Abstract
The Japanese Koto and the Korean Gayageum are not only similar in the method with which the techniques used to play them, but also in other ways, such as their roles in society. In recent years, both instruments have been increasingly used to teach traditional music at both the elementary school and junior high school levels, and the
number of places for instrumentalists to play and perform also seems to be increasing. However, the present situation with regard to traditional music performance in both Japan and Korea is not one of optimism, with very few job opportunities for performers and human relationships often causing problems in the traditional music world.
In this article, I will examine the environment in which players of traditional Korean music find themselves. To achieve this, I will use two main methods of research. The first method is to analyze the results of a questionnaire given to members of a Gugak orchestra. The second method is to draw upon interviews with two traditional Korean
music professionals: a professional Gayageum player, and a conductor of a Gugak orchestra.
