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 ¤ý À½¹Ý»ç : ¿¹¼ú±âȹ ž
 ¤ý À½¹Ý¹øÈ£: TOPCD-030
 ¤ý ¹ß¸ÅÀÏ: 2000. 2. JIGU, Seoul, Korea
 ¤ý ³ìÀ½: 1999.6.8. ±¹¸³±¹¾Ç¿ø ¿ì¸é´ç
 ¤ý µð·ºÅÍ: ¾çÁ¤È¯ Yang Cheong-whan
 ¤ý ÆǸŰ¡°Ý : ¿ø
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TOPCD-030
 
ÃÖ¹®Áø °¡¾ß±ÝÁ¤¾Ç -Live in Concert -
THE KAYAGEUM CHEONGAK PERFORMANCE BY CHOI, MOON-JIN>
 
¢´ 1. ¼Û±¸¿©Áö°î áèÎúåýñýÍØ Songguyeojigok 07:18 Áß±¤Áö°î ñìÎÃñýÍØ Chungkwangjigok
¢´ 2. »ó·É»ê ß¾ÖÄߣ Sangryeongsan 14:39
¢´ 3. Áß·É»ê ñéÖÄߣ Chungryeongsan 12:07
¢´ 4. ¼¼·É»ê á¬ÖÄߣ Seryeongsan 03:59
¢´ 5. °¡¶ô´úÀÌ Ê¥Õ¥ð¶ñþ Karakdeori 02:42
¢´ 6. »óÇöµµµå¸® ß¾úáü½ìý Sanghyeon-dodeuri 03:41
¢´ 7. ÇÏÇöµµµå¸® ù»úáü½ìý Hahyeon-dodeuri 02:44
¢´ 8. ¿°ºÒµµµå¸® Ò·ÝÖü½ìý Yeombul-dodeuri 03:49
¢´ 9. Ÿ·É öèÖµ Taryeong 03:09
¢´ 10. ±º¾Ç ÏÚäÅ Kunak 03:59
¢´ °¡¾ß±Ý/ ÃÖ¹®Áø
¢´ ´ë±Ý/ À±º´Ãµ
¡á °î Çؼ³
1. ¼Û±¸¿©Áö°î(áëÎúåýñýÍØ): µµµå¸®(ü½ìý)ÀÇ ÇϳªÀÌ´Ù.
µµµå¸®¶õ º¸ÇãÀÚ(ÜÆúÈí­)ÀÇ ¹Ýº¹ºÎºÐ, Áï ¹ÌÈÄ»ç(Ú­ý­Þò)ÀÇ Ã¹±¸ ÀÌÈÄ, µÑ°±¸ ÀÌÇϸ¦ 4ºÐÀÇ6¹ÚÀÚ·Î º¯Á¶ÇÑ °îÀ¸·Î ¹Øµµµå¸®(Ú­ü½ìý)¿Í ¿ôµµµå¸®(á¬ü½ìý)ÀÇ µÎ°¡Áö°¡ Àִµ¥, ¹Øµµµå¸®´Â ¿ø°îÀÎ µµµå¸®¿¡¼­ ¿ôµµµå¸®°¡ ÆÄ»ýÇÑ µÚ¿¡ ºÙ¿©Áø À̸§ÀÌ´Ù.
¿ôµµµå¸®´Â ¹Øµµµå¸®¸¦ 8µµ À§·Î ¿Ã·Á ¿¬ÁÖÇÏ°í ¿¬ÁÖ¹ý»ó ¾à°£ °¡¶ôÀ» º¯ÁÖÇϳª Àå(íñ)ÀÇ ±¸ºÐÀ̳ª Àå´Ü¼ö À½°è´Â ¹Øµµµå¸®¿Í µ¿ÀÏÇÏ´Ù.
¼Û±¸¿©Áö°îÀº ¿ôµµµå¸®ÀÇ ¾Æ¸í(äºÙ£)À¸·Î ¼­ÀÚ°í, Àܵµµå¸®, ¼ÒȯÀÔ µîÀ¸·Î ºÒ¸®±âµµ ÇÑ´Ù.
