The taepyeongso (Korean: 태평소; lit. "big peace wind instrument"), also called hojok, hojeok, nallari, or saenap, is a Korean wind instrument with two reeds. It belongs to the same family as the shawm or oboe. It may have been influenced by the Persian sorna and is closely related to the Chinese suona. The instrument has a cone-shaped wooden body made from citron, jujube, or yellow mulberry wood. It has a metal mouthpiece and a bell-shaped metal end. It was first used during the Goryeo period (918–1392).

The taepyeongso produces a loud and sharp sound, which is why it is mostly used in Korean folk music, especially in music played by farmer bands, and in marching bands. Marching bands played for royalty were called daechwita. It is also used in some other types of music, such as Confucian, Buddhist, and Shamanist ritual music, as well as in modern fusion music and K-pop, including a song called "Lalalay" by Sunmi (2019).

The instrument has a large volume and a high pitch, making it good for outdoor performances.

Originally, the taepyeongso was used in military camps. After the late Joseon Dynasty, its use expanded to include nongak (traditional folk music) and Buddhist music. In recent years, it has also been used as a solo instrument and in original compositions. It is the only instrument that plays melodies in military, agricultural, and Buddhist music.

Writings

Written sources about the taepyeongso instrument in English are not very common. The instrument is briefly mentioned in several books, such as those published by the National Center for the Traditional Korean Performing Arts, which help introduce Western readers to Korean music and culture. Nathan Hesselink's Pungmul (2006) includes a small amount of background information about the instrument, as does Keith Howard's Korean Musical Instruments: A Practical Guide (1988). Lee Byong-Won's Buddhist Music of Korea (1987) provides short descriptions of how the taepyeongso is played in Buddhist ceremonies and dances, as well as details about the musicians who perform it.

Maria Seo's Hanyang Gut (2002) and Lee Yong-Shik's Shaman Ritual Music in Korea (2004) describe the role of the taepyeongso in shaman rituals. Keith Howard discusses daechwita, a type of royal processional music that often includes two taepyeongso, in Bands, Songs and Shamanistic Rituals (1989), though his ideas are not certain. Song Kyong-Rin's article "Korean Musical Instruments" (in Survey of Korean Arts: Traditional Music, 1973) offers more information about the taepyeongso's use in court music.

Journal articles include Go Boyun's overview of taepyeongso playing in pungmul, titled "풍물놀이를 위한 태평소 지도반" (2002), and an acoustical analysis of taepyeongso sound production by Byeon Jungbae and others, titled "Extraction of Characteristics Corresponding to Bell of Taepyeongso Based on Acoustical Analysis" (2007). Master's theses about the taepyeongso are more common. Examples include: A study of Buddhist ritual and taepyeongso (불교 의식과 태평소에 관한 연구) by Jeong Namgeun (2001); "Analysis of taepyeongso melodies for yeongsanje" (영산재에 연주되는 태평소 가락 분석) by Kim Wonseon (1999); "Analysis of Bak Jongseon's sinawi" (태평소 시나위 선율분석 연구:박종선류를 중심으로) by Bak Gyeonghyeon (2004); "Puri for taepyeongso and samulnori" (태평소와 사물놀이를 위한 관현악: '푸리') by Hwang Uijong (1991); "Study of Korean traditional music: connections between Bak Beomhun's taepyeongso sinawi, piri sanjo, and daepungnyu" (한국 전통음악의 연구: 박범훈류 피리산조, 대풍류, 태평소시나위를 중심으로) by Yu Gyeongsu (1998); "Study of the evolution of taepyeongso melody in daechwita" (대취타 변천과정에 대한 연구:태평소 선율을 중심으로) by Kang Yeonggeun (1998); "Comparison of Choi Gyeongman's and Ji Yeonghi's neunggye gutgeori" (능게굿거리 선율 비교 분석 :지영희, 최경만 선율을 중심으로) by Kim Seongyeop (2005); and "Development and history of double reed instruments in Korea and the West" (동 서양의 겹 리드악기의 발전과 역사적 고찰) by Kim Gi-nam (2004).

