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NOTES ON TRANSLATION AND ROMANIZATION

Korean words are rendered according to the McCune-Reischauer system of romanization. Two terms that figure prominently in this work—samul nori and SamulNori—will refer to the genre and the name of the quartet, respectively. Since copyright issues and cases of mistaken identity have plagued the SamulNori percussion quartet from its inception, I have made a conscious decision to respect these orthographic preferences (over samullori and Samulnori), in addition to adopting the quartet’s English rendering of names such as those of SamulNori Hanullim’s artistic director, Kim Duk Soo [Kim Tŏksu / 김덕수], and managing director Joo Jay-youn [Chu Chaeyŏn / 주재연]. In these cases, I generally provide the McCune-Reischauer spelling in brackets at their first appearance in the text. Other more standard exceptions to the McCune-Reischauer system include a decision to retain the more familiar romanization of historical figures and place names, such as Park Chung Hee [Pak Chŏnghŭi / 박정희] and Seoul [Sŏul / 서울], as well as the names of Korean authors who publish predominantly in English. Korean names are written with the family name preceding the given name. In the bibliography, author’s names appear with the romanizations used in the original publications. When necessary, I include the McCune-Reischauer rendering in brackets for clarity.

The names of specific SamulNori compositions, such as “Yŏngnam nongak” and “Pinari,” will appear in quotations. Terms such as kil kunak and pan kil kunak (italicized and in lowercase) will refer to the name of particular rhythmic patterns. Korean and Japanese terms generally appear in italics on first appearance in the text. For clarity, some less commonly used Korean terms appear in italics on first appearance in a chapter.

Unless otherwise noted, all translations (Korean to English; Japanese to English) are my own.