@article{oai:minpaku.repo.nii.ac.jp:00004400,
 author = {櫻井, 哲男 and Sakurai, Tetsuo},
 issue = {3},
 journal = {国立民族学博物館研究報告, Bulletin of the National Museum of Ethnology},
 month = {Feb},
 note = {The musical sounds used in Korean shamanistic ritual are
the human voice, the chang-gui (drum) sound, the puk (drum)
sound, the ching (gong) sound, the sOlsswe (small gong) sound,
the yoryong (bell) sound and the parang (cymbal) sound. These
sounds are combined as follows : (1) human voice (solo or
accompanied by the chang-gui); (2) the puk, the ching, the solsswe;
(3) the yoryOng; (4) the parang—less a musical instrument than
a tool of divination—. Three and 4 are used separately.
In shamanistic ritual these sounds are sometimes used
independently, and sometimes incidentally with dance or ritual
posturing. The sounds have three main functions: (1) working
upon gods; (2) mutual communication between gods and man;
and (3) enjoyment of gods and man.
Analyzed musically, only the vocal expression has a clear
melodic movement, which becomes more patterned and musical
when mental distance to a god seems nearer. That is, there is
a certain relationship between the distance to the god and the
musicality.
Rhythmically, the trisection of a beat is a dominant principle
and the variations of trisection (2 to 1, 1 to 2) maintain superiority
in building-up rhythm. The characteristic feature of rhythm
is not only its various vocal expressions from verbal to musical
grade, but also in various physical movements such as dancing.
Then thus appears to be a fundamental characteristic of Korean
folk music and performing arts.},
 pages = {551--573},
 title = {巫俗儀礼の音 : 韓国済州島の事例から},
 volume = {10},
 year = {1986},
 yomi = {サクライ, テツオ}
}