[1] Taepyeongso was originally an instrument used in military camps, but after the late Joseon Dynasty, its playing area expanded to include nongak and Buddhist music.

The list includes: A study of Buddhist ritual and taepyeongso (불교 의식과 태평소에 관한 연구) by Jeong Namgeun in 2001; "영산재에 연주되는 태평소 가락 분석" [analysis of taepyeongso melodies for yeongsanje] by Kim Wonseon (1999); "태평소 시나위 선율분석 연구:박종선류를 중심으로" [analysis of Bak Jongseon's sinawi] by Bak Gyeonghyeon (2004); "태평소와 사물놀이를 위한 관현악: '푸리'" ["puri" for taepyeongso and samulnori] by Hwang Uijong (1991); "한국 전통음악의 연구: 박범훈류 피리산조, 대풍류, 태평소시나위를 중심으로" [study of Korean 15 traditional music: connections between Bak Beomhun's taepyeongso sinawi, piri sanjo, and daepungnyu] by Yu Gyeongsu (1998); "대취타 변천과정에 대한 연구:태평소 선율을 중심으로" [study of the evolution of taepyeongso melody in daechwita] by Kang Yeonggeun (1998); "능게굿거리 선율 비교 분석 :지영희, 최경만 선율을 중심으로" [comparison of Choi Gyeongman's and Ji Yeonghi's neunggye gutgeori] by Kim Seongyeop (2005); and "동 서양의 겹 리드악기의 발전과 역사적 고찰" [development and history of double reed instruments in Korea and the west] by Kim Gi-nam (2004).

[5] In this document, taepyeongso is classified as bamboo, perhaps to reflect its similarity to piri, another double reed instrument.

In later classifications based on pal eum, however, such as Kim Gi-su's Gugak Ipmun (1983), taepyeongso is sometimes reclassified as wood.

It seems to not have been included in the historically significant gift of instruments given to the Goryeo-era King Yejeong by Emperor Huizong of Song in 1114, although similar instruments are mentioned, including "twenty oboes...with thin wooden tablets bound with gold and silver threads, red silk mattresses, and purple silk hyoppokcha".

The common Chinese term for this instrument type (suona) seems, like the shehnai of India and the Cambodian sralai, to be a transliteration of zurna, the Persian shawm.

In North Korea, a new jang-saenap with oboe-like keys, a mellower sound, and an extended range has been developed.

There is at least one CD available in the South of this instrument—Choi Yeong-deok's Jang-saenap Dokju-kogjip—whose tracks include renditions of "Amazing Grace" and "Polovetsian Dances" by Alexander Borodin.

[15] There are seven fingerholes on the front, of which only the upper five are normally used, and one in the back, which the left thumb nearly always covers (the main exception to this is daechwita, where all eight holes are played).

[16] In Korean Confucian ritual music, the taepyeongso is used only in three songs—"Somu", "Punung", and "Yeonggwan" (Seo 2002, 206) of the Jeongdae-eop [praise of the military accomplishments of Korean leaders] section performed by the courtyard ensemble during Jongmyo jerye-ak (ritual music for Korean ancestors)[17] The taepyeongso is used to accompany ritual dance as part of the outdoor band called jorachi or gyeongnaechwi, together with a large gong, cymbals, a barrel drum, and an optional long trumpet and a conch shell.

The piri player often switches to taepyeongso, producing a louder sound so that his own group of ritual specialists can follow the music better".

[20] Lee Yong-Shik makes similar observations with regards to Hwanghae region rituals: The use of these instruments (piri and taepyeongso) is limited to large-scale public performances.

[21] Lee further points out that the taepyeongso is not included in the samhyeonyukgak chamber ensemble used to accompany both shaman rituals and court dances in Seoul and Gyeonggi province.

In brief, the taepyeongso is used more as an effect than a core instrument in shaman ritual music, a situation made possible by the fact that the professional musicians who accompany shaman rituals are multi-instrumentalists, able to easily switch from one instrument to another.30 The primary context in which the taepyeongso is featured is during pungmul and other Namsadang (professional travelling entertainment troupe) activities, such as tightrope-walking and acrobatics.

There is considerable overlap within the taepyeongso repertoire among the contexts the described above, with the exception of Confucian Ritual Music.

Describing these styles in terms of western musical theory is problematic insofar as tunings and formal characteristics differ among individual players.

Unlike European art music, the taepyeongso repertoire has traditionally been transmitted directly from teacher to student without aid of written scores, resulting in widely varying interpretations of melodic forms.

It shares basic melodic and formal characteristics with, and most likely is derived from, the folksong Taepyeongga and the related gyeonggi shaman song Changbutaryeong.

Neunggye Jajinmori shares some of the important characteristics of Neungye Gutgeori, such as descending melodic lines, a characteristic cadential phrase echoing that of Neunggye Gutgeori, consistent vibrato on Im and Hwang, and an opening phrase emphasizing Jung.

Cheonsubara, a melody used by taepyeongso players to accompany Buddhist ceremonial dance, is essentially identical to Giltaryeong.

It has a non-fixed form which can be adapted to a wide range of jangdan, and is a popular vehicle for relatively free improvisation.

The most widely played folksong on taepyeongso is undoubtedly Pungnyeonga, a 'farming' song which asks for a good harvest.

Compared with Neunggye Gutgeori and other gyeong-tori melodies, sinawi features a much more free form of improvisation and, in terms of mood, tends to be associated with sorrow.

According to Lee Bohyeong, the term sinawi is derived from sanoe or sanae, the religious folk music of the Shilla Dynasty (2002, 889).

Taepyeongso sinawi would seem to fall somewhere between the second and last of these types—a solo, non-ritual form which frequently follows a fixed rhythmic progression.

From Kim Seonghak, "Taepyeongso eumgye iyagi gyemyeonjo (sinawi)": General comments Neunggye is communal: individuality is controlled.

As with neunggye, there are particular folksong-derived menari-tori melodies—most notably Baetnorae—which can be played on taepyeongso but, like sinawi, menari is used more commonly as a melodic springboard for freer forms of improvisation.

Unlike neunggye and sinawi, the primary tone of menari is tae, while im is only rarely sounded.