2. Áß±¤Áö°î(ñìÎÃñýÍØ)Àº ¿µ»êȸ»ó(çÏߣüåßÓ)ÀÇ ¼¼ Á¾·ù Áß ÇϳªÀÎ Çö¾Ç ¿µ»óȸ»óÀÇ ´Ù¸¥ À̸§À¸·Î °Å¹®°íȸ»ó ¶Ç´Â ÁÙdz·ù·Î ºÒ¸®±âµµ ÇÑ´Ù.
Çö¾Ç ¿µ»êȸ»óÀº Çö¾Ç±â°¡ À§ÁÖ°¡ µÇ¾î ¿¬ÁÖÇÏ´Â ¿µ»êȸ»óÀ̶ó´Â ¶æÀÌ°í, °Å¹®°í ȸ»óÀº Çö¾Ç±âÀÎ °Å¹®°í°¡ ÁÖ°¡ µÇ¾î ¿¬ÁÖÇÑ´Ù´Â ¶æÀ̸ç, ÁÙdz·ù¶õ ÁÙ·ÎµÈ Çö¾Ç dz·ù¶õ ¶æÀÌ´Ù.
dz·ù(ù¦×µ)¶õ ¿îÄ¡°¡ ÀÖ´Â ÀÏ ¶Ç´Â dzġ°¡ ÀÖ°í ¸Ú½º·´°Ô ³ë´Â ÀÏÀ̶ó´Â ¸»·Î ¿¾ºÎÅÍ Ç³·ù¸¦ Áñ±â´Â »ç¶÷À» dz·ù°´(ù¦×µËÔ)À̶ó ºÒ·¶°í, dz·ù¸¦ ¹úÀÌ´Â ¹æÀ» dz·ù¹æ(ù¦×µÛ®)À̶ó ÇÏ¿´´Ù.
ÀÌ Ç³·ù¹æ¿¡´Â ½Ã¸¦ Áþ°í, ±×¸²À» ±×¸®°í, ³ë·¡¸¦ ºÎ¸£¸ç, ¾Ç±â¸¦ ´Ù·ç´Â »ç¶÷µéÀÌ ¸ð¿© dz·ù¸¦ ¹ú¿´À¸³ª, Á¶¼±Èı⿡´Â ¿µ»êȸ»óÀ» ÁÖ·Î ¿¬ÁÖÇÏ´Â À²¹æ(ëÏÛ®)ÀÌ Ç³·ù¹æÀÇ ´ëÇ¥ÀûÀÎ °ÍÀÌ µÇ¾î dz·ù Çϸé, À²¹æ¿¡¼­ ¿¬ÁֵǴø ¿µ»êȸ»óÀ» °¡¸®Å°´Â ¸»ÀÌ µÇ¾ú´Ù.
¿µ»êȸ»óÀº Á¦1°î »ó·É»ê(ß¾ÖÄߣ), Á¦2°î Áß·É»ê(ñéÖÄߣ), Á¦3°î ¼¼·É»ê(á¬ÖÄߣ), Á¦4°î °¡¶ô´úÀÌ(Ê¥äÅð¶ñþ), Á¦5°î »óÇöµµµå¸®(ß¾úáü½ìý), Á¦6°î ÇÏÇöµµµå¸®(ù»úáü½ìý), Á¦7°î ¿°ºÒµµµå¸®(æöÝÖü½ìý), Á¦8°î Ÿ·É(öèÖµ), Á¦9°î ±º¾Ç(ÏÚäÅ)ÀÇ 9°îÀ¸·Î ±¸¼ºµÇ¾î ÀÖ´Ù.
¿ø°îÀº »ó·É»êÀ¸·Î¼­, ¡°¿µ»êȸ»ó ºÒº¸»ì(çÏߣüåßÓÝÖÜÌß±)¡±ÀÇ 7ÀÚ¸¦ µÎ Àå´Ü¿¡ ÇÑ ±ÛÀÚ¾¿ ¾ñ¾î ºÎ¸£´Â ¼º¾Ç°îÀ̾úÀ¸³ª Â÷Ãû °¡»ç¸¦ ÀÒ°í ±â¾Ç°îÈ­ µÈä·Î ÀüÇØÁö°í ÀÖ´Ù.
