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 ¤ý ºñ°í: 17Çö °¡¾ß±ÝÀ» À§ÇÑ ´Ü¸ð¸®, ±èÁ×ÆÄ·ù °¡¾ß±Ý »êÁ¶/ »êÁ¶
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TOPCD-019
 
¼ÛÈ­ÀÚ °¡¾ß±Ý -½ÇȲ- 
 THE KAYAGUM SOLO PLAYING BY SONG WHA-JA  -Live-
¡á1. 17Çö °¡¾ß±ÝÀ» À§ÇÑ ´Ü¸ð¸® 9:48 ÀÛ°î: ±è ¿µ Àç
       Tanmori for the 17 stringed kayagum  composer: Kim Young-jae


¡á ±èÁ×ÆÄ·ù °¡¾ß±Ý »êÁ¶ (53:24) À屸: ±è û ¸¸
     Kim Chuk-pa ryu Kayagum Sanjo  changgu: Kim Ch´ëng-man
 2.´Ù½º¸§ / Tasurum  2:49
 3.Áø¾çÁ¶ / Chinyangjo  24:17
 4.Á߸𸮠/ Chungmori  10:00
 5.ÁßÁ߸𸮠/ Chungjungmori  3:00
 6.ÀÚÁø¸ð¸® / Chajinmori  4:00
 7.Èָ𸮠/ Whimori  4:58
 8.¼¼»êÁ¶½Ã / Sesanjosi  4:20

 

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ÃÖ Á¾ ¹Î (Àü/Çѱ¹Á¤½Å¹®È­¿¬±¸¿ø ±³¼ö)


¢¿ A brief note of the programme
A kayagum (°¡¾ß±Ý, Ê¡å¦ÐÖ) is one of the representative Korean native stringed instruments with komungo (°Å¹®°í, 6 stringed plucking zither with a wooden stick). Its origin goes back to B.C. 6th century of the ancient kingdom, Kaya. It has twelve strings made of twisted cotten threads and these strings are supported by anjok [movable bridges] which are placed on the body. Its playing technique is diverse: the left-hand is used by pressing the strings and its finger movement can be made various types such as shaking, bending, vibrating the strings, and so on. The right-hand is used in plucking or strumming across the strings. In this CD the first repertory includes the 17 stringed kayagu m, a so-called gaeyrang akgi(°³·® ¾Ç±â, an improved instrument which is added five strings to the original one.
The term sanjo(»êÁ¶, ߤðà, literally scattered melodies) refers to a solo instrumental music which derived from melodies of Sinawi (½Ã³ªÀ§, 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 which is formed several different movements like "suite" of Western classical music. Each movement constantly develops in terms of rhythm, tempo and ornamentation based on a given melody. Its performance depends on a player skill and mood in a 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) whose term can be interpreted as styleor rersion This genre of Sanjo is fairly recent musical development compared with other genres of Korean music. It is said to be originated and established by the master of the kayagum, Kim Chang-jo (1865-1920) in the late nineteenth century, although there is doubt whether or not Kim had finally completed his version of Sanjo. After that the style of Sanjo was dispersed by a number of ryupa (·ùÆÄ, lit. an individual version or referring to collective term of one particular musician/ teacher who passes her/his style on to her/his pupils). It has been applied to the representative instruments such as kommungo, kayagum, taegum (´ë±Ý, ÓÞ쳏, large transverse bamboo flute), piri (ÇǸ®, bamboo oboe), ajaeng (¾ÆÀï, ä³î´, string zither with a bow) and called as komongo Sanjo and so on, which became established independently.

쭦 Tanmori for the 17 stringed kayagum
This new piece was composed by Kim Young-jae who is a haegum (two stringed fiddle) player and composer. This music consists of five section including introduction. Each section constantly varies on the basis of tanmori (´Ü¸ð¸®, ) changdan (Àå´Ü, íþÓ­, literally long and short and refers to rhythmic cycle). Its performance lies in that it is used in an conventional technique of executing ornamentation, especially nonghyon (³óÇö, various hand movements) which is the characteristic feature of playing the kayagum with both hands. The overall mode constitutes a conventional pentatonic scale (a scale based on five notes) and is based on a modified kyemyo sanjo (°è¸éÁ¶, minor mode) which suits the 17 strings in terms of its structure and technique. This combination between contemporary and traditional ideas brings out its sound insteresting. Its melody shows of the process of variations in relation to rhythm which is employed by a genre of Nongak (³ó¾Ç, farmers music) after transitional passage and episode. This leads to vary the overall melodic progression.

