The French romantic poet Victor Hugo once wrote: “Music expresses that which cannot be put into words and cannot remain silent.” In the modern world of globalization, music has long been a pivotal medium for cross-cultural exchange. Music is a complex and hermeneutical language that easily crosses cultural and linguistic boundaries. It is a true intangible form of art; a transformative art that can be improvised, improved, and developed. Due to its versatility, a culture can virtually absorb the musical styles of another through a process called transculturation. Throughout history, this acculturation has chiefly occurred due to political domination and trade network. In this essay, I will explore cross-cultural exchange through the examples
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Countless events of history have shown that the weaker countries have simply absorbed the advanced culture of more powerful neighbors. However, for many years Korea and Japan have developed China’s influence further to renew their own national identity. Geographically, Korea is situated at the far east of the Asian continent, with China to the west, Russia to the north, and Japan to the east. Although isolated from the continent, they have a long history of cultural exchange with all many neighboring countries, but its relationship with China stands out as particularly significant. For example, there are several varieties of the Chinese Pipa. The four-stringed Pipa, one of the most popular Chinese instruments, can be found in Korea’s Tang Pipa and Japan’s Biwa. Shaped like a pear, the Pipa reached Korean and Japanese borders by the 8th century and many innovators attempted to replicate it. In addition, the Sheng, one of the oldest Chinese aerophone instruments, also reached Korea (modern Saenghwang) and Japan (Sho). Additionally, Korea’s history of Three Kingdoms states that Kayageum was developed based on the model of Chinese Zheng during the 5th century. Kayageum was then taken to Japan, where the Koto was also replicated. Like the Chinese Zheng, the Koto has 13 strings, and the Korean Kayageum has 12 strings. Although the instruments have their similarities, each portray different stories and sounds to their respective
Countless events of history have shown that the weaker countries have simply absorbed the advanced culture of more powerful neighbors. However, for many years Korea and Japan have developed China’s influence further to renew their own national identity. Geographically, Korea is situated at the far east of the Asian continent, with China to the west, Russia to the north, and Japan to the east. Although isolated from the continent, they have a long history of cultural exchange with all many neighboring countries, but its relationship with China stands out as particularly significant. For example, there are several varieties of the Chinese Pipa. The four-stringed Pipa, one of the most popular Chinese instruments, can be found in Korea’s Tang Pipa and Japan’s Biwa. Shaped like a pear, the Pipa reached Korean and Japanese borders by the 8th century and many innovators attempted to replicate it. In addition, the Sheng, one of the oldest Chinese aerophone instruments, also reached Korea (modern Saenghwang) and Japan (Sho). Additionally, Korea’s history of Three Kingdoms states that Kayageum was developed based on the model of Chinese Zheng during the 5th century. Kayageum was then taken to Japan, where the Koto was also replicated. Like the Chinese Zheng, the Koto has 13 strings, and the Korean Kayageum has 12 strings. Although the instruments have their similarities, each portray different stories and sounds to their respective