¿À´Ã³¯ ¿µ»êȸ»óÀº °Å¹®°í¡¤Çرݡ¤´ë±Ý¡¤¼¼ÇǸ®¡¤Àå°í µîÀÇ ¾Ç±â·Î ¼¼¾Ç Æí¼ºµÇ¾î ¿¬ÁÖÇÏ´Â Çö¾Ç ¿µ»êȸ»ó°ú ÀÌ°îÀ» 4µµ ¾Æ·¡·Î ÀÌÁ¶ÇÏ¿© ¼¼ÇǸ® ´ë½Å ÇâÇǸ®·Î ¹Ù²Ù°í, ¾Ç±â±¸¼º ±Ô¸ð¸¦ Å©°ÔÇÏ¿© ¿¬ÁÖÇÏ´Â ÆòÁ¶È¸»ó(øÁðàüåßÓ)ÀÌ ÀÖ°í ´Ù¸¥ À̸§À¸·Î À¯ÃʽÅÁö°î(ê÷ôøãæñýÍØ)À̶ó ºÎ¸¥´Ù. ±×¸®°í ÇâÇǸ®¡¤´ë±Ý¡¤Çرݡ¤Àå°í¡¤ÁÂ°í µî °ü¾Ç±â À§ÁÖ·Î Æí¼ºÇÏ¿© ±ÃÁß¿¬Çâ(æÃú½)¿¡¼­ ¹«¿ë¹ÝÁÖ·Î ¿¬ÁֵǴ À½¾ÇÀ¸·Î Ç¥Á¤¸¸¹æÁö°î(øúïáØ¿Û°ñýÍØ) ¶Ç´Â »ïÇö¿µ»êȸ»ó(ß²úáçÏߣüåßÓ)À̶ó ºÒ¸®´Â °ü¾Ç ¿µ»êȸ»ó(ηäÅçÏߣüåßÓ)ÀÌ ÀÖ´Ù.
ÀÌ °ü¾Ç ¿µ»êȸ»óÀº ´ë³ª¹«·Î ¸¸µç °ü¾Ç±â Áß½ÉÀÇ À½¾ÇÀ¸·Î ´ëdz·ù¶ó ºÎ¸£±âµµ ÇÑ´Ù.
ÅëĪ dz·ù¶ó ºÒ¸®´Â ÁÙdz·ù´Â ±¹°¡ À½¾Ç±â°üÀÇ Àü¹® À½¾ÇÀε鵵 ¿¬ÁÖÇÏ¿´Áö¸¸ ÀÏ¹Ý ¼±ºñµé »çÀÌ¿¡¼­ dz·ù¹æÀ» Áß½ÉÀ¸·Î Å©°Ô ¼ºÇàµÇ¾î °æÇâ°¢Áö(ÌÈúÁÊÀò¢)¿¡ Àü½ÂµÇ¾ú´Ù.
±×¸®ÇÏ¿© dz·ù´Â ¼­¿ïÀÇ Àå¾Ç¿ø(íæäÅêÂ)À» Áß½ÉÀ¸·Î Àü½ÂµÇ¾î¿Â °æÁ¦Ç³·ù(ÌÈð¤ù¦×µ)¿Í Áö¹æ¿¡¼­ ¿¬ÁֵǾî Àü½ÂµÇ¾îÁø ÇâÁ¦Ç³·ù(úÁð¤ù¦×µ)·Î ³ª´µ±âµµ ÇÑ´Ù.
