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 ¤ý ¹ß¸ÅÀÏ: 2000. 4. JIGU Seoul, Korea
 ¤ý ³ìÀ½: 1965,1966,1971,1973,1976,1986,1987
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TOPCD-031
 
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A Selection of Kyeonggi Sori performed by the late Cheon Tae-yong
¢´ 1 âºÎŸ·É, Changbu-taryeong 9:10
¢´ 2 ³ë·¡°¡¶ô, Noregarak (lit. melodies for song) 2:28
¢´ 3 âºÎŸ·É, Changbu-taryeong (lit. song for a male actor) 6:18
¢´ 4 ³ë·¡°¡¶ô, Noregarak 5:02
¢´ 5 ¹î³ë·¡, Patnore (boat song) 3:54
¢´ 6 âºÎŸ·É, Changbu-taryeong 4:23
¢´ 7 °æ±â½Ã³ªÀ§, Kyeonggi Sinawi [instrumental] (shaman music from Kyeonggi areas) 3:05
¢´ 8 ³ë·¡°¡¶ô, Noregarak 3:13
¢´ 9 ûÃá°¡, Cheongchunga 1:56
¢´ 10 âºÎŸ·É, Changbu-taryeong 8:51
¢´ 11 âºÎŸ·É, Changbu-taryeong 3:46
¢´ 12 ³ë·¡°¡¶ô, Noregarak 3:53
¢´ 13 ûÃá°¡, Cheongchunga 1:09
¢´ 14 »ç¹ß°¡, Sabalga (lit. song for toasting a drinking) 1:01
¢´ 15 âºÎŸ·É, Changbu-taryeong 3:27
¢´ 16 âºÎŸ·É, Changbu-taryeong 4:47
¢´ 17 °æ±âµµ»ìÇ®ÀÌ, Kyeonggido Salpuri/(lit. dance to expel a bad spirit) [instrumental] 3:17
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¡á a Cheon Tae-yong as an extraordinary talented singer
Yi Po-Hyeong(Korean Musicologist)
It was at the private gathering to celebrate the birthday of Han Peom-su, the late taegeum master, in Namweon (southern part of Korea) in the 1970s, when I first heard of Cheon Tae-yong singing the Changbu-taryeong, which is one of the representative Kyeonggi Sori or Minyo (°æ±â¼Ò¸® / ¹Î¿ä, sound / folk song / music of Kyeonggi area, middle part of Korea) and originally derived from a shaman music of the areas. There were other folk virtuosi and master singers were also present at the party. Cheon was almost forced to sing a song, particularly the melody of Changbu-taryeong, by another female master singer, An Bee-chwi, but he was not willing to accept her request because he was modest and reserved. She had some ideas to make him to sing by providing the situation with a relaxed and informal mood. She offered some drinks to him and then to herself including the guests. At last he sang the song and the listeners were deeply moved by his songs.
Cheon was largely known as the instrumental virtuoso, specialised in the haegeum (two string instrument with a bow) and SamhyeonYukgak (»ïÇöÀ°°¢, ß²ú×ë»ÊÇ, lit. ensemble for the accompaniment of dance consisting of six instruments - 2 hyang-piri, 1 taegeum, 1 haegeum, 1 changgu and 1 drum) rather than a singer. I have never heard of such unique version of it: His singing skills were highly artistic like the musicianship of Pansori singers. His technique and style concerning the Changbu-taryeong were far beyond the amateur levels which he recreated the song with the dramatic expressions as shown in techniques of Pansori singing, but importantly still possessing the essence of the Changbu-taryeong as a folk song. It was a great opportunity for me that I could hear such rare versions of the repertory. It is certain that his unique style of varying the song has been influenced by his early musical environments where he experienced listening to lots of Kyeonggi Sori and Kut (shaman ritual) of his birthplace, Yeongjeongdo of Kyeonggi Province, and where his family was involved in performing Kut hereditarily. He also experienced the Namdo (southern part of Korea) Sori which he continuously made friendships with lots of fine singers from that area. Of course he never appeared with the Changbu-taryeong in public.
It was Yang Cheong-whan, a member of Korean Archive Society and producer of this CD, who started to collect all the versions of Cheon Tae-yong s Changbu-taryeong from various scattered sources, mostly recorded at the private functions and preserved by some acquaintances and music lovers who were particularly interested in the repertory. Yang decided to release a selection of Cheon¡Çs repertoire including that song. I would like to congratulate for Yang s great efforts and for releasing such a valuable CD. I hope all the music lovers and audience will enjoy listening to this CD.
¡á The Artistic world of Cheon Tae-yong (1922 - 1991)
Yi Cha-Kyun (Researcher of Kut)
Only a few Korean traditional musicians have left their performances on record, though a number of master musicians and singers did take advantage of recording industry in the 20th century. Born Yongjong-gun, Kyonggi Province, he was the third son of Chon Il-Son Behind Cheon¡Çs musical development, there was a well known Sori teacher called Kim Pu-jeon (1916-1952). Born in the three generations of the hereditary shaman family in the Kyeonggi Province, Kim was a shaman artist who performed Todang-kut and Chip-kut (private kut performing in a house) around the Kyeonggi areas such as Suweon Ansan Siheu ng, Pupy'eong and Incheon. She was not only the shaman performer but also a fine singer whose musical skill was inherited by her family. The following episode glves us how she was a good singer: when she started singing, listeners were so immersed in her singing that she was encouraged to sing until the dawn. She became a legendary figure as an exceptional singer in the areas of Ansan and Siheung, even known to the children. Cheon continued to learn his teacher¡Çs all the techniques and styles in both repertoire and its creative process until Kim¡Çs death.
