ABSTRACT
Chapters 2 and 3 are centered on an analysis of rhythm/sticking cell variants occurring in two genres of Korean percussion music, and the application of these rhythmic resources on the Western drumset. The collection of Korean performances found in this study include: (a) tasŭrŭm and ch’ilch’ae from the p’ungmul or nongak tradition, as performed by the group SamulNori; (b) a developmental exercise designed to prepare students for the SamulNori repertoire, as transmitted to me by Kang Sun Il in June 2001; and (c) a performance of Kolmaegi kut, performed by a family of ritual musicians from Kangwŏn Province on Korea’s eastern seaboard. A number of families living in Kangwŏn Province perform East Coast ritual music, the focus of this study being the family led by Kim Yong T’aek.
