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 ¤ý ³ìÀ½: 1998.12.3. Çѱ¹À½¹Ý STUDIO
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The Haegeum Sanjo of Four Ryu Experiencing the Spiritual World of the Haegeum Sanjo performed by Park Cheong-sil
¢´ Áö¿µÈñ ·ù Chi Young-hee ryu 10:54
1. Áø¾çÁ¶ Chinyangjo 3:23
2. Á߸𸮠Chungmori 2:21
3. ÁßÁ߸𸮠Chungjungmori 1:14
4. ±Â°Å¸® Kutgeori 1:04
5. ÀÚÁø±Â°Å¸® Chajin-kutgeori 0:48
6. ÀÚÁø¸ð¸® Chajinmori 2:05
 
¢´ Çѹü¼ö ·ù Hahn Peom-su ryu 14:25
7. Áø¾çÁ¶ Chinyangjo 5:23
8. Á߸𸮠Chungmori 2:58
9. ÁßÁ߸𸮠Chungjungmori 2:31
10. ÀÚÁø¸ð¸® Chajinmori 3:33
 
¢´ ¼­¿ë¼® ·ù Suh Yong-seok ryu 16:14
11. Áø¾çÁ¶ Chinyangjo 4:30
12. Á߸𸮠Chungmori 3:30
13. ÁßÁ߸𸮠Chungjungmori 2:54
14. ºü¸¥ ÁßÁ߸𸮠Ppareun-chungjungmori 1:10
15. ÀÚÁø¸ð¸® Chajinmori 4:10
 
¢´ ±è¿µÀç ·ù Kim Young-jae ryu 16:16
16. Áø¾çÁ¶ Chinyangjo 4:30
17. Á߸𸮠Chungmori 3:10
18. ÁßÁ߸𸮠Chungjungmori 1:31
19. ¾ù¸ð¸® eotmori 1:34
20. ÀÚÁø¸ð¸® Chajinmori 2:23
21. ´Ü¸ð¸® Tanmori 3:08
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¢´ Àå°í/ ¹Úȯ¿µ Changgo : Park Hwan-young
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¡á Haegeum
The haegeum (ÇرÝ, ú¨ÐÖ, two stringed spike fiddle) is known as Korean fiddle whose origin is obscure. It was suggested, however, to have introduced into the Koryeo period (792-1392) from China via Central Asia and the Middle East as the family of spike fiddle can be easily found in various parts of the world, especially in those regions. The haegeum is constructed by the employment of all the materials of paleum (ÆÈÀ½, ø¢ëå, Eight Material, e.g. metal, stone, silk, bamboo, gourd, clay, leather, and wood), which is the Chinese and Korean methods of classifying musical instruments, so that it is regarded as a unique instrument. It is classified as the string instrument, like komuugo and kayageum, but is an essential instrument for ensemble performances, particularly with the wind instrument.
The two strings are supported by a bridge called weonsan (¿ø»ê, êÀߣ). It is played with a bow which is inserted between the two strings and this manner makes the haegeum playing distinctive from other bowed instruments which the right-hand action involves in a horizontal and lateral movement. Its playing method is that a player sits on the ground crossing his/her both legs and the base of the haegeum is put on the player's end of the left-foot. Its range consists of more than two octaves (b to f'').
