Abstract

This article aims to draw a comparison of Korean jangdan to that of some Asian countries and looking into the way in which tempo creates different variants. One common characteristic among the various forms of Asian music covered in this paper is that they change the tempo of their rhythms by extension and reduction of beats. This study focuses on tempi and related rhythm patterns of the Asian countries. The study looked at Tala of India, Gongan of Indonesia, Nhịp of Vietnam, Thao of Thailand, Jiangan sizhu's Jiezou (節奏) of China, Jangdan of Korea for comparison. India's ancient literature on theaters, Natya Sastra, records a form of ancient Indian music called tala. Tala's speed from slow, medium to fast repeats every 24-12-6 beats. Irama of Indonesia has three levels of tempi starting from the third level called first level going up to the second and first level. The tempo grows faster from the third to the first level. The note where the gong is played is marked every 64-32-16 beats and the identical pattern changes by their expanding and cut back of beats. Rhythm in Vietnamese music is called nhịp. Nhịp 32 is equivalent to Adagio and nhịp 16 is moderato, nhịp 8 is allegro. Thailand's thao also show three different speed levels by expansion and contraction of density. Samchan is the slower thao, songchan is medium speed, and chandio has a fast tempo. The rhythmic pattern of speed change as slow-medium-fast is 32-16-8 beats or 64-32-16 beats each. Jiangnan sizhu (江南絲竹) that originates from southern China has jiezou (節奏). Slow tempo is called man ban (慢板) which is a slow music progressing at 4/4. Medium tempo is a 2/4 called jung ban (中板). Faster music is called won ban (原板) which plays at 1/4. The rhythm of Korean music also shows speed variations by augmentation and diminution of its density. Sejong sillok Bong-rae-ui (鳳倈儀), records one cycle of tempo patterns of slow-medium-fast at every 64-32-16 notes. It takes on the pattern of sanjo music that progresses in the order of jinyangjo (24 beats) - jungmori (12 beats) - jajinmori (4 beats). As shown in my analysis of jangdan of some Asian music, the longer jangdan is, the slower is its tempo, and the shorter it is, the faster is its tempo. I was able to confirm common ground that jangdan creates slower ones by expanding in on fast ones. This comparative study can give better insight into the processes that Asian countries have long been developed their music throughout mutual influences.