ABSTRACT
Systems of learning music are not static entities. They develop, change, and may be superseded by new systems. One system may dominate at any given time, or may increase in prominence as another declines. Several conflicting or complementary systems may operate simultaneously. Adherents of one system may jockey for position against defenders of another. Systems may reflect influence from external sources, notably where Western conservatoire teaching methods meet the oral traditions of Asia and Africa, although the binary opposition between orality and conservatoire teaching is challenged by the reality of today's world. In keeping with John Blacking's considerations of the functions of music (1973: 25, 28, 30, 49, 74), systems may reflect political, social, or cultural attitudes and practices. This chapter explores how SamulNori has developed a particular teaching system. The SamulNori system embeds an aesthetic that, together with sets of notation and other aspects that have exerted control, tightens the identity of the samulnori canon. Some consideration of SamulNori's training has been done by others (e.g., Shingil Park 2000; see also interviews with Nami Morris and Nathan Hesselink in Chapter 7 below). Here, I first delve into the background of the system and discuss rote learning, as I experienced it as a student of the semi-itinerant local band changgo hourglass drum player Kim Pyŏngsŏp, linking to the exploration of percussion grammar in Chapter 2. Then I explore major components of SamulNori's system and show how these have established authority over the genre, samulnori.
