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TOPCD-038
 
Á¤Àç±¹ ÇǸ® Á¤¾Ç II -¼¼ÇǸ®-
Chung Jae-guk Piri Jeongak (Classical Music for Piri) II - Se-piri -
¡Ü <Çö¾Ç ¿µ»êȸ»ó Hyeonak Yeongsan-hoesang>
1. ¼¼·É»ê Seryeongsan 03:10
2. »óÇöµµµå¸® Sanghyeon-dodeuri 03:27
3. ÇÏÇöµµµå¸® Hahyeon-dodeuri 02:36
4. ¿°ºÒµµµå¸® Yeombul-dodeuri 03:46
5. Ÿ·É Taryeong 03:06
6. ±º¾Ç Gunak 03:57
 
¡Ü <°¡°î Gagok>
7. ¿ìÁ¶´Ù½º¸§ Ujo-daseureum 01:18
8. ¿ìÁ¶Ãʼö´ë¿± Ujo-chosudaeyeop 05:25
9. ¼Ò¿ë Soyong 04:23
10. ¾ð¶ô Eollak 05:26
11. Æí¶ô Pyeollak 04:35
12. °è¸é´Ù½º¸§ Gyeomyeon-daseureum 00:56
13. °è¸éÃʼö´ë¿± Gyeomyeon-chosudaeyeop 05:14
14. ¾ð·Õ Eollong 05:08 TOTAL 52:33
¢´ °¡¾ß±Ý/ ±èÇؼ÷ Gayageum/ Kim Hae-sook (Çѱ¹¿¹¼úÁ¾ÇÕÇб³ ÀüÅ뿹¼ú¿ø ±³¼ö)
¢´ À屸/±è±¤¼· Janggu/ Kim Gwang-seop (±¹¸³±¹¾Ç¿ø Á¤¾Ç¿¬ÁÖ´Ü ´Ü¿ø)
¡á Çö¾Ç ¿µ»êȸ»óÀº ´ëÇ¥ÀûÀÎ Á¤¾Ç ±â¾Ç°îÀÌ´Ù. ƯÈ÷ Çö¾Ç¿µ»êȸ»óÀº Á¶¼±½Ã´ë ¼±ºñµéÀÌ Áñ±â´ø ÁÙdz·ù·Î¼­ °Å¹®°í¸¦ ºñ·ÔÇÑ Çö¾Ç±â Áß½ÉÀ¸·Î Æí¼ºµÇ¸ç ÇǸ®´Â ¼¼ÇǸ®¸¦ ¾²°í, ÇÕÁÖ, ÁßÁÖ, ȤÀº µ¶Áַεµ ¸¹ÀÌ ¿¬ÁֵȴÙ. Àϸí Áß±¤Áö°î(ñìÎÃñýÍØ)À̶ó°íµµ ÇÑ´Ù.
Çö¾Ç ¿µ»êȸ»óÀº »ó·É»ê, Áß·É»ê, ¼¼·É»ê, °¡¶ô´õ¸®, »ïÇöµµµå¸®, ÇÏÇöµµµå¸®, ¿°ºÒµµµå¸®, Ÿ·É, ±º¾ÇÀÇ 9°îÀ¸·Î ±¸¼ºµÈ´Ù. º»·¡ ºÒ±³ ¼º¾Ç°îÀ̾ú´ø »ó·É»ê¿¡¼­ ½ÃÀÛÇؼ­ Á¡Â÷ »¡¶óÁø´Ù. Áß·É»ê ÀÌÇÏ °¡¶ô´õ¸®±îÁö´Â ù °îÀÎ »ó·É»êÀÌ ¹Ýº¹ ¿¬ÁÖ¸¦ °ÅÃÄ º¯ÁÖµÇ¾î ¸¸µé¾îÁø °îÀÌ´Ù. »ó·É»ê°ú Áß·É»êÀº 1Àå´Ü 20¹ÚÀÌ¸ç ¿©±â¼­ °¡¶ôÀ» ´ø ¼¼·É»ê°ú °¡¶ô´õ¸®´Â 1Àå´Ü 10¹ÚÀÌ´Ù. À̾î 1Àå´Ü 6¹ÚÀÎ µµµå¸® Àå´ÜÀ¸·Î µÈ »ïÇöµµµå¸®¿Í ±×ÀÇ º¯ÁÖ°îÀÎ ÇÏÇöµµµå¸®, ±×¸®°í ¿°ºÒµµµå¸®·Î ¿¬°áµÇ¸ç, Á»´õ Èï°Ü¿î 1Àå´Ü 4¹ÚÀÇ Å¸·É, ±º¾ÇÀ¸·Î ³¡³­´Ù.