¡á Sanjo
The term'Sanjo?(»êÁ¶, ߤðà, literally scattered melodies) refers to a solo instrumental music which is derived from a melody of Sinawi (½Ã³ªÀ§), a shaman music or a melody of Pansori (ÆǼҸ®, an epic song performed by one singer accompanied by a drum player). It is performed by setting a regular rhythmic framework of changdan (Àå´Ü, íþÓ­, literally "long and short " and refers to rhythmic cycle) which is formed by several different movements like "suite " and each movement continuously develops in terms of rhythm, tempo and ornamentation based on a given melody. Its performance depends on a player's skill and mood in the way of improvising and varying the existent melody. When a master player completes to playing Sanjo on his/her own style, it is called his/her ryu (·ù, ×µ) which can be interpreted as style or version. This genre has been applied to the representative instruments such as keomungo (°Å¹®°í, six-stringed plucking zither), kayageum (°¡¾ß±Ý, Ê¡å¦ÐÖ, twelve-stringed plucking zither), taegeum (´ë±Ý, large transverse bamboo flute),piri (ÇǸ®, bamboo oboe), ajaeng (¾ÆÀï, ä³î´, string zither with a bow) and so on, and called as komungo Sanjo and so on, which became established independently.
¡á Chi Young-hee ryu Haegeum Sanjo
The version of Chi Young-hee comprises six different movements - Chinyangjo, Chungmori, Chungjungmori, Kutgeori (±Â°Å¸®), Chajin-kutgeori (ÀÚÁø±Â°Å¸®) and Chajinmori (ÀÚÁø¸ð¸®). Chi, who was the master of the haegeum, expresses the characteristic features of the performance techniques which the haegeum possesses and contains its potential. As Chi also was the master of styles of Kyeonggi music, hisSanjo shows the lively melodies, whereas other versions of the Sanjo are characterized by the sad melodies of kyemyeonjo (°è¸éÁ¶, Í£Øüðà, a kyemyeon mode) which is centred in the Sourthern part of Korea. In particular, several places where the characters of his style are demonstrated rhythmic division of the type of eotchungmori appeared in chungjungmori and driving kutgeori into faster. And this reaches the final fastest movement of chajinmori in a natural manner.
¡á Hahn Peom-su ryu Haegeum Sanjo
The version consists of four movements - Chinyangjo, Chungmori, Chungjungmori and Chajinmori. Hahn Peom-su is the master of the taegeum who also made his own Taegeum Sanjo and is also the accomplished tungae (Åü¾Ö, large notched bamboo vertical flute) and haegeum player. His haegeum version shows lots of taegeum melodies, probably deriving from the fact that he made the Haegeum Sanjo after composing the Taegeum Sanjo. As in the Taegeum Sanjo, his style of the Haegeum Sanjo expresses authentic and refined tastes in terms of which his rhythmic division of the melody lies in cheong-pak (Á¤¹Ú, ïáÚÐ, literally regular beats/ rhythms) rather than pyeon-pak (º¯¹Ú, ܨÚÐ, irregular beats/ rhythms).
¡á Suh Yong-seok ryu Haegeum Sanjo
Suh's version consists of five movements - Chinyangjo, Chungmori, Chungjungmori, Ppareun-chungjungmori (ºü¸¥ ÁßÁ߸ð¸®) and Chajinmori (ÀÚÁø¸ð¸®). Suh Yong-sok is the master of the taegeum who composed Suh Yong-sok ryu Taegeum Sanjo and is also a fine ajaeng player and composer. His version of Haegeum Sanjo is characterised by the kyemyeon melody which is based on his musical experiences with the Namdo (³²µµ, ÑõÔ³, South regions) melody. In particular, part of teolleongje (´ú··Á¦) in kyemyeonjo and chajinmori of the first movement of chinyang can be the gem of the this music.
¡á Kim Young-jae ryu Haegeum Sanjo
Kim Young-jae ryu of Haegeum Sanjo consists of six movements - Chinyangjo (Áø¾çÁ¶), Chungmori (Á߸ð¸®), Chungjungmori (ÁßÁ߸ð¸®), eotmori (¾ù¸ð¸®), Chajinmori (ÀÚÁø¸ð¸®) and Tanmori (´Ü¸ð¸®). Kim, who is not only the master player for the haegeum and komun'go but also a composer, arranged Haegeum Sanjo showing his enriched musical experiences and imagination. His version is diverse in terms of rhythmic division and poncheong (º»Ã») of melody, and shows its unique technique of the haegeum. He also added another two movements, eotmori and huimori (ÈÖ¸ð¸®), developing from the previous movements. This is regarded as a pioneering work. In these two last movements, the various eot-pak (¾ù¹Ú, a kind of syncopated rhythm) in eotmori and the contrastive moods between sad and lively melodies in huimori are the characteristic features. Thus there is no doubt that his version should be played by a master player who is highly musical and has an excellent technique.
