ABSTRACT
I now move to more detailed case studies. First, with reference to court, aristocratic, and professional folk genres, over the next few dozen pages, I ask how music can generate icons of national identity. Seventeen music-based Properties have been designated:
Music for the Rite to Royal Ancestors (Chongmyo cheryeak, Property 1, appointed in 1964)
Aristocratic music for the bamboo flute (Taegŭm chŏngak, 20,1968)
Lyric songs (Kagok, 30,1969)
Narrative songs (Kasa, 41, 1971)
Royal military music (Taech’wit’a, 46, 1971)
Local literati instrumental ensemble (Hyangje chul p’ungnyu, 83, 1985)
Epic Storytelling through Song (P’ansori, 5,1964)
Percussion band music (Nongak, 1 11,1966)
Six-stringed zither ‘scattered melodies’ (Kŏmun’go sanjo, 16,1967)
‘Standing songs’ of itinerant troupes (Sŏnsori san t’aryŏng, 19,1968)
Twelve-stringed zither ‘scattered melodies’ and songs (Kayagŭm sanjo mit pyŏngch’ang, 23, 1968)
Northwestern folksongs (Sŏdo sori, 29,1968)
Bamboo flute ‘scattered melodies’ (Taegŭm sanjo, 45, 1971)
Southern rice cultivation songs (Namdo tŭllorae, 51, 1973)
Kyŏnggi Province folksongs (Kyŏnggi minyo, 57, 1975)
Farming songs (Nongyo, 84, 1985)
Cheju Island folksongs (Cheju minyo, 95, 1989)