Áß±¤Áö°îÀº ¹Ù·Î Àå¾Ç¿ø ¾Ç»çµéÀÌ ¿¬ÁÖÇÏ´ø °æÁ¦Ç³·ù·Î ÀÌ¿ÕÁ÷¾Æ¾ÇºÎ(ì°èÝòÅäºäÅÝ»)¸¦ °ÅÃÄ Çö ±¹¸³±¹¾Ç¿ø¿¡ Àü½ÂµÇ¾î ¿À´Ã³¯ Àü±¹ ´ëÇб³ ±¹¾Ç°ú ±â¾Ç Àü°ø ±³°ú°úÁ¤¿¡ äÅÃµÇ¾î ³Î¸® ±³À°µÇ°í ÀÖ´Ù.

¡á Notes of repertoire
1. Songguyeojigok: One of Todeuri (µµµå¸® also called Hwannip (ȯÀÔ, ü½ìý), means phrase for repetition). Todeuri refers to the repeating section of Poheoja (º¸ÇãÀÚ, ÜÆúÈí­, one of the court dances imported from China), that is after the first phrase (cheotgu, ù±¸) of Mihusa (¹ÌÈÄ»ç, the end of phrase of a piece of music), a piece of music modulation to 4/6 beat from the second phrase. It is divided into two sections- Mit-dodeuri(¹ÌȯÀÔ, Mihwanip) and Ut-dodeuri (¼¼È¯ÀÔ, Sehwannip): the former is named after the derivation from the Todeuri, which is an original melody, to Ut-dodeuri which is identified with Mit-dodeuri in terms of distinction of Chang (Àå, íñ, movement) and the number of Changdan (Àå´Ü, rhythmic cycle) of scale, though it is performed as 8th degree above the Ut-dodeuri. Songguyeojigok has some different names of Ut-dodeuri such as being called Seojago (¼­ÀÚ°í), Chando-deuri (ÀܵµµéÀÌ), Sohwannip (¼ÒȯÀÔ).
2. Chungkwangjigok is one of three versions of Yeongsanheosang (¿µ»êȸ»ó, çÏߣüåßÓ), and it is also called Hyeonak-yeongsanheosang (Çö¾Ç ¿µ»êȸ»ó), Keomungoheosang (°Å¹®°íȸ»ó), or Chul-pungnyu (ÁÙdz·ù): Hyeonak-yeongsanheosang denotes Yeongsanheosang whose instrumentation is centred to the stringed instruments; Keomungo-heosang centred on the keomungo (°Å¹®°í, 7 stringed zither) of the stringed instruments; Chul-pungnyu for Hyeonak-pungnyu which consists of string instruments. The term ¡°pungnyu (dz·ù, ù¦×µ)¡± means ¡°cultural act or does in a tasteful and enjoyable manner¡±, or ¡°playing a nice and enjoyable life¡±, and those who enjoy this kind of life style where called ¡°Pungnyu-gek (dz·ù°´)¡±, and the space for this activity was called ¡°Pungnyu-bang (dz·ù¹æ)¡±. Pungnyu or Chul-pungnyu used mainly to be played by the professional musicians who was trained in the national music institution for court musicians. But its music became enormously popular to the elite or the aristocrat in Pungnyu-bang and then developed nationwide and transmitted to the next generations. Thus the Pungnyu-bang was the space for creating cultural activities such as composing poems, painting, singing and playing music by the non-professionals. During the late Choseon dynasty, Yulbang (À²¹æ) became the representative of the Pungnyu-bang whose specific term was to indicate the specific performances of the repertory of
¡á Yeongsanheosang.
