ABSTRACT
Korean music, in particular the court music tradition, has emphasised training. Professional education is conducted by institutes where young prodigies are trained to be Korean traditional music specialists, and these institutes are often subsidised by the government. This chapter explores training experience at schools specialising in Korean traditional music. A curved seating position is more favourable for folk music performances so that musicians can see each other’s movements and spontaneous inflections. The role set found in music contains an implementation for social configuration to meet the communal codes projected by an environment. In the case of European art music, roles and role-playing are relatively strict: the audience is quiet during a performance, and a performer pays consideration to accord strictly with the piece as written by a composer, not to play an impromptu melody. The chapter also presents an overview on the key concepts discussed in this book.
