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November 2025
Playlist for the Korean Cultural Center New York
When Eun asked me to curate a playlist of Korean music for the KCCNY, I felt great joy and, at the same time, deep respect. I am a bassist, and over the past ten years I have explored nearly every genre within the Western musical world; yet it has only been about a year since I began to engage deeply with Korean music. My wife, who set out to integrate elements of traditional Korean music into our contemporary jazz project, was the catalyst for embarking on this truly exciting and unique musical journey. Creating a playlist of Korean musicians and ensembles is, therefore, not merely an act of collecting and presenting works I have studied – it is an exploration, and one I am delighted to take you along on.
This playlist features 25 selected pieces: from recordings of traditional Korean instruments and classical forms of Korean music, to hybrid works bridging old and new, to contemporary jazz compositions and improvisations. I kindly ask for your understanding that this selection only scratches the surface. As the saying goes, it is simply the tip of the iceberg. I encourage you to explore the full albums of the featured artists ensembles should something here spark your curiosity.
Before diving into the playlist, I would like to offer a brief introduction to the history and various forms of traditional Korean music. The world of Korean traditional music is remarkably diverse, deeply rooted in history, ritual, and observation of the natural world. The term Gugak (국악) encompasses forms whose origins reach back more than 1,500 years. Among them is the court music Jeongak (정악), which emerged during the Three Kingdoms Period (1st–7th century) and was refined during the Joseon (조선) Dynasty, characterized by calmness, elegance, and meditative slowness. In contrast stand vibrant folk traditions such as Minyo (민요), rooted in rural community life and passed down orally for centuries, especially during the Joseon period (14th–19th centuries). Equally significant are the shamanistic rituals of Mudang (무당), originating from pre-Buddhist indigenous belief systems, over 2,000 years old and still practiced today. A central genre is Pansori (판소리), which arose in the 17th century, combining dramatic storytelling with voice and drum, often over several hours. Also notable is Sanjo (산조), developed in the late 19th century, known for its improvisational freedom and increasingly virtuosic rhythmic development. Buddhist ritual chants such as Beompae (범패), introduced in the 6th century, and the dynamic percussion traditions Pungmul (풍물) and Samulnori (사물놀이) also play significant roles. While Pungmul has agrarian roots going back more than a thousand years, Samulnori emerged only in 1978 as a modern stage reinterpretation of village and ritual music. Together, these traditions form a fascinating acoustic window into Korea’s cultural memory, demonstrating the remarkable depth and historical breadth of Korean musical expression – from ancient ritual forms to contemporary artistic evolution.
And now, to the selections. If you have questions please reach out to me, or consult my Janggu teacher Grace Kang from the Korean Traditional Music and Dance Center in Farmingdale New York. I hope you enjoy listening! (You can find the youtube links in the link to the KCCNY website above.)
1. Dasreum — Daejeon Pansori Hitting Method Protective Institution
Traditional introduction to Sanjo/Pansori - “Dasreum” traditionally serves as a tuning and preparatory opening. Performed here on the sori-buk (소리북), it establishes the sonic world of Pansori and prepares the listener both rhythmically and emotionally for the music to follow.
2. Daeseureum — JeongHyun Chu, HoSe Yoon
A Gayageum (가야금) Daeseureum, presenting an intimate, focused sound world rooted in traditional instrumental technique. I like the idea of opening passages like these marking a transition from silence into the musical space. There exist many versions of Sanjo-related pieces like Daeseureum, passed down through generations and school lineages of master performers, each with its own unique variations and stylistic fingerprint.
3. Jajinmori — Seo Yong-Seok
Traditional Jangdan rhythm - Jajinmori (자진모리) is a fast 12/8 rhythmic cycle common in Korean percussion traditions. Seo Yong-Seok performs on piri (피리), accompanied by the janggu (장구) drum, following traditional performance practice.
4. Moon of My Hometown — Kang Kwon-Soon, Hwang Byung-Ki, Kim Jung-Soo
Court-music lyrical style - Hwang Byung-Ki (황병기), one of the most significant modern Gayageum composers, blends lyrical expression with nostalgic themes of home and longing. The sound is calm, reflective, and emblematic of the Jeongak aesthetic.