History and classification

The instrument has several names, including taepyeongso (meaning "great peace pipe"), hojeok ("reed instrument of the Xianjiang people"), saenap/swenap (likely a version of the Chinese suona), and nallari/nalnari (a Korean term that sounds like the instrument's noise). The term saenap was officially used for teaching by the National Centre for the Traditional Korean Arts, but it is now rarely used. The centre now prefers the name taepyeongso. The term nallari/nalnari is often linked to entertainment, such as pungmul performances, rather than religious or ceremonial uses.

According to the Hornbostel-Sachs system, taepyeongso is classified as 422.112: an oboe with a cone-shaped tube. In Korea, traditional classification systems group instruments by their use, origin, or material. Classifying by material, called pal eum ("eight tones"), is based on Chinese ideas and was used in the 1908 document Jeungbo munheonbigo. In this document, taepyeongso was grouped with bamboo, possibly because it resembles the piri, another double-reed instrument. Later, in some classifications, such as Kim Gi-su's Gugak Ipmun (1983), it was sometimes grouped with wood. The other materials in this system are metal, silk, skin, stone, gourd, and clay. Classifying by use, based on the Goryeosa ("History of Goryeo," 1451), divides instruments into aak (ritual music of Chinese origin), dangak (secular music of Chinese origin), and sogak (indigenous music). Some instruments fit into more than one category. In the Akhak gwebeom, a 1493 music encyclopedia, instruments are placed in only one category: aak, dangak, or hyangak (indigenous music), suggesting a classification based on origin rather than use.

In this treatise, which includes the first written mention of taepyeongso in Korea, the instrument is listed with other traditional Korean instruments like janggu, haegeum (spiked fiddle), and ajaeng (bowed zither) under the category of dangak.

The exact time taepyeongso was introduced to Korea is unknown. It was not included in a famous 1114 gift of instruments to King Yejeong of Goryeo by Emperor Huizong of Song, though similar instruments were mentioned. The earliest written reference to taepyeongso appears in the 1493 Akhak gwebeom. The name hojeok suggests the instrument may have come from the Xinjiang region of China, where it is believed to have spread to East Asia between the third and fifth centuries.

The common Chinese name for this instrument type, suona, is similar to the Indian shehnai and Cambodian sralai, which are variations of the Persian zurna (a type of shawm). The Korean term "saenap" likely comes from the same root. Regardless of its name, similar instruments have spread widely from their origins in Persia to places like Cuba (trompeta china), Spain (dulzaina), Kenya (bung'o or nzumari), and Croatia (sopila).

The instrument's loud, wailing sound makes it suitable for outdoor events, where it is often played with drums and other percussion instruments. In North Korea, a modified version called jang-saenap has been developed, featuring oboe-like keys, a softer tone, and a wider range. In South Korea, a CD titled Jang-saenap Dokju-kogjip by Choi Yeong-deok includes performances of "Amazing Grace" and "Polovetsian Dances" by Alexander Borodin.

Construction

The instrument has seven fingerholes on the front. Usually, only the top five are used. There is also one fingerhole on the back. The left thumb often covers this hole. The main exception to this is daechwita, where all eight holes are used. Different types of wood are used, including jujube, citron wood, yellow mulberry wood, and ebony. Today, most instruments are made the same way and are usually imported from China. In the past, there may have been many different ways to build them. More expensive instruments can usually be completely taken apart for cleaning or repairs. Cheaper instruments typically allow only the bell and tassel to be removed.

In the past, reeds were made from the stems of river reeds. The stems were hollowed out, steamed, dried, sanded, shaped, and tied to the mouthpiece with thread. Today, most players use pieces of plastic drinking straws.

• Cut a piece of the straw to the right size. The length depends on personal preference. Longer reeds create lower sounds, and shorter reeds create higher sounds.
• Cut the corners off the top of the straw.
• Flatten the straw to create two sharp edges.
• Wrap sandpaper with very small grains around the index finger or the instrument to shape the straw into a curved surface.

• Gently sand the flat part of the straw. Count how many times you sand each side to keep it even. Test and sand as needed. A softer, thinner reed is easier to use at first, but a firmer reed is needed to play higher notes and control the sound.