This CD is a collage of the kernel repertoire of Kyeonggi Minyo (folk songs rooted in the areas of Kyeonggi Province) sung by the late Cheon Tae-yong, who, although little recognised, was one of the Korea s finest singers. It was difficult to collect his performances onto CD, because they often took place in informal contexts, though he had already released his first record in the mid-1980s. An then it was only possible to do so with the help of various music-lovers who had listened to and recorded his songs. This CD contains some essential songs taken from a repertoire which spans his career from his early performances in 1965 to those he made in his later years.
Its aim is to inform the listeners of Cheon as an exponent of Kyeonggi Sori: for instance, such representative song as Changbu-taryeong is put seven variations so that listeners can compare one version to another. It is no doubt in this CD that his almost perfect renditions are reminiscent of a master singer, and as far as the Kyeonggi Minyo is concerned, no singer can sing like him. For instance, as well as his hereditary musical family background, he was born with a voice which can be described as a metaphor of Mokguseong (¸ñ±¸¼º, lit. vocal technique) helps Suriseong (¼ö¸®¼º, lit. subtle expression in voice) : he displayed his own unique interpretation based on the aesthetics of producing a variety sound in the Korean musical forms of Teonjigo (´øÁö°í, throwing), Kamgo (°¨°í, wounding/tensing), Hechigo (ÇìÄ¡°í, pushing) and P¡Çulgo (Ç®°í, releasing) within one mouth movement regardless of the length of the text of a song.
He varies songs by using a variety of SeongEum (¼ºÀ½ á¢ëå, lit. feeling in a sound) employing eutbuchim (¾ùºÎħ, lit. a kind of pushing & pulling technique) . Especially in such repertoire of Noretgarak or Changbu-taryeong as Cheongchunga or Sabalga , which are still popular today, he employs a wide range of vocal technique. This repertoire reveals his excellent vocal power as well as inherent talent. In order to understand his vocal sound, it is necessary to distinguish shamans Mokguseong in their ritual performances from Seseupmu (¼¼½À¹« á¦ã©Ùã, hereditary shaman) and Kangsinmu (°­½Å¹« ˽ãêÙã, spiritual shaman) . In the case of Seseupmu, the shaman uses the subtle artistic technique of Eotbuchim and Sigimsae (½Ã±è»õ, referring to process of composing a song or music within a given melody by putting adequate decorations and a wide range of ornamentation frequently used in Korean traditional music). In contrast, in Kangsinmu, the shamans are not able to perform the Kut with such artistic ability as in the former or rarely display outwardly such highly musical quality. For instance, the following phrases (in No. 1 on this CD) clearly demonstrate the different musical skills within a given Changdan (Àå´Ü íþÓ­, rhythmic cycle) between the Seseupmu and learned shamans, which are ChiChokDongBang CheonIiDoYa PaLaBoGi MagYeonKuNaEunHaJakGyoGa Kkawk MuNeoJeotUNi KeonOKal KiLi MakYeonKuNa. (transcribed phonetically some of the text of No. 11 Changbu-taryeong). In this section, the singer begins to raise his voice from the initial phrase continuously in a high pitch, and then drops it down in the phrase of SeongSangI PeoRiSiGiLeul. . This skillful use of contrasting the tone colour can be acquired only by someone with a high degree of hereditary musical background. Furthermore, singers are required to put Sigimsae between the phrases which has the effect of making the song stylish with subtle nuances of embedded sadness of the Kungzzeleul Chilmeojin (±ÃŸ¦ Áû¾îÁø) tone that is a typical character of the regional style of Kyeonggi music. Cheon Tae-yong must have learned Panpaegae (ÆÇÆа³) Seong¡Çeum from Cheon Sang-hyeong, who was another master singer, and this influence breaks out occasionally in the song. Such subtle technique and feeling is the core of his artistic musicianship (compare No. 4 to No. 1 on this CD) and his interpretations are very different from other singers. His unique artistic skills are demonstrated as follows: in seven versions (Nos. 1, 3, 6, 10, 11 and 16) of Changbu-taryeong, No. 3 he uses SeongEum differently; in the phrase of Paleul TeulEoSeoNuWeotSeuNi, the underlined word is used as Tedehan SeongEum technique; in InJeogI GgeunGyeotEuNi ChaRaRi IjeulGgeoNa the underlined one with PuleoHecheeneun Daemok (Ç®¾îÇìÄ¡´Â ´ë¸ñ, lit. sections using by the technique of unravelling and pushing ). The technique of Eotbuchimsae is typically used in Mokguseong in the phrase SanI in the middle and lower registers, and at the same time CheeKyeoOlLiDa (Ä¡Äѿø®´Ù, lit. rising a pitch high) in using the lower register ManLiJangGong HaUnI HeutEoJiGo MuSanSibIBongeun (No. 11 on this CD) and then in the sudden sharp outburst of sound in the high register which is very shrill to our ear.
Above all, this CD shows how folk songs can be sung with subtle contrasts across the entire register of the vocal cord. Rest in Peace.

_______________________________
Note: The Changbu-taryeong of nos. 1, 3, 6, 10, 11, 15 and 16 are sung in different times and different places by the singer (see below the date of recording).
Sources for the songs: Kim Cheom-seok, O Su-bok, Han Yeong-seo, Kim Wun-seon, Yi Po-hy ng and Cheon Suk-hee
Sleeve notes: Yi Po-Hyeong (a member of Committee of Cultural Asset, Director of Korean Archive Society), Choi Jong-min (Director of Kunglip Changgeugdan (Korean Folk Opera Company), Yi Cha-gyun (Researcher on Shaman music) and Noh Chae-myeong (Director of Archive for Recording and Document of Korean Traditional Music)
Date of recording: 1965, 1966, 1971, 1976, 1987
Director: Yang Cheong-whan
Production: Jigu Eumban, April 2000, Seoul, Korea

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