The yunluo (simplified: 云锣; traditional: 雲鑼 pinyin: yúnluó, [y̌nlu̯ɔ̌] ; literally "cloud gongs" or "cloud of gongs"), is a traditional Chinese musical instrument. [1] It is made up of a set of gongs of varying sizes held within a frame. It was also called yún'áo (雲璈) in ancient times.
The yunluo is a set of usually ten small tuned gongs mounted in a wooden frame, with each gong being about 9-12 cm in diameter, and the height of the frame being about 52 cm. The yunluo's gongs are generally of equal diameter but different thicknesses; the thicker gongs produce a higher pitch. It is often used in wind and percussion ensembles in northern China. Old drawings also depict a smaller yunluo with just five gongs, which was held by a handle by one hand and played with the other.
The traditional yunluo is sometimes referred to as the shimianluo (十面锣; literally "ten faced gongs") to distinguish it from the modern redesigned yunluo. [2]
A modernized yunluo has been developed from the traditional yunluo for use in the large modern Chinese orchestra. It is much larger with 29 or more gongs of different diameters. Its height may be over 2m including its two legs on which it stands on the floor (the frame itself is about half its height); its width is about 1.4 m or wider.
A very similar instrument called the ulla (hangul: 운라; hanja: 雲鑼 or 雲羅), which is derived from the yunluo, is used in the music of Korea. The ulla was introduced from the Qing Dynasty in the late Joseon Dynasty is presumed to have been used in haengak (hangul: 행악; hanja: 行樂; royal court music played in procession). [3] Like the yunluo it consists of ten small, round, flat brass gongs suspended in a wooden frame, and played with a small wooden mallet. [4]
The nhã nhạc music of Vietnam uses a similar instrument with three gongs, called the tam âm la (Sino-Vietnamese: 三 音 鑼).
A gong is a percussion instrument originating in East Asia and Southeast Asia. A gong is a flat, circular metal disc that is typically struck with a mallet. They can be small or large in size, and tuned or can require tuning.
Korea has produced music for thousands of years, into the modern day. After the division of Korea in 1945, both North and South Korea have produced their own styles of music.
Hyangak, literally "indigenous/native music, folks music" is a traditional form of Korean court music with origins in the Three Kingdoms period. It is often accompanied by traditional folk dances of Korea, known as hyangak jeongjae. These dances are performed in front of audiences—as opposed to the square dance more familiar to Westerners, which is primarily for the participants' enjoyment.
The term Chinese orchestra is most commonly used to refer to the modern Chinese orchestra that is found in China and various overseas Chinese communities. This modern Chinese orchestra first developed out of Jiangnan sizhu ensemble in the 1920s into a form that is based on the structure and principles of a Western symphony orchestra but using Chinese instruments. The orchestra is divided into four sections – wind, plucked strings, bowed strings, and percussion, and usually performs modernized traditional music called guoyue. The orchestra may be referred to as Minzu Yuetuan or Minyuetuan in mainland China, Chung Ngok Tuen in Hong Kong, Huayuetuan in Southeast Asia, or Guoyuetuan in Taiwan.
The konghou is a Chinese plucked string instrument. In ancient China, the term konghou came to refer to three different musical instruments: a zither and two different types of harp.
The fangxiang is an organized-suspended (bianxuan) Chinese metallophone that has been used for over 1,000 years. It was first used in the Liang dynasty (502—557 CE), and then standardized in the Sui and Tang dynasties mostly for court music.
The paixiao is a Chinese wind instrument, a form of pan flute. A major difference between the Chinese Paixiao and the panpipes used in European and South American traditions, is that at the top of the Chinese instrument the pipe holes are each cut angled or with notches. This allows for bending the pitch in similar capacity to the dongxiao down a minor second. This allows Chinese paixiao to be fully chromatic without loss in timbre, even though the included pipes are tuned diatonically. The method of blowing so is to hold the head of the frame with both hands, with the mouthpiece facing the front, place the lower lip on the mouthpiece, and find and blow each tube according to the pitch.
The Zhihua Temple is a Ming dynasty-era Buddhist temple in Beijing, China. It is located in the Lumicang (禄米仓) hutong, in the Chaoyangmen area of Dongcheng District, within the Second Ring Road to the north of Jinbaojie Street, west of the Yabaolu area. The temple was built in 1443 at the order of Wang Zhen, a powerful eunuch in the Rites Supervising Office of the court of the Zhengtong Emperor.
The buk (Korean: 북) is a traditional Korean drum. While the term buk is a native Korean word used as a generic term meaning "drum", it is most often used to refer to a shallow barrel-shaped drum, with a round wooden body that is covered on both ends with animal skin. Buk are categorized as hyeokbu which are instruments made with leather, and has been used for jeongak and folk music.
Dangak (Korean: 당악) is a genre of traditional Korean court music. The name means "Tang music", and the style was first adapted from Tang Dynasty Chinese music during the Unified Silla period in the late first millennium. It was continued through the Goryeo (918–1392) and Joseon (1392–1910) dynasties, when, along with hyangak and aak it was one of the three approved genres of court music. Dangak performances were accompanied by Tang-style dances known as dangak jeongjae.
The bianqing is a traditional Chinese percussion instrument consisting of a set of L-shaped flat stone chimes known as qing, played melodically. The chimes were hung in a wooden frame and struck with a mallet. Along with the bronze bells called bianzhong, they were an important instrument in China's ritual and court music going back to ancient times.
Traditional Korean musical instruments comprise a wide range of string, wind, and percussion instruments. Many traditional Korean musical instruments derive from Chinese musical instruments.
The naqareh, naqqāra, nagara or nagada is a Middle Eastern drum with a rounded back and a hide head, usually played in pairs. It is thus a membranophone of the kettle drum variety.
The ulla is a traditional Korean percussion instrument comprising a set of ten small tuned gongs in a wooden frame. They are struck with a mallet. Each of the gongs are the same size, but they produce different sounds due to their differing thickness.
Traditional Thai musical instruments are the musical instruments used in the traditional and classical music of Thailand. They comprise a wide range of wind, string, and percussion instruments played by both the Thai majority as well as the nation's ethnic minorities.
Pellet drums, or rattle drums, are a class of membranophone, or drum, characterized by their construction and manner of playing. They have two heads, and two pellets, each connected by a cord to the drum. The damaru, which is used in Tibet, Mongolia, and India, is an hourglass drum that is grasped by its waist with the hand twisting back and forth, causing the pellets to strike the heads in a rhythmic fashion.photo In China, Korea, and Japan, pellet drums are affixed to or pierced by a vertical rod or pole, and, depending on the instrument's size, the rod or pole is rotated back and forth along its axis either with one or both hands or between the palms, causing the pellets to strike the heads in a similar manner.
The fou is an ancient Chinese percussion instrument consisting of a pottery or bronzeware crock, jar, pot, or similar vessel, which was struck with a stick. Its origin dates back to the Xia or Shang dynasties, where it was used in ritual music. It later became a standard instrument in Confucian ritual ensembles.
Robert Zollitsch is a composer and producer of new Chinese music. He is known as Lao Luo in China, and established himself as an expert of traditional Asian music and a very important composer of contemporary Chinese art music.
Hanmunhak or Literary Chinese literature in Korea is Korean literature written in Literary Chinese, which represents an early phase of Korean literature and influenced the literature written in the Korean language.