Contexts

The taepyeongso is used in specific situations because it makes a very loud sound. Because of this, it is rarely played with singing or other musical instruments that create melodies. Instead, it is often used with drums and is usually played outside.

The Sino-Korean word "chwita" means "blowing and hitting," and the prefix "dae-" means "great." The term "daechwita" was used in processions, such as when the king entered or left a military headquarters. A louder group of musicians, including the taepyeongso, would walk in front of the king, while a quieter group, including the piri, would follow.

In Korean Confucian ritual music, the taepyeongso is only used in three songs: "Somu," "Punung," and "Yeonggwan." These songs are part of the Jeongdae-eop section, which praises the military achievements of Korean leaders. The songs are performed by a group of musicians during the Jongmyo jerye-ak, which is ritual music for honoring Korean ancestors.

The taepyeongso is used to support ritual dances as part of an outdoor band called jorachi or gyeongnaechwi. This band includes a large gong, cymbals, a barrel drum, and may also include a long trumpet and a conch shell.

Most sources say the taepyeongso is not a main instrument in shaman ritual music. Maria Seo explains that the taepyeongso is not traditionally used in Hanyang Gut, a ritual in Seoul. It is only used in certain situations, such as when multiple rituals happen at the same time. The piri player might switch to the taepyeongso to make the music louder so their group can follow better. She also mentions "ssang hojeok," which is when two taepyeongso are played together, and a part of a ritual where seven taepyeongso are played at the same time during a performance involving walking on knife blades. Lee Yong-Shik reports similar observations about rituals in the Hwanghae region.

Lee also notes that the taepyeongso is not part of the samhyeonyukgak chamber ensemble, which is used for shaman rituals and court dances in Seoul and Gyeonggi province.

In the southwest (Jeolla province), the taepyeongso is sometimes used in the sinawi ensemble, which is part of shaman rituals in that region. In the east, the taepyeongso was used by Kim Seok-chul in Donghae-an Byeolsingut, a purification ritual on the east coast. However, it is no longer used after his death. In general, the taepyeongso is more of a supporting instrument in shaman ritual music, not a central one. This is because the musicians who perform in these rituals are trained to play many different instruments and can switch between them easily.

The main time the taepyeongso is used is during pungmul and other Namsadang performances, which include activities like tightrope walking and acrobatics. There is often overlap between the music used for pungmul, shamanist rituals, and Buddhist rituals. This is because the same musicians often perform in all these events.

The taepyeongso is often used in modern and fusion music. In these contexts, it can play Western melodies, new melodies, or traditional melodies. Its uses can be grouped into five categories:

• Replacing Western instruments, such as trumpets, in Western-style music groups.
• Playing with Western instruments in ensembles that blend traditional and modern styles.
• Being used in national music orchestras, such as the KBS Orchestra.
• Being part of a mix of different types of Korean music.
• Being used in experimental music.

The taepyeongso has also been used in contemporary popular music. For example, Seo Tai-ji & Boys combined it with heavy metal in their 1993 song "Hayeoga." It is also a central instrument in Ground Zero's 1997 song "Consume Red," a 57-minute long experimental rock piece.

Repertoire

There is a lot of overlap in the taepyeongso music played in different contexts, except for Confucian Ritual Music. Because there is not enough information, North Korean styles are not included in this discussion.

The taepyeongso music is usually described based on three regional styles: neunggye or gyeongtori (Central Region), Sinawi (Southwestern Region), and Menari (Eastern Region). These styles were once only played in their specific regions, but today, players know all styles and may mix or not mix them based on personal choice.

It is difficult to describe these styles using Western musical theory because the way the instrument is tuned and the structure of the music vary between players. Unlike European music, taepyeongso music has been passed down from teacher to student without written scores, leading to many different ways of playing the same melodies.

