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Art World of Yi Jiyoung Gayageum - Classical Music - Live-
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1.Á¦1Àå 09:19
2.Á¦2Àå 08:42
3.Á¦3Àå 05:05
4.Á¦4Àå 14:53
5.Á¦5Àå 01:54
6.Á¦6Àå 03:20
7.Á¦7Àå 02:51
 
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8.Àܵµµå¸® 07:38
 
¡ÜÇö¾ÇÃëŸ(úáäÅö£öè) Hyunak Chwita
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9.̑٠Chwita 05:14
10.±æ±º¾Ç Gil Gunak 04:41
11.±æŸ·É Gil Taryeong 02:38
12.º°¿ìÁ¶Å¸·É Byeol UJo Taryeong 03:09
13.±º¾Ç Gunak 04:19
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Member of the National Center for Korean Traditional Performing Arts (NCKTPA)
Senior of Intangible Cultural Asset no. 1, Royal Ancestral Shrine Music
¡á ÀÌ ¿µ/ ÇǸ®(Lee Young/Piri)
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Graduated from Seoul National University (BA) & Dankook University (MA)
Vice-master of the National Center for Korean Traditional Performing Arts (NCKTPA)
Senior of Intangible Cultural Asset no. 1, Royal Ancestral Shrine Music
Student of Intangible Cultural Asset no. 46, classical piri music and royal marching music
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Graduated from Han-yang University (BA)
Member of the National Center for Korean Traditional Performing Arts (NCKTPA)
Senior of Intangible Cultural Asset no. 41, classical songsYi Jiyoung
Hwang Byung-ki (Professor of Ewha Womans University)

