Many of the musical pieces and instruments originally brought from China would eventually be lost to deterioration and the 1361 invasion of Red Turbans from China.<ref name=":1">{{Cite journal |last=Provine |first=Robert C. |date=1992 |title=The Korean Courtyard Ensemble for Ritual Music (Aak) |url=https://www.jstor.org/stable/768472 |journal=Yearbook for Traditional Music |volume=24 |pages=97 |doi=10.2307/768472 |jstor=768472 |issn=0740-1558|url-access=subscription }}</ref><ref name=":02">{{Cite encyclopedia |title=East Asia: China, Japan, and Korea |encyclopedia=The Garland Encyclopedia of World Music |publisher=Routledge |location=New York |last=Provine |first=Robert C. |date=December 21, 2001 |pages=862–863 |isbn= |chapter=Confucian Ritual Music in Korea: Aak}}</ref>
=== Joseon Dynasty === A restoration of ''aak'' occurred in the 15th century during the Joseon Dynasty, led by King Sejong<ref>{{Cite journal |last=Lee |first=Byong Won |date=1981 |title=Korean Court Music and Dance |url=https://www.jstor.org/stable/43562607 |journal=The World of Music |volume=23 |issue=1 |pages=38 |jstor=43562607 |issn=0043-8774}}</ref><ref name=":12">{{Cite journal |last=Provine |first=Robert C. |date=1992 |title=The Korean Courtyard Ensemble for Ritual Music (Aak) |url=https://www.jstor.org/stable/768472 |journal=Yearbook for Traditional Music |volume=24 |pages=97 |doi=10.2307/768472 |jstor=768472 |issn=0740-1558|url-access=subscription }}</ref> in an effort to promote Confucianism.<ref>{{Cite book |last=Kwon |first=Donna Lee |url=https://www.worldcat.org/title/740630366 |title=Music in Korea: Experiencing Music, Expressing Culture |date=2011 |publisher=Oxford University Press |isbn=978-0195368284 |series=Global Music Series |location=New York |pages=28 |oclc=740630366}}</ref> This revival of ''aak'' tradition was based upon Chen Yang's writings on court ensemble ''Yueshu'' or "Treatise on Music", Lin Yu's court music notation ''Dasheng yuepu'' or "Collection of Dasheng Music", and ''Aak Po'' or "Treatise on Ceremonial Music" (a chapter of the Sejong Annals)'','' showing little resemblance to the ''aak'' performances of the previous dynasty.<ref>{{cite journal |author=Robert C. Provine, Jr. |date=January 1974 |title=The Treatise on Ceremonial Music (1430) in the Annals of the Korean King Sejong |journal=Ethnomusicology |volume=18 |issue=1 |pages=1–29 |doi=10.2307/850057 |jstor=850057}}</ref><ref>{{Cite journal |last=Provine |first=Robert C. |date=1992 |title=The Korean Courtyard Ensemble for Ritual Music (Aak) |url=https://www.jstor.org/stable/768472 |journal=Yearbook for Traditional Music |volume=24 |pages=97–106 |doi=10.2307/768472 |jstor=768472|url-access=subscription }}</ref> This caused a further decrease in the number of performers to about 20, notably without any singers or stringed instruments.<ref name=":13">{{Cite journal |last=Provine |first=Robert C. |date=1992 |title=The Korean Courtyard Ensemble for Ritual Music (Aak) |url=https://www.jstor.org/stable/768472 |journal=Yearbook for Traditional Music |volume=24 |page=97 |doi=10.2307/768472 |jstor=768472 |issn=0740-1558|url-access=subscription }}</ref><ref name=":03">{{Cite encyclopedia |title=East Asia: China, Japan, and Korea |encyclopedia=The Garland Encyclopedia of World Music |publisher=Routledge |location=New York |last=Provine |first=Robert C. |date=December 21, 2001 |pages=862–863 |isbn= |chapter=Confucian Ritual Music in Korea: Aak}}</ref> The ''aak'' tradition suffered loss again due to invasions of the Manchu and Japanese in the 16th century, not returning until the late 17th century.<ref>{{Cite journal |last=Provine |first=Robert C. |date=1992 |title=The Korean Courtyard Ensemble for Ritual Music (Aak) |url=https://www.jstor.org/stable/768472 |journal=Yearbook for Traditional Music |volume=24 |pages=106–107 |doi=10.2307/768472|jstor=768472 |url-access=subscription }}</ref>
