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 ¤ý ¹ß¸ÅÀÏ: 1997. 12
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LEE CHAE SUK KAYAGUM SANJO Traditional Folk-art Music
Kim Chuk Pa School CHANGGO KIM CHONG MAN
 
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¢´ Tasurum : Prelude
¢´ Chinyang jo : a very slow, sextuple meter (18/8)
¢´ Chungmori : a moderate, twelve-best pattern (12/4)
¢´ Chungjungmori : a swaying, compound four-beat pattern (12/8)
¢´ Chajinmori : a fast compound meter (12/8)
¢´ Hwimori : a very fast compound meter (12/8)
¢´ Sesanjosi : a very fast quadruple meter (4/4)
¡á °¡¾ß±Ý/ ÀÌÀç¼÷/ ¼­¿ï´ëÇб³ ±³¼ö Lee Chae Suk/ Prof. of Seoul National University
¡á Àå°í/ ±èû¸¸/ Á߿乫Çü¹®È­Àç Á¦5È£ ÆǼҸ® °í¹ý º¸À¯ÀÚ Èĺ¸ Changgo/ Kim Chong Man
¡á »êÁ¶ (±èÁ×ÆÄ·ù)
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»êÁ¶ÀÇ Æ²(úþ)Àº 19¼¼±â ±èâÁ¶(ÑÑóãðÓ)¿¡ ÀÇÇÏ¿© Â¥¿©Á³´Ù°í ÇÑ´Ù. ¾î¶² Ʋ¾È¿¡¼­ ¿¬ÁÖÀÚ°¡ ÁïÈZÀ» ¶ì°í ¿¬ÁÖÇÒ ¼ö ÀÖ´Â °îÀ̶ó Çؼ­ ÁïÈï°îÀ̶ó°íµµ ÇßÀ¸³ª Áö±ÝÀº ƲÀÌ °íÁ¤µÇ¾ú´Ù. ¾à 8°³ÀÇ ·ùÆÄ·Î ÀüÇØÁö´Â °¡¾ß±Ý»êÁ¶Áß ±èÁ×ÆÄ »êÁ¶´Â ±èâÁ¶·ù(×µ)¿¡ °¡Àå °¡±õ´Ù°í ÇÑ´Ù. ÀÌ´Â ±èÁ×ÆÄ°¡ ±èâÁ¶ÀÇ ¼Õ³àÀ̱⠶§¹®À̱⵵ ÇÏ´Ù.
6°³ÀÇ ¾ÇÀåÀ¸·Î ³ª´µ¾îÁö´Âµ¥ °¢ ¾ÇÀ帶´Ù ´Ù¸¥ ¸®µëÇü(Àå´Ü)À» °¡Áö°í ¸ØÃã¾øÀÌ ¿¬ÁֵȴÙ. Á¡Â÷ »¡¶óÁö´Â »êÁ¶ÀÇ °¢ ¾ÇÀåÀº Áø¾çÁ¶ 24(3/8), Á߸𸮠(12/4), Á߸𸮠(12/8), ÀÚÁø¸ð¸®(12/8), ÈÖ¸ð¸®(12/8), ¼¼»êÁ¶½Ã(4/4)·Î µÇ¾îÀÖ´Ù. »êÁ¶ÀÇ Á¶Çö¹ý°ú 6°³ ¾ÇÀåÀÇ ¸®µë(Àå´Ü)ÇüÀÇ ±âº»ÇüÀº ´ÙÀ½°ú °°´Ù.
¡á SANJO (Kim Chuk Pa School)
The kayagum, invented during the Kaya Kingdom in the Sixth century, is a 12-stringed zither made of paulownia wood. The silk strings are supported by 12 movable bridges. The player plucks the melody with his right hand and creates ornamental effects with the left. Sanjo, Korea? main solo instrumental form, developed during the 19 century. Its origins lie in the Shamanistic music of southwestern Korea. Although initially of an improvisatory nature, sanjo are now performed as relatively set pieces. The 8 schools of sanjo bear the name of their originators. Sanjo is performed on other Korean instruments, but kayagum sanjo is the oldest and most widely performed. The names of the sections in sanjo designate tempi and rhythmic patterns and are played without a break at a gradually increasing tempo. Each section has its own rhythmic cycle, changdan, which is maintained on the changgo (hourglass drum). Chinyangjo is a 24 beat cycle with a triple sub-division of each beat: it can be considered as 4 sections of 6 dotted crotchet beats at a slow tempo. Chungmori has 12 crotchet beats at a moderate tempo. Chungjungmori, is in quicker 12/8; Chajinmori is in fast 12/8, Hwimori with the same beat, is even faster, Tanmori (sesanjosi), is fast 4/4. The beginning of each section is indicated by the soloist playing a short phrase emphasizing the new rhythm. The sanjo to be performed is the complete sanjo of Kim Chuk Pa's school. It has six movements, beginning with the slow Chinyangjo and finishing with the fast Sesanjosi, the equivalent of Hwimori. This sanjo is delicate and feminine in tone.
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ÀÌ À½¹ÝÀº ¿À·§µ¿¾È °¡¾ß±Ý ±³À°¿¡ ¸ö´ã¾Æ ¿Â ±×°¡ °¡¶ôÀ» ¼±¸íÇÏ°í Á¤Á¦µÈ ºÐÀ§±â·Î À̾°í ÀÖ´Ù. ÀÌ À½¹ÝÀ» ÅëÇؼ­ ¿À´Ã³¯ Çѱ¹ÀÇ Çö´ë °¡¾ß±ÝÀÇ À½¾ÇÀÌ ¾î¶»°Ô Çö´ëÀûÀÎ ¸ð½ÀÀ¸·Î °Åµì³ª°í Àִ°¡¸¦ È®ÀÎÇÒ ¼ö ÀÖÀ» °ÍÀÌ´Ù.
