Idiomatic composing for the ajaeng soloist: An exploration of the ajaeng’s strengths and limitations through the analysis of three concertos

Abstract

This paper is an exploration of idiomatic writing for the ajaeng, a traditional Korean bowed zither, with the goal of helping facilitate intercultural collaboration between composers and ajaeng performers. The ajaeng presents a unique challenge to composers unfamiliar with gugak (traditional Korean music), since the construction and performance practice of the instrument prioritizes pitch flexibility over pitch stability, an essential characteristic of gugak. To demonstrate the strengths and limitations of the ajaeng, the paper explores both effective and ineffective examples from three concertos: Lee Gui-sook’s Whirlpool Cloud, Kahng Soon-mee’s The Greenness in Winter, and Park Byong-o’s Requiem. The selected excerpts highlight key characteristics of the instrument, illustrate traditional and contemporary techniques, and offer solutions to the instrument’s limitations. Comparisons between the score and the performers’ interpretation offer insight into the performance practice of the ajaeng and provide possible solutions to problematic notation. Successful writing for the ajaeng will take advantage of the instrument’s flexible approach to pitch through the traditional techniques of nonghyeon and sigimsae (vibrato and pitch bending), as well as the ajaeng’s intense timbre, powerful rip gestures, pizzicato, double stops, and various extended techniques.