Small, lipped, flat bronze gong of Korea.
It is known by numerous other onomatopoeic names (such as kkaengmaegi), as well as sogŭm (‘small gong’) and soe (‘metal’). Its dimensions are not fixed, but a typical instrument would be about 20 cm in diameter, with a lip of about 4–5 cm. The player supports the instrument by putting the left thumb on top and forefinger beneath the lip, allowing both an open sound (kkaeng) and, by touching the remaining left fingers against the resonating surface, a damped sound (maek); the instrument is struck with a small wood or bamboo mallet with a wooden ball at the end. The sound of the kkwaenggwari is remarkably loud, penetrating and clangorous.
The treatise Akhak kwebŏm (1493) describes a small gong in connection with dance at the Sacrifice to Royal Ancestors (Chongmyo), indicating that it was also used to announce the beginning of the ritual performance. At present the instrument is used chiefly in nongak (‘farmers’ music’), played by the band leader. Patterns played on the kkwaenggwari are very rapid and complex, being reinforced on strong beats by the Ching (large gong).
Sŏng Hyŏn, ed.:: Akhak kwebŏm [Guide to the Study of Music] (Seoul, 1493/R1975), 8.9b
Chang Sahun: Han’guk akki taegwan [Korean Musical Instruments] (Seoul, 1969), 123
ROBERT C. PROVINE