The modern taepyeongso has eight fingerholes—seven on the front and one on the back. Most styles use only the top five front holes, leaving the back hole closed. The instrument can play two full octaves, but it is most often used for about one and a half octaves. The sound produced depends on the instrument’s construction, the reed, and how the player shapes their mouth. Korean musical theory, based on Chinese theory, gives names to the notes created by different fingerhole combinations. Below are approximate Western note equivalents:

• All five top front holes closed: Im (임,林), approximately B
• Four top front holes closed: Nam (남,南), approximately C
• Three top front holes closed: Mu (무,無), approximately D
• Two top front holes closed: Hwang (황,黃), approximately E
• One top front hole closed: Tae (태,太), approximately F
• No top front holes closed: Jung (중,仲) or Go (고), approximately G/A

Notes in the higher octave share the same names but serve different roles in melodies. The same note can be played using different finger combinations. These combinations may also change the sound quality, and fingering patterns can vary between teachers based on personal habits.

The term neunggye has unclear meaning and origin. It is mostly used to describe taepyeongso music from the central region, especially in pungmul (folk performance) contexts. The term gyeongtori is a modern term combining a regional name (gyeong, from Gyeonggi Province) and a musicological term (-tori, meaning regional style). Neunggye is vague and may refer to specific melodies or a general style, while gyeongtori refers only to the regional style and is used mainly in academic settings.

Compared to other styles, gyeongtori has more individual melodies but follows more fixed musical rules. Common gyeongtori melodies for taepyeongso include:

• Neunggye Gutgeori: A piece often used to teach new players. It shares similarities with the folk song Taepyeongga and the shaman song Changbutaryeong. It has three main sections, though the structure may vary. It is played with gutgeori jangdan (a specific rhythm pattern) and usually has a descending melody.

• Neunggye Jajinmori: Shares some features with Neunggye Gutgeori, such as descending melodies and specific phrases. However, it does not follow a fixed structure and can last for one to eleven rhythmic cycles. It is played with jajinmori jangdan.

• Giltaryeong (Road Melody): A short, sixteen-beat melody with a fixed form. It can be played with various rhythms. When paired with hwimori jangdan, it is called Neunggye Hwimori or Hwimori.

• Cheonsubara: A melody used for Buddhist ceremonial dance. It is nearly identical to Giltaryeong.

• Heoteuntaryeong (Scattered Melody): Named for its scattered or dispersed sound. It uses Tae as its main note, unlike other melodies that use Im or Hwang. It has no fixed form and is often used for improvisation. It is played with heoteun jangdan and has three sections, each lasting two rhythmic cycles. It is associated with shaman rituals and often performed with a wind ensemble called samhyeonyukgak.

• Yeombul (Song of Sutra): Used in Buddhist rituals. It is sometimes played by two taepyeongso instruments together.

• Daechwita: Used in royal processions during the Joseon dynasty. It is often played by two taepyeongso instruments and has a fixed form. It is rarely played outside its original context.

This category includes folk songs adapted for taepyeongso performances. The most popular is Pungnyeonga, a farming song asking for a good harvest. Other songs include Cheonnyeonmanse, Hangangsutaryeong, Taepyeongga, Yangsando, and Golpaetaryeong.

Compared to Neunggye Gutgeori and other gyeongtori melodies, Sinawi has more freedom for improvisation and is often associated with sad moods. According to Lee Bohyeong, the term sinawi comes from sanoe or sanae, religious folk music from the Shilla Dynasty. He describes different types of sinawi: those used with shaman chants, non-ritual versions, transitional forms influenced by p'ansori (narrative singing), and fixed forms with strict rules. Taepyeongso sinawi is likely between the second and last types—a non-ritual, solo form with a fixed rhythm. Sinawi melodies are also used to accompany pungmul ensembles.

Menari-tori is the least played taepyeongso style. Like neunggye, there are specific menari-tori melodies, such as Baetnorae, that can be played on the taepyeongso. However, menari is more often used as a basis for improvisation. Its main phrase is a descending sequence of Tae-Hwang-Nam. Unlike neunggye and sinawi, menari uses Tae as its main note, and Im is rarely used.

Notable players

• Joseph Celli
• Bill Cole
• Alan Heyman ( Korean : 해의만 )
• Lee Saeng-gang ( Korean : 이생강 )
• Lee Yoon-Ji ( Korean : 이윤지 )
• Jang Sa-ik ( Korean : 장사익 )
• Kim Seok-chul ( Korean : 김석출 )