¡á Prof. Yi Jiyoung is one of the most celebrated kayagum performers in Korea whose music encompasses classical, folk and contemporary musical genres. She has enjoyed tremendous successes in major concerts not only in Korea but also all over the world. She is the first doctoral candidate of the kayagum performance in Korea(Ewha Womans University). During her Ph.D. program she has made six recitals each semester with various musical genres. They were the outcome of her eager study.
This Compact Disc was recorded at Prof. Yi's second recital in 1998 at Ewha Womans University Concert Hall. Two pieces performed at this concert are two of the rarest-played classical pieces which require high demands on the interpretative artist. In these pieces we can appreciate Prof. Yi's scholarly endeavors and the world of classical kayagum music.
Boheosa (ÜÆúÈÞò), also called Hwanghachong (üÜùÁôè), is the only classical repertory played by such string instruments as the komungo (6-string zither), kayagum (12-string zither), and yanggum (dulcima), without any wind instruments. This piece was derived from Boheoja (ÜÆúÈí­), an orchestral piece performed in favor during the Chinese Sung dynasty. Boheoja was imported into Korea during Koryo dynasty and had developed various Koreanized versions.
Boheosa, the string version of Boheoja, is made of seven movements. First four movements are in a very slow tempo of 20 beats while the following three movements are in a slow tempo of 10 beats. I arranged the melody for the Taegum (bamboo transverse flute) for the third and fifth movements of this piece a few years ago. The Taegum melody for other movements were arranged by Prof. Yi based upon the comparative research of Yeominlak (æ¨ÚÅÕ¥) which is performed by both string and wind instruments and can be considered as the counterpart of Boheosa. Boheosa and Yeominlak are the two of the most representative classical pieces that give us a chance to touch the refined splendour of Confucianism. It was the first attempt to play the entire movements of Boheosa by the Kayagum (string) and Taegum (wind).
Dodeuri, also derived from Boheoja, is made up of seven movements and is played with the medium tempo of 6 beats, called dodeuri rhythmic cycle. Two kinds of Dodeuri are performed: Mit-Dodeuri (Ú­ü½ìý) in the lower range and Jan-Dodeuri (á¬ü½ìý) in an octave higher range. The Kayagum usually plays the latter, Jan-Dodeuri. It has been said that Dodeuri is the most requisite piece in the traditional repertoire for musicians to practice and perform. It seems to be an easy, simple piece but contains the fundamental performing techniques of the classical music. When Dodeuri is performed consecutively after Boheosa which has slower 20 beats and rather faster 10 beats, we can feel the tranquil and harmonious beauty of Korean classical music.
Chwita (ö£öè) is the only classical piece that is derived from the marching band music. It is a suite composed of five pieces, Chwita (ö£öè), Gil Gunak (±æÏÚäÅ), Gil Taryeong (±æöèÖµ), Byeol Ujo Taryeong (ܬéâðàöèÖµ), and Gunak (ÏÚäÅ). Among the five pieces, the first one, Chwita, is the only piece played by string instruments. Other four pieces are performed only by wind instruments in this time. However, it can be assumed, according to old musical scores, that these pieces had been played by string and wind instruments as well. Prof. Yi arranged the Kayagum melody for these pieces. It is such a meaningful attempt to revive a vanishing classical Kayagum music. Lee Yong-shik (professor of Yong-In University)
Her musical education commenced at five, learning such Korean traditional performing arts as the kayagum, song, and dance from Yi Mal-yang, a kayagum master resided in Gyeongju. She has trained various musical genres in depth from great kayagum masters: classical music from Choi Chung-ung, the music director of the National Center for Korean Traditional Performing Arts(NCKTPA), Prof. Yang Yeon-seop of Han-yang University, and Prof. Kim Jeong-ja of Seoul National University; sanjo, a solo instrumental music, from Prof. Yang (Kim Byeong-ho school) and Prof. Lee Chae-suk of Seoul National University (Choi Ok-san school); and contemporary music from Prof. Lee. Since she enrolled in the Ph.D. program (majoring in the kayagum performance) at Ewha Womans University, she has pursued her musical expertness under the guidance of Prof. Hwang Byung-ki.
She graduated from Seon-hwa Arts Middle School and High School and received her B.A. and M.A. from College of Music, Seoul National University. She made her debut with the Korean Broadcasting System (KBS) Traditional Music Orchestra in 1987. She had been a member of the NCKTPA from 1988 to 1993. She is the youngest member of one of the most authoritative traditional music ensembles, Jeongnong Akhoe(ïáÒÜäÅüå). As a member of Geumamhoe(ÐÞäÛüå), a society for the preservation of the kayagum sanjo of Kim Byeong-ho School, she made a recording of the kayagum sanjo, entitled . Her enthusiasm for the music is not confined to the preservation of traditional music but extended to the promotion of contemporary music. As the fruit of her ardent endeavor, she leads two music ensembles, Contemporary Music Ensemble, Korea and Kyonggi Kayagum Ensemble.
Prof. Yi is said to be a kayagum virtuoso who harmonizes the sensibility and rationality in her music. Due to her activities in Korea and abroad, she is regarded as one of the foremost young musicians who will outstrip in the next generation of the Korean music. She is currently a professor of Yong-In University, and, at the same time, a doctoral candidate (kayagum performance major) at Ewha Womans University.
Major appearances in Korea
1987, 1992, 1997 Concertos with Korean Broadcasting System (KBS) Traditional Music Orchestra (KBS Hall)
1994 Concerto with Shanghai Orchestra(Seoul Arts Center)
1997 Solo performance at the (National Theater for Performing Arts)
?ance for the Flute and the Kayageum?NCKTPA)
Performance at the (NCKTPA)
1999 Concerto at the (NCKTPA)
Recital at the (Jeon-ju)
Performance at <1999, Concert for Masters and the Future> (KBS Hall)
2000 Performance at the (Tong-yong Culture & Arts Center)
Performance at the (Buam Art Hall)
Major appearances abroad
1990 Solo performance at Edinburgh Festival (Edinburgh, U.K.)
Performance at Kuhumo Festival (Kuhumo, Finland)
1993 Concerto with Tokyo City Phil Harmonic Orchestra (Tokyo Arts Theater, Japan)
Concerto with Kyoto Orchestra (Osaka Symphony Hall, Japan)
Solo performance at (Berlin, Schauspielhaus, Germany)
1994 Concerto with Shaghai Orchestra (Shanghai Music Center, China)
1995 Solo performance at the (Enrikishi, Kyoto, Japan)
1998 Performance at the (Center for World Culture, Berlin, Germany)
1999 Solo performance at (Stuttgart, Germany)
Duo concert at (Tokyo, Japan)
2000 Performance at the (Theater Artaud, San Francisco, USA)

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