=== Modern Period === In 1910, Korea was annexed by Japan, causing the abolishment of the majority of court music pieces, leaving only the Confucian rites: The Sacrifice to Confucius and The Sacrifice to Royal Ancestors.<ref name=":2">{{Cite journal |last=Provine |first=Robert C. |date=1992 |title=The Korean Courtyard Ensemble for Ritual Music (Aak) |url=https://doi.org/10.2307/768472 |journal=Yearbook for Traditional Music |volume=24 |pages=107 |doi=10.2307/768472 |jstor=768472 |issn=0740-1558 |url-access=subscription }}</ref><ref>{{Cite journal |last=Kim |first=Hee-sun |date=2012 |title=Performing History and Imagining the Past: Re-contextualization of Court Ensembles in Contemporary South Korea |url=https://www.jstor.org/stable/41699977 |journal=The World of Music |volume=1 |issue=1 |pages=84–85 |jstor=41699977 |issn=0043-8774}}</ref> These continue to be the only surviving pieces from the 20th century through present times, though The Sacrifice to Royal Ancestors has not been considered to be part of ''aak'' since the 15th century.<ref name=":2" /><ref>{{Cite journal |last=Lee |first=Byong Won |date=1981 |title=Korean Court Music and Dance |url=https://www.jstor.org/stable/43562607 |journal=The World of Music |volume=23 |issue=1 |pages=39 |jstor=43562607 |issn=0043-8774 }}</ref>
==Performance== The music is now highly specialized, and it is played only at certain ceremonies, in particular the ''Seokjeon Daeje'' held each spring and autumn at the Munmyo shrine in the ground of Sungkyunkwan University in Seoul to honour Confucius.<ref>{{cite book |url=https://books.google.com/books?id=4vBEfViLyp8C&pg=PA375 |title=World Musics in Context: A Comprehensive Survey of the World's Major Musical Cultures |author= Peter Fletcher |pages=375–376 |publisher=Oxford University Press |year=2004 |isbn=978-0195175073 }}</ref> It may also be performed at special concerts.
There are two instrumental ensembles – a "terrace" or ''tȗngga'' ensemble located on the porch of the main shrine, and a "courtyard" or ''hôn'ga'' ensemble located near the main entrance in front of the main shrine building. The music performances or ''munmyo jeryeak'' may be accompanied by dances called ''munmyo ilmu''.<ref name="korea times">{{cite news |url=https://www.koreatimes.co.kr/www/news/culture/2016/06/317_200344.html |title=Confucius to be honored in ancient ceremony |author=Jon Dunbar |work=The Korea Times|date=March 14, 2016 }}</ref><ref name=":3">{{Cite book |last=Kwon |first=Donna Lee |url=https://www.worldcat.org/title/740630366 |title=Music in Korea: Experiencing Music, Expressing Culture |date=2011 |publisher=Oxford University Press |isbn=978-0195368284 |series=Global Music Series |location=New York |pages=32–39 |oclc=740630366}}</ref> There are two forms of dances; one a "civil" dance, the other a "military" dance, performed by 64 dancers in an 8x8 formation.<ref name="garland"/><ref name="korea times"/>
== Sound == The modern repertoire of ''aak'' consists of just two different surviving melodies.<ref>{{Cite journal |last=Provine |first=Robert C. |date=1992 |title=The Korean Courtyard Ensemble for Ritual Music (Aak) |url=https://www.jstor.org/stable/768472 |journal=Yearbook for Traditional Music |volume=24 |pages=107 |doi=10.2307/768472 |jstor=768472|url-access=subscription }}</ref> Both the two surviving pieces have 32 notes that last around 4 minutes when performed, and one of the two is performed in a number of transpositions. The two ensembles perform in alternating turns, playing in musical keys with pitches corresponding to the concept of ''yin'' and ''yang'' from Confucian philosophy, the ''tȗngga'' ensemble in ''<nowiki/>'yin'<nowiki/>'' key and the ''hôn'ga'' ensemble in the ''<nowiki/>'yang''' key.<ref>{{Cite encyclopedia |title=East Asia: China, Japan, and Korea |encyclopedia=The Garland Encyclopedia of World Music |publisher=Routledge |location=New York |last=Provine |first=Robert C. |date=December 21, 2001 |pages=833–835 |isbn=9780824060411 |chapter=Theory and Notation in Korea: History}}</ref> The music is played very slowly. Each note is drawn out for around four seconds, with the wind instruments rising in pitch at the end of the note, giving it a distinctive character.