5. Taegum Sanjo — Han Bom-Su, Lee Chang-Hui
Daegeum solo in Sanjo format - A virtuosic, improvisatory work for Daegeum (대금). Beginning freely and gradually intensifying rhythmically, it exemplifies the Sanjo tradition’s development in the late 19th and early 20th centuries.
6. 손 — Project Soo
Contemporary composition for Gugak ensemble - Modern chamber music for Gayageum, Geomungo, and percussion, integrating traditional performance techniques into a contemporary aesthetic — a representative example of New Gugak.
7. Arirang — Lee Chun-Hee
Minyo (folk song) interpretation - “Arirang,” Korea’s most famous folk song (UNESCO heritage), exists in many regional versions. This rendition highlights traditional vocal ornamentation and melodic nuance.
8. Big Drum Sinawi
Shamanistic improvisation tradition - Sinawi (시나위) is an ensemble-based improvisational form with shamanistic roots, emphasizing collective interaction and ritual atmosphere.
9. 메나리 — Kim Duk-Soo Samulnori
Samulnori classic - This recording features the canonical Samulnori quartet: Kkwaenggwari (꽹과리), Jing (징), Janggu, and Buk. Based on the Menari mode from Korean folk repertoire, the performance combines rhythmic precision and high energy — a hallmark of modern staged Korean percussion.
10. 어랑타령 / 궁초댕기 — An Bichwi
Folk-song and court-music hybrid - “Eorang taryeong” (어랑타령) is a classic Minyo piece, here combined with court-style textures — blending narrative folk melody with refined court sensibility.
11. The Tale of Four Seasons (Danga) — Min Hye-Sung, Gyeun Eun-Kyung
Danga — short Pansori form - Danga (단가) is a shorter Pansori form often performed at the beginning of a program. It emphasizes vocal color, text, and expressive detail.
12. Indang — The Sea of Simcheong
Modern Pansori arrangement - A contemporary re-imagining of material from Simcheongga (심청가), one of the five great Pansori epics, placing traditional narrative elements in a modern context.
13. Rebellion — 7 Commandments — Jang Seoyoon
Contemporary experimental music - A work that combines Gugak elements with a modern art-music aesthetic, exploring rhythmic tension, structural contrast, and contemporary sonic language.
14–15. The Song of August / Spring of My — An Ok-Seon, An Suk-Seon
Pansori masters - Traditional Pansori vocals accompanied in classic style. Deeply rooted vocal techniques, poetic texts, and compelling melodic storytelling.
16. 성주푸리 — Kim So-Hee
Shamanistic vocal ritual (Sungjupuri) - A vocal ceremony from Jeju shamanism, traditionally sung for household protection. Kim So-Hee (김소희) is a legendary figure of Korean vocal tradition.
17. Dasreum — Dal:um
Minimalist duet for Gayageum & Geomungo - Dal:um explore reduced sonic textures, microtonal tension, and quiet gesture — a contemporary reimagining of traditional string instruments.
18. Jinyang — Son Seong-Je, Yulhee Kim, Suwuk Chung, Soojin Suh
Gugak–jazz fusion - The Jinyang-jangdan (진양장단) slow rhythmic cycle is interpreted within a contemporary jazz improvisational framework.
19. Far Away / Arirang — Red Sun, Samulnori
Samulnori meets ECM aesthetics - A historically significant collaboration merging traditional percussion language with European jazz textures.
20. Two Steps to Dream — Joon Park
Contemporary jazz - A modern jazz composition by a former fellow student.
21. After Sunset — Sujae Jung, Wolf Robert Stratmann
Contemporary jazz - A contemporary jazz composition and improvisation inspired by Korean nature.
22. Escapism — Sun-Mi Hong
Korean-influenced contemporary jazz - Seoul-born drummer of the Amsterdam scene; rhythmically intricate, emotionally narrative performance.
23. San — Sujae Jung, Wolf Stratmann
Experimental music - “San” (산 = mountain) references Korean nature symbolism. Atmospheric and improvisatory, guided by a graphic score inspired by historical Korean map symbols.
24. Slowpoke — DoYeon Kim, Laura Totenhagen
Experimental / cross-cultural music - DoYeon Kim blends Gayageum with free improvisation — an archetype of transnational Korean modern music.
25. Let My Heart — Gonjang
Indie - A production by a former fellow student.