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Tasurum Amongst the numerous pieces performed by SamulNori can be found a series of introductory pieces based on a core set of changdan frameworks: kutkori, chungmori, chungjung mori, chajimori, and hwimori. The first piece in the series is tasurum, which may be considered an exercise in serial amplification and ensemble “feel”. Indeed the title of the piece seems to have multiple interpretations including “regulate” rhythmic pattern, and “mind focus”. Tasurum evolves from a recurring embryonic dotted crotchet (a statement of the primary 12/8 pulsation) to a collection of dense compound RS cell variants over the course of the piece. For students of the SamulNori repertoire, tasurum provides an introduction to almost all ternary RS cell variants (karak) The collection of ternary RS cell variants seen in ch’ilch’ae can also be found in tasurum. In tasurum however, the cells are altered slightly with the final low tone of each RS cell appearing on the last 16th note of each cell (ku kung), adding a “skipping” or “heartbeat” feeling to the pulse. The first note of each duple or skip-beat event (ku) is performed as a grace note leading to the stronger “downbeat” (kung).
The central focus of the “feel” of tasurum revolves around a collective interpretation of the duration of the “skip beat” appearing as the final sixteenth note of each RS cell. A more accurate description of the “feel” of tasurum may be attained if one considers RS cells as quintuple subdivisions of the primary pulse.
As seen in ch’ilch’ae, tasurum features high-tone yolch’ae accentuations that are not stated with the low tone kunggulch’ae. In order to control dynamic subtleties occurring between each side of the drum, performers of the changgo are required to develop a form of “independence” between the right and left hand, allowing for freedom of dynamic expression between the high and low tones of the drum. The effect of coordinated “independence” in tasurum is the creation of two seemingly autonomous “rhythm streams”: a) a low tone “skip beat” ostinato (ku kung), and b) a series of accentuations performed on the high tone that may be considered a rhythmic “melody” emerging through a process of serial amplification over the course of the piece. |
For information on Dr Simon Barker Watch a solo performance by Simon Listen to an interview with Simon on Coversations with Richard Fidler Listen to Simon interviewed on The Music Show |
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