<ref name="garland">{{cite book |url=https://books.google.com/books?id=hzIt6ZL5lY0C&pg=PA1201 |title= The Concise Garland Encyclopedia of World Music, Volume 2 |pages=1201–1202 |publisher = Routledge| edition=1st |year= 2008 |isbn=978-0415994040}}</ref> This rise in pitch is believed to have been introduced in the 20th century, influenced by Chinese musical practice.<ref>{{Cite journal |last=Provine |first=Robert C. |date=1992 |title=The Korean Courtyard Ensemble for Ritual Music (Aak) |url=https://www.jstor.org/stable/768472 |journal=Yearbook for Traditional Music |volume=24 |page=110 |doi=10.2307/768472|jstor=768472 |url-access=subscription }}</ref>
== Instruments == [[File:BUIMG 6172.5.JPG|thumb|''Bu'' and ''Pyeongyeong'' played in ''aak'' during Confucian ritual performance at Munmyo Shrine]] Instruments utilised in aak music are classified by their primary materials through a system of Chinese origin, referred to as ''p'arum'' or the "eight sound" system.<ref name=":32">{{Cite book |last=Kwon |first=Donna Lee |url=https://www.worldcat.org/title/740630366 |title=Music in Korea: Experiencing Music, Expressing Culture |date=2011 |publisher=Oxford University Press |isbn=978-0195368284 |series=Global Music Series |location=New York |pages=32–39 |oclc=740630366}}</ref> The eight types of instrument under the ''p'arum'' system: bamboo, wood, metal, silk, skin, stone, gourd, and clay.<ref name=":32" />
The instruments used in the performance of The Sacrifice to Confucius are limited to the types of instruments present in Emperor Huizong of Song's gift to Korea's King Yejong of Goryeo, many of which only remain in use for aak.<ref name=":33">{{Cite book |last=Kwon |first=Donna Lee |url=https://www.worldcat.org/title/740630366 |title=Music in Korea: Experiencing Music, Expressing Culture |date=2011 |publisher=Oxford University Press |isbn=978-0195368284 |series=Global Music Series |location=New York |pages=32–39 |oclc=740630366}}</ref> The construction practice used in the instruments present in aak is based upon a measurement system of Chinese origin where the instrument's pitches correspond to the measurements of Emperor Huizong's finger.<ref name=":4">{{Cite journal |last=Provine |first=Robert C. |date=1992 |title=The Korean Courtyard Ensemble for Ritual Music (Aak) |url=https://www.jstor.org/stable/768472 |journal=Yearbook for Traditional Music |volume=24 |page=92 |doi=10.2307/768472|jstor=768472 |url-access=subscription }}</ref> This practice introduced by the Dasheng Institute was abandoned in China but remained in practice in Korean court music.<ref name=":4" />
=== List of instruments ===
==== Bamboo ==== * Ji (instrument) – aerophone * Yak (instrument) – aerophone * Jeok (instrument) – aerophone * So – aerophone
==== Wood ==== * Bak (instrument) – idiophone * Bu (instrument) – idiophone * Chuk (instrument) – idiophone
==== Metal ==== * Pyeonjong – idiophone
==== Silk ==== * Seul – chordophone * Geum – chordophone
==== Stone ==== * Pyeongyeong – idiophone
== Players == * Lee Ju-hwan
==See also== *Akhak Gwebeom *Culture of Korea *Gagaku *Jongmyo Jeryeak *Korean music *Nhã nhạc *Traditional Korean musical instruments
== References == {{reflist}}
==External links== *[https://web.archive.org/web/20070523061659/http://210.95.200.103/BookData/200007/index.htm ''A Study of Musical Instruments in Korean Traditional Music''] (The National Center for Korean Traditional Performing Arts, Ministry of Culture and Tourism, Republic of Korea, 1998){{dl|date=April 2025}} *[https://web.archive.org/web/20100619162911/https://eee.uci.edu/programs/rgarfias/films.html Old recordings of aak in the 1960s] A collection of Korean court music videos
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Category:Korean styles of music Category:Korean court music