¡á Prof. LEE CHAE SUK, is one of Korea's leading kayagum specialists. Prof. Lee was the first person is Korea to receive a B.A. and M.A. in Korean Traditional Music. In her second year of graduate school studies, she again made music history by giving the first solo performance in the country on a traditional Korean instrument, presenting court, folk and modern music in her program. On graduation, Prof. Lee began a period of research, lasting ten years, into all the major forms of kayagum sanjo. Learning directly from sanjo masters, Prof. Lee became the first Korean to gain a performing knowledge of the eight most famous types of sanjo. She then published the results of her research, making this genre generally available in transcription for the first time. In addition to this important musicological activity, Prof. Lee has given many successful kayagum recitals. In Korea, she was awarded the National Music Prize by the government in 1967. She has also performed in Osaka, Kobe, Tokyo, Taipei, Kaohsiung, Beijing, Ching Du, Bangkok, Baghdad, Hong Kong, Alma-ata, Podolsk, Hawaii, Washington, New York, Los Angeles, Vancouver, Paris, Bremen, Hannover, Koln, Cambridge, Durham and London. From 1965 Prof. Lee has also pursued an active teaching career at Seoul National University. In 1974~5 she was leader of the Seoul Metropolitan Korean music Orchestra. In 1979 Prof. Lee collaborated in the Oriental and African Music Project of the University of Cambridge, where she was Visiting Professor at Lucy Cavendish College. This resulted in several publications on the teaching and performing of kayagum and changgo, designed to introduce Western students to performing of kayagum and changgo, designed to introduce Western students to performances of Korean music. She returned to teach at the Cambridge summer school in 1981 and 1983. In 1996 Prof. Lee held the Andrews Chair of the UHM School of Hawaiian Asian and Pacific Studies and taught the Korean Ensemble in the Music Department. In 1967, she was appointed professor of kayagum at Seoul National University, where she still teaches. She has served as Head of Asian Music Research Institute (1984~1988 & 1994~1996)and as a board member of the Korean Musicological Society from 1991 and the Society for Korean Music Educators from 1976.
¡á ì°î¤â×/Ê¡å¦ÐÖ
1963. 2 ¼­¿ï´ëÇб³ À½¾Ç´ëÇÐ ±¹¾Ç°ú Á¹¾÷(BA)
1965. 2 ¼­¿ï´ëÇб³ ´ëÇпø Á¹¾÷(MA)
1974~1975 ¼­¿ï½Ã¸³±¹¾Ç°üÇö¾Ç´Ü ¾ÇÀå
1979.3~1979.9 ¿µ±¹ ÄÉÀӺ긮Áö ´ëÇб³ ÃÊû±³¼ö
1995.4~1997.4 ±¹¸³±¹¾Ç¿ø ÀÚ¹®À§¿ø
1996.1~1996.5 ¹Ì±¹ ÇÏ¿ÍÀÌ´ëÇб³ ÃÊû±³¼ö
1964 ~ ÇöÀç ±¹³» µ¶ÁÖȸ 8ȸ ÇØ¿Ü µ¶ÁÖȸ 11ȸ (ÄÉÀӺ긮Áö, ÇÏ¿ÍÀÌ, Æĸ®, ·±´ø, ºê·¹¸à, Çϳë¹ö, Ä븥, µµ±³) ½Ã¸³±¹¾Ç°üÇö¾Ç´Ü Çù¿¬ 7ȸ KBS±¹¾Ç°üÇö¾Ç´Ü Çù¿¬ 6ȸ ±¹¸³±³Çâ¾Ç´Ü Çù¿¬ 2ȸ ºÎõ ½Ã¸³±³Çâ¾Ç´Ü Çù¿¬ 1ȸ ¹Ù·ÎÅ© ÇÕÁÖ´Ü Çù¿¬ 3ȸ ÇØ¿Ü ¿¬ÁÖ 19ȸ (¿À¿À»ç±î, °í¿Àº£, ´õ·¥, ²¨¿ì½Ì, ·Î½º¾ØÁ©·¹½º, ¹Ù±×´Ùµå, µµ¿ÀÄì¿À, ¿ö½ÌÅÏ, ´º¿å, ŸÀÌÆäÀÌ, È«Äá, ¾Ë¸¶¾ÆŸ, º£ÀÌ¡, ĪµÎ, Æ÷µ¹½ºÅ©) ±¹³»¿¬ÁÖ ¾à 30ȸ
1976 ~ ÇöÀç Çѱ¹±¹¾Ç±³À°ÇÐȸ ÀÌ»ç
1982 ~ ÇöÀç »ç´Ü¹ýÀÎ Çѱ¹±¹¾ÇÇÐȸ ÀÌ»ç
1967 ~ ÇöÀç ¼­¿ï´ëÇб³ À½¾Ç´ëÇÐ ±³¼ö ¼ö »ó ´ëÇѹα¹ ±¹¾Ç»ó Çѱ¹¹®È­´ë»ó ±â¾Ç»ó, Ưº°»ó Çѱ¹À½¾Ç»ó
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