— Overview
The notes stay with range, mode, tone group, cadence, and a change in the 1990s, and they stop before a later recap.
— Contents and key concepts
A thesis, and a count of jangdan
The notes summarise a study of Jeong Dae-seok’s geomungo sanjo by Ju Yun-jeong, Seoul National University graduate school, 2016. The scope is the whole of that sanjo: jinyangjo 106 jangdan, jungmori 79, eonmori 77, and jajinmori 305, 647 in all.
For comparison they take the whole of Shin Kwae-dong’s school, 563 jangdan, and of Han Gap-deuk’s, 877. The method is a comparative one, reading existing sanjo and Jeong Dae-seok’s against four elements: range, mode, tone group, and cadential shape.
Strings, melody, and a later change
Among the musical features they record is the use of the geomungo’s various strings and playing techniques so that factors of timbre enter the composition, and the instrument’s character is brought out. The shape of the main interval progressions, they write, changes as one moves from the earlier parts toward the later ones. A call-and-response kind of melody also appears, and traditional melody, grounded in geomungo sanjo and in traditional music, adds a traditional element, while traditional technique is used for musical effect and for performance.
The features that come from mode and tone group are set out under three heads: the progress of the melody, a call-and-response form, and traditional melody. Jeong Dae-seok, they write, drew on his experience as a geomungo player and used those four elements actively in a sanjo that has its own musical character. The melodic element does not greatly depart from traditional form, but later a new way of moving the melody is found through a seven-tone scale and stepwise motion of a second.
The 1990s, and where the notes stop
Technique and the use of the open strings, they write, remain centred on traditional technique and function overall, but in the 1990s new geomungo techniques occupy a high frequency, and the open strings are used in more various functions, widening what the instrument can do inside a sanjo.
The notes leave the thesis there, before a later recap that only repeats the same block. The same Korean report, written out more fully, sits on CampusDown.
Sources
- The notes, a student summary of Ju Yun-jeong’s 2016 thesis on Jeong Dae-seok’s geomungo sanjo.
Last updated: 15 November 2026
Frequently asked questions
What thesis do the notes summarise?
A study of Jeong Dae-seok’s geomungo sanjo by Ju Yun-jeong, Seoul National University graduate school, 2016.
What is the scope of the comparison?
The whole of Jeong Dae-seok’s sanjo: jinyangjo 106 jangdan, jungmori 79, eonmori 77, and jajinmori 305, 647 in all. For comparison they take Shin Kwae-dong’s school in 563 jangdan and Han Gap-deuk’s in 877. The method is comparison by four elements: range, mode, tone group, and cadential shape.
What musical features do they record, and where do they stop?
The work uses the geomungo’s various strings and techniques for timbre; melody later finds a new path through a seven-tone scale and stepwise motion of a second; call-and-response appears; traditional techniques remain central, but in the 1990s new techniques become more frequent, and the open strings are used in more various ways. They stop before a later recap that only repeats the same block.
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