Yeongsanheosang consists of nine pieces of music: from the first piece to the last one; Sangryeongsan, Chungryeongsan, Seryeongsan, Karakdeori, Sanghyeon-dodeuri, Hahyeon-dodeuri, Yeombul-dodeuri, Taryeong and Kunak. It is said that its original version derived from a vocal music of 7 syllables called ¡°Yeong-san-heo-sang-pul-bo-sal¡± which each syllable was allotted to two Changdan. But its text had been lost and developed it as an independent instrumental music. Present day Yeongsanheosang is performed with the three types of the instrumental versions: (i) Hyeonak-yeongsnaheosang, as Seak pyeonseong (¼¼¾ÇÆí¼º, means a small scale of ensemble), consists of keomungo, kayageum, heageum, taegeum, sepiri, changgu; (ii) Pyeongjoheosang (ÆòÁ¶È¸»ó) is to perform as 4th below Hyeonak-yeongsanheosang and displaces the sepiri to the hyangpiri and bigger than the former ensemble in size; it is also called Yuchosinjigok (À¯ÃʽÅÁö°î, ê÷ôøãæñýÍØ); (iii) Pyojeongmanbangjigok (Ç¥Á¤¸¸¹æÁö°î, øúïáØ¿Û°ñýÍØ) is to accompany dancers for banquets in court and is orchestrated by the mainly woodwind instruments, such as the hyangpiri, taegeum, haegeum, changgu, chwago, and so on; lastly Sanhyeon-yeongsanheosang, which is also called Kwanak-yeongsanheosang, is synonymous with Tae-pyngryu played by the woodwind instruments made of bamboo.
In the distribution to the musical activities, Pungryu divided into two distinctive styles: Kyeongje-pungryu (°æÁ¦Ç³·ù, ÌÈð¤ù¦×µ) which is a style of Changakweon (currently known as the National Centre for Korean Traditional Performing Arts), the national institution; Hyangje-pungryu (ÇâÁ¦Ç³·ù, úÁð¤ù¦×µ) is local versions. The version on this CD is Kyeongje- pungryu which became one of the essential repertory for Korean musicians. One of the widely known in such media as college curriculum of Korean music research and as an important traditional repertoire which has been transmitted to the current NCKTPA which was taken over Yiwangjik-aakbu (Royal music institute for court music) during the early 20th century.

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University of Washington°´¿ø±³¼ö ¿ªÀÓ
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Seattle Asian Art MuseumÃÊû¿¬ÁÖ µî µ¶ÁÖȸ 10ȸ °³ÃÖ(±¹³»7, ±¹¿Ü3)
Áß±¹, ÀϺ» ÃÊû¿¬ÁÖ ¹× KBS±¹¾Ç°üÇö¾Ç´Ü, °æºÏµµ¸³±¹¾Ç´Üâ´Ü¼øȸ°ø¿¬, ´ë±¸½Ã¸³±¹¾Ç´Ü µî°ú ¼öÂ÷·Ê Çù¿¬
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I.C.T.M (International Council Traditional Music)ȸ¿ø
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¡á Biodata of the performers Choi, Moon-jin - kayageum
He studied the kayageum at Kugaksa Yangseongso (training school for court musicians) Middle and High School attached to Kunglipgukakweon(NCKTPA). In order to study further, he entered Seoul National University for Korean music and then got an MA in music education in Kyeonghi University. During his study, he had various experiences with performance and teaching, and he was the member of the performers at Kunglipgukakweon. He also taught music not only Kugak High School, but also various colleges such as Taegu Art, Tongguk, Kyeongbuk as part-time. He became a visiting artist to University of Washington. He finished the candidate course for Iri Hyangje-Chul-pungryu (À̸® ÇâÁ¦ ÁÙdz·ù) which was retained the title of ¡°Chungyo-Muhyeong-Munhwaje che 83-naho (No. 83 Important Intangible Cultural Asset)¡±. His musical career as performer lies in: more than 10 times from solo performances including at the Seattle Asian Art Museum; overseas tour to China, Japan; joining some Korean orchestra including KBS Kugak-kwanhyeonakdan, Kyeongbuk Province Orchestra of Korean music, Taegu City Orchestra of Korean music.
He is currently a professor of Korean Traditional music at Yeungnam University. He is a member of the Cultural Committee of Taegu City and Kyeongbuk Province, and also management consultant of Cultural art Hall of the Taegu City. He is actively engaged in playing in the Taegu Gum Ensemble as a leader and a member of the ICTM (International Council Traditional Music), as well as the Korean Music Association.
He was taught by Kim, Yeong-yun, Kwon, Hyeok-tae, Choi, Chung-ung, Kim, Chun-ji, Kim, Cheong-ja, Hamdong, Cheong-weol, Shin, Myeong-suk, Kang, Nak-seung.

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