¡á ¹Ú Á¤ ½Ç(ÚÓïöãù) (ÇرÝ)
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¡á Park Hwan-young (changgo )
A well-known changgo (hourglass percussion instrument) player and currently the vice-leader of the taegeum in Seoul Metropolitan Korean Music Orchestra .
Profile of Park Cheong-sil
1950 Born in Seoul
1969 Graduated from Seoul Traditional Arts School
1973 Graduated from Seorabeol Arts College
A member of Seoul Metropolitan Korean Music Orchestra and a part-time lecturer at Cheonbuk University, Korean Music Department
Currently teaching the haegeum at Seoul Traditional Arts High School and Chungang University
Park Cheong-sil was born as the fourth daughter of six children of a family in Seoul. Her parents used to live in Yongjeong in China until her birth and it is said that they became aware of the importance of Korean culture during those period. Then they encouraged their children to learn traditional music and dance, particularly persuading Park Chong-sil to learn these arts. She was naturally influenced by the stimulating environment where her sisters were learning Korean music and dance. She first learned various instruments, not only the kayageum and haegeum but also Western instruments such as the violin and piano, as well as Korean dance. Of them she showed her extraordinary talent for the haegeum and entered the Traditional Arts School at the age of thirteen. At the School she had a unique opportunity to study the haegeum with Chi Young-hee, who was a master haegeum player and who discovered her potential ability as being a fine haegeum player. She started to build up her repertoire widely, ranging from cheong-ak (Á¤¾Ç, ïáäÅ, court and art music) such as Kyeonggi-pungnyu (°æ±âdz·ù, ÌÈѲù¦×µ, ensemble music based on Kyeonggi music), to minsok-ak (¹Î¼Ó¾Ç, ÚÅáÔäÅ, folk/ native music) such as Sanjo (»êÁ¶, ߤðà, improvised instrumental solo music based on shaman melodies), Minyo (¹Î¿ä, ÚÅéª, folk song), and so on. The six years training with him provided a solid base for her future musical experience. Then she was able to develope further her knowledge on Korean music and the potential of the haegum during the time of Sorabol Arts College.
After graduating from the College, she entered into a professional musical world as a member of Seoul Metropolitan Korean Music Orchestra. She had a great deal of opportunities to experience a wide range of repertoire throughout the frequent performances both home and abroad and this made her musical life to enrich. Importantly, she met another haegeum master, Kim Young-jae soon after the death of Chi Young-hee, and was able to develop her performance style of the haegeum and made her own style of playing.
During her musical career she has gained a reputation for her unique haegeum style. She is currently devoting to teaching the haegeum and its various styles as she feels a great responsibility for sharing and transmitting such a unique tradition in order to follow her teachers?role models. She is also a leader of her own ensemble called 1+3 running with her students. She has had solo recitals four times with success and performed her group ensemble 1+3 four times in public. She has also performed a total of a hundred times of foreign tours and a hundred fifty times of performances at home.
On the basis of her rich musical experiences and passion, this CD presented here is made. On this CD, Park Cheong-sil demonstrates not only the main characteristics of the four distinctive styles and versions of Heageum Sanjo, but also an interesting variety and diversity based on improvisation on the specific genre of the haegeum tradition. In this respect, it cannot be exaggerated about saying that she is not only the master haegeum player herself within the genre of Sanjo but also the excellent exponent of the different styles of Sanjo music as the word 'master?can be referred to such a performer who overcomes such limits of versatility of the instrument.

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