¿©±â¼­´Â ³Ê¹« ´À¸®Áöµµ ±ÞÇÏÁöµµ ¾ÊÀº Àû´çÇÑ ºü¸£±âÀÇ ¾Æ±âÀÚ±âÇÑ ¼¼·É»êºÎÅÍ Á»´õ ³ôÀº À½¿ªÀ¸·Î Àº±ÙÇÏ°Ô ÈïÀÌ °íÁ¶µÇ´Â ±º¾Ç±îÁö¸¦ ¼¼ÇǸ®, °¡¾ß±Ý, À屸°¡ ¾î¿ï·Á ¿¬ÁÖÇÏ¿´´Ù.

¡á Hyeonak Yeongsan-hoesang is one of the representative pieces of jeongak, music of the literati of the Joseon period. Yeongsanhoesang in the string version (hyeonak) known as Junggwangjigok (lit. piece of fullness of light) is played by chamber music ensemble, including geomungo (six-string long zither) as a leader and se-piri (slender cylindrical-bore double-reed instrument made of bamboo, one of three types of piri).
Hyeonak-yeongsanhoesang consists of nine pieces: Sangryeongsan, Jungryeongsan, Seryeongsan, Garakdeori, Sanghyeon-dodeuri, Hahyeon-dodeuri, Yeombul-dodeuri, Taryeong, and Gunak. It starts slowly from Sangryeongsan, which is thought to have been a Buddhist song, and gradually increases in tempo. From Jungryeongsan to Garakdeori each piece is a variation of Sangryeongsan. Each jangdan (rhythmic cycle) in Sangryeongsan and Jungryeongsan consists of 20 beats, in Seryeongsan and Garakdeori 10 beats. Samhyeon-dodeuri and its variation, Haryeon-dodeuri, and another piece, Yeombul-dodeuri, have cycles of 6 beats; and Taryong and Gunak have cycles of 4 beats.
Here, the ensemble of se-piri, gayageum (12-string long zither) and janggu(hourglass-shaped drum) plays the Yeongsanhoesang from Seryeongsan, which is moderate in tempo, throughout the high-pitched melody of Gunak.

¡á Çؼ³/¼­ÀÎÈ­ Note/So In-hwa (±¹¸³±¹¾Ç¿ø Çп¹¿¬±¸»ç)
°¡°îÀº ½ÃÁ¶½Ã¸¦ °üÇö ¹ÝÁÖ¿¡ ¾ñ¾î ºÎ¸£´Â ¿¹¼ú ¼º¾Ç°îÀÌ´Ù. ¹ÝÁÖ´Â °Å¹®°í, °¡¾ß±Ý, ´ë±Ý, ¼¼ÇǸ®, ÇرÝ, ¾ç±Ý, ´Ü¼Ò, À屸ÀÇ ÁÙdz·ù Æí¼ºÀε¥, °¡°îÀº ¹ÝÁÖ ÀÚü°¡ ÈǸ¢ÇÑ ±â¾Ç°îÀÌ´Ù. °¡°îÀº °í·ÁÀÇ ³ë·¡ÀÎ Á¤°úÁ¤(ï÷ÍþïÍ)¿¡ ¿¬¿øÀ» µÎ°í, ¸¸´ë¿±(Ø·ÓÞç¨)À» Á¶Á¾À¸·Î Áߴ뿱(ñéÓÞç¨)°ú »è´ë¿±(ÞüÓÞç¨)ÀÌ ´õÇÏ¿© ¸¸Áß»è(Ø·ñéÞü)ÀÇ ¼¼Æ² Çü½ÄÀ» ÀÌ·ç¾úÀ¸³ª ÀÌÈÄ °îÀÌ ´À·Á »ç¶÷µéÀÌ Áñ±âÁö ¾Ê°Ô µÇ¸é¼­ Á¶¼± Á߱⿡ ¸¸´ë¿±, ¸»±â¿¡ Áߴ뿱ÀÇ ¿¬ÁÖ ÀüÅëÀÌ ´ÜÀýµÇ°í »è´ë¿±¿¡¼­ ÇöÇà ÃÊ, ÀÌ, »ï¼ö´ë¿±, Áß°Å, µÎ°Å, Æò°Å, Èïû°Å¸®´Â ³ó(Ò×)°ú ³«(Õ¥), ±×¸®°í ¸¹Àº »ç¼³À» ¿«¾î ºÎ¸£´Â Æí(øº) µîÀÇ »õ °îÁ¶°¡ ÆÄ»ýµÇ¾î Å©°Ô °¡°î ÇÑ ¹ÙÅÁÀ» ÀÌ·ç°Ô µÇ¾ú´Ù.
¿©±â¼­´Â °¡°îÀÇ ¿©·¯ °îµé Áß¿¡¼­ °¡Àå Áñ°Ü ¿¬ÁֵǴ °îµéÀ» ¼¼ÇǸ®¸¦ Áß½ÉÀ¸·Î °¡¾ß±Ý, À屸°¡ ¿¬ÁÖÇÏ¿´´Ù. °¡°îÀÌ ¿¬ÁֵǴ ¹æ½Ä´ë·Î Á¶¿Í ¼Óµµ, À½¿ªÀÇ º¯È­¸¦ Áñ±æ ¼ö ÀÖµµ·Ï ¿©·¯ ¾Ç±â°¡ È£ÈíÀ» ¸ÂÃß´Â ¿ìÁ¶´Ù½º¸§¿¡¼­ ½ÃÀÛÇؼ­ ¿ìÁ¶Ãʼö´ë¿±, ¼Ò¿ë, ¾ð¶ô, Æí¶ôÀ» ¿¬ÁÖÇÏ°í ÀÌ¾î °è¸éÁ¶·Î ³Ñ¾î°¡ °è¸é´Ù½º¸§, °è¸éÃʼö´ë¿±, ¾ð·ÕÀ¸·Î ¸¶¹«¸®ÇÏ¿´´Ù.
¡á Gagok is a lyrical song accompanied by a wind and string ensemble including geomungo, gayageum, yanggeum (dulcimer), se-piri, daegeum (transverse bamboo flute), danso (vertical bamboo flute), haegeum (2 stringed fiddle), and janggu. It is representative of the music enjoyed by the literati of the Joseon Dynasty. The accompaniment alone makes one good instrumental music in terms of beauty of form and richness of expression.
Originally there were three types of Gagok, identical in form but differing in tempo: Mandaeyeop (slow), Jungdaeyeop (moderate), and Sakdaeyeop (fast). Gradually the slower forms were neglected and by the end of the dynasty only Sakdaeyop was performed. From Sakdaeyeop, Chosudaeyeop ("first Sakdaeyeop"), Isudaeyop ("second Sakdaeyeop"), Samsudaeyeop ("third Sakdaeyeop") were derived. Later, other types of songs, such as the rollicking Nong, the cheerful Nak, and the shortened Pyeon styles were created through the variation and transformation of the existing songs of Sakdaeyeop and they form Gagok into a lengthy song cycle.
Here, several pieces of the most popular songs of those Gagok repertories were recorded by the ensemble of se-piri, gayageum and janggu. According to the way Gagok is performed, it starts from Ujo ("u mode")-daseureum("tuning"), in which players tune to each other, Ujo-chosudaeyeop, Soyong, Eollak and Pyeollak and turns to Gyeomyeon("gyeomyeon mode")-daseureum, Gyeomyeon-chosukdaeyeop and Eollong, leading the listeners to experience the gradual change of mode, tempo, and range.
¡á Á¤Àç±¹
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Á¤Àç±¹ÀÇ ÇǸ® ¼Ò¸®´Â ´Ù¾çÇϱ⠱×Áö¾ø´Ù. ±×ÀÇ ¼¼ÇǸ® ¼Ò¸®¿¡´Â À±±â°¡ Èê·¯ ³ÑÄ¡°í ÇâÇǸ® ¼Ò¸®¿¡´Â ½Ì½ÌÇÑ ³»À½ÀÌ °¡µæÇÏ´Ù. »Ó¸¸ ¾Æ´Ï¶ó Á¤Àç±¹Àº ÇǸ® ¿Ü¿¡µµ ÅÂÆò¼Ò, »ýȲ ¿¬ÁÖ¿¡µµ »©¾î³­ ¼Ø¾¾¸¦ °®°í ÀÖ´Ù. ÀÌ¿¡ 1993³â Á߿乫Çü¹®È­Àç Á¦46È£ ´ëÃëŸÀÇ ±â´Éº¸À¯ÀÚ·Î ÁöÁ¤ ¹Þ¾Ò°í 1998³â ÇǸ® Á¤¾ÇÀÌ Ãß°¡ ÁöÁ¤µÇ¸é¼­ Á߿乫Çü¹®È­Àç Á¦46È£ ÇǸ®Á¤¾Ç ¹× ´ëÃëŸÀÇ ±â´Éº¸À¯ÀÚ°¡ µÇ¾ú´Ù.
±×ÀÇ ±¹³»¿Ü ¿¬ÁÖ °æ·ÂÀº ³Ê¹«³ª ¹æ´ëÇÏ¿© ÀÏÀÏÀÌ ¿­°ÅÇϱâ Èûµé Á¤µµÀ̸ç ÀÌ ½Ã´ë ÃÖ°íÀÇ ÇǸ® Á¤¾Ç ¿¬ÁÖÀڷμ­ ¹®È­°øº¸ºÎÀå°ü ǥâ, KBS±¹¾Ç´ë»ó(83), ´ëÇѹα¹ ¹®È­Æ÷Àå¼ö»ó(89) µîÀ» ¼ö»ó ÇÑ ¹Ù ÀÖ´Ù. 1998³â Çѱ¹¿¹¼úÁ¾ÇÕÇб³ ÀüÅ뿹¼ú¿øÀÇ °³¿øÀÌ·¡ ÀüÅ뿹¼ú¿ø ±³¼ö·Î ÀçÁ÷Çϸ鼭 ÈÄÇÐ ¾ç¼º ¹× ¿¬ÁÖ