 Finesse of Chuk-pa ryu Kayagum Sanjo
It is noticeable that frequency of performing Kayagum Sanjo shows a certain cycle in terms of its popularity in each time: If Song Kum-ryo n ryu was popular in the 1960s, Kim Chuk-pa ryu was very popular in the   1980s. For instance, the master kayagum player, Kim Chuk-pa, was kept busy with performing her version as well as training many fine pupils in the 1980s. At that time, if anyone wanted to be a kayagum player, s/he should learn her ryu under her instructions, so lots of performances of her version took widely and almost exclusively place. This means she was not only a great musician but also a respectable teacher. Despite she exclusively made her pupils accomplished players, who are currently teaching the kayagum and its music in various places, she had always the modest and open-minded attitude towards music and life. she was keen on attending traditional music-making and gave her opinions to younger generation. She used to listen to any kinds of music whether they are traditional or newly composed music without discrimination. Particularly, she was a critical listeners and a sensitive critics about contemporary Korean music. Because of her good insight into various musics and her wide range of knowledge on music, presumably, she was able to make her performance and onw music perfect.
Chuk-pa (Á×ÆÄ, ñÓ÷ç, lit. bamboo and hill) is her pen name and her real name was Nan-cho(³­ÃÊ, Õµõ®, lit. ). Her version of Kayagum Sanjo has an authentic line that her famous grandfather - Kim Chang-jo, as earlier mentioned - was the first kayagum Sanjo master who completed composing the genre of Sanjo on the kayagum. Obviously she was taught music by him at a very early age, but it was Han Song-gi, a deceased musician and dancer, who actually taught the Kayagum Sanjo to her. It was common among traditional musicians at that time that his method of teaching the Kim Chang-jo ryu Kayagum Sanjo would be a further developed version adding his own karak (°¡¶ô, melodies) and variations into the original version. Chuk-pa did so and their Sanjo music became Kim Chuk-pa own. In the long process of making her own final ryu, she even constantly made elaborations of her version, sometimes enlarging or shortening, and finally completed her own way adding another part - Sesanjosi. This constant development made her music classical repertory and taste which has balance and control between feeling and technique. Certainly it never gets tired with playing and listening to it. In this respect, I look forward to hearing Song Wha-ja  interpretation of rendering Chuk-pa Sanjo music.

Choi Chong-min (former prof. of Chongsin Munwhawon [Academy of Korean Studies])

¡á Song Wha-ja (kayagum)
She was born in 1958. She learned the kayagum at the age of 14 and entered Kunglip Kugak Senior School in order to specialise Korean music and the kayagum (1974-1977). In 1975 she won the first prize at the competition of All Senior School for Korean Traditional Music. Then she studied the subject as a B.M. at Chukye Arts College (1978-1982). At the college she appeared at the concert sponsored by the college ensemble as a solo kayagum player. She then won several prizes at the competitions including her solo kayagum recitals five times. She carried on her research for a M.A. at Hanyang University (1986). She made several public appearance joining various ensembles such as Kunglip Minsok Kugakwon, KBS Kugak Orchestra, as soloist. Then she moved her base to Namwo n, famous for Nam-do (southern province) music. She was a member of Namwon City Ensemble for Korean Music (1983-1990) as well as a teacher at Pusan University (1994-1977). Currently she is a Committee Member of Korean Traditional Music and released several CD at Research Institute for Korean Traditional Music. She also teaches at several universities such as Wusok, Yongnam University, Paikje Arts College, and so on. She was taught the kayagum by a number of teachers such as Park Chong-nye, Kim Chong-suk, Choi Chung-ung, Yung Mi-yong, Yi Hyo-bun, Kang Mun-duk, Kim Hae-suk, Yang Yon-sop and Kim Chuk-pa.

 

¡á Kim Chang-man (changgu)
He specialised in the changgu (Korean hourglass drum and an essential rhythmic instrument). He won the prime minister prize for the part of Taemyong-gobu (´ë¸í°íºÎ) at the annual competition for drum. He is the fifth candidate of a drum style for Pansori (ÆǼҸ®, epic story performed by one singer) as The Important Intangible cultural Asset. He used to teach the drum to the members of folk musicians at Kunglip kugakwon and is currently the Art Director of Folk performance at the institution. He is teaching music at Mokwon University. He also a member of Committee of Korean Music.

 

¡á ¼Û È­ ÀÚ (°¡¾ß±Ý)
*±¹¸³±¹¾Ç°íµîÇб³ Á¹¾÷(1977)
*Ã߰迹¼ú´ëÇб³ Á¹¾÷(1982)
*ÇѾç´ëÇб³ ´ëÇпø Á¹¾÷(1986)
*Àü±¹°íµîÇб³ ±¹¾Ç°æ¿¬´ëȸ 1µî»ó ¼ö»ó (1975 ¼öµµ¿©»ç´ë ÁÖÃÖ)
*Ã߰迹´ë ±¹¾Ç°ú Á¤±â¿¬ÁÖȸ °¡¾ß±Ý µ¶ÁÖ Ã⿬ (1980)
*Àü±¹±¹¾Ç °æ¿¬´ëȸ 2µî»ó ¼ö»ó(1982 ±¹¸³±¹¾Ç¿øÁÖÃÖ)
*Àü±¹±¹¾Ç°ú ½ÅÀÎÀ½¾Çȸ Ã⿬ (1982)
*Á¦5ȸ ¼ÛÈ­ÀÚ °¡¾ß±Ý µ¶ÁÖȸ
*¿ì¸¤ÀÇ ´Þ ±â³ä °¡¾ß±Ý »êÁ¶ÀÇ ¹ã Ã⿬ (±¹¸³¹Î¼Ó±¹¾Ç¿ø)
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