Korea: the ajaeng.
Leading on from Dangak, I’ve been exploring the theme of bowed zithers in Korea and China.
Organology can be a stimulating topic (see e.g. here), illustrating the riches of human creativity. Under the Sachs-Hornbostel system  chordophones are classified as lutes, harps, and zithers; it considers playing techniques as well as construction (and while I think of it, do admire the gardon of Gyimes!—here, under “Hungary, Transylvania, Romania”). We find many types of zithers: bar, tube, raft, board, trough, frame. Bowed zithers are a minor but intriguing rubric.
Schematic chordophone types, from Hournon, “Organology”.
Still, organology tends to reify, whereas instruments should lead us to the genres in which they play a part, and to musicking in society. I can meet that challenge for China, but below my explorations for Korea are somewhat hampered by the fact that such clips as I’ve found on YouTube largely feature performances on the concert stage rather than folk activity.
From The New Grove dictionary of musical instruments, “Zither” entry.
East Asia is notable for its half-tube board zithers. In Korea, a striking component of the hyangak ensemble is the ajaeng bowed zither. The bow, now usually made of horsehair, is traditionally a rosined stick.
In the sanjo genre, Kim Il-Gu:
and in Kim’s style, Han Lim:
Here’s Kim Young-Gil’s 2012 CD L’art du sanjo d’ajaeng (playlist):
The ajaeng is used in the sinawi genre, derived from shamanism:
Here’s the CD Korea: the art of sinawi (playlist):
Note also the bowed fiddle haegeum, whose Chinese characters 奚琴 attest to its early origin (see Xiang Yang 项阳, Zhongguo gongxian yueqi shi, 中国弓弦乐器史 [History of Chinese bowed string instruments, 1999] pp.174–83).
Away from the concert stage, to complement the video footage of a shamanistic kut ritual in my previous post, in this 2001 film of a ssitkimgut post-death cleansing ritual from the southwestern island of Jindo (cf. Keith Howard) both ajaeng and haegeum are part of the accompanying ensemble (e.g. from 14.03):
See also Shamans in the two Koreas.
* * *
In China, if the variety of bowed lutes (fiddles) is rather little known, bowed zithers are fewer but also remarkably widespread. Following the 1992 Zhongguo yueqi tujian 中国乐器图鉴 (pp.262–4), Xiang Yang devotes chapter 4 of his book (see above) to them.
Bowed zithers in Chinese folk traditions, with alternative regional names.
Table, Xiang Yang pp.165–6.
Illustration from the Yueshu of Chen Yang (1101).
In early history, the zhu 筑 was a struck zither, long predating bowed lutes, as Laurence Picken noted in his “Early Chinese friction-chordophones”, The Galpin Society Journal 18 (1965); Xiang Yang discusses it further in his chapters 2–3.
Left: yaqin, Yixian in Hebei; right, yaqin, Pingdingshan, Henan.
In modern folk traditions, the yazheng 轧筝 or yaqin 轧琴 (here and here) accompanies some regional vocal genres, such as in Yixian county, Hebei (where it was part of the Shifan ensemble), the Handan region of south Hebei, Hejin county in south Shanxi, and the Pingdingshan region of Henan. For the cuoqin 挫琴 around Qingzhou in Shandong, and links with early bowed zithers, see here and here. Recently in China such instruments tend to attract Intangible Cultural Heritage flapdoodle, but hey. For the plucked zheng zither in Shandong, click here.
Left: wenzhen qin, Putian; right, yaqin, Hejin.
In Fujian, the Shiyin bayue ensemble of Putian includes the wenzhen qin 文枕琴.
This excerpt from Pingdingshan in Henan features the yaqin:
For the sequel on Alpine bowed zithers, click here. See also Zithers of Iran and Turkey.
 See e.g. Geneviève Dournon’s chapter in Ethnomusicology: an introduction (The New Grove handbooks in music), pp. 276–7.
With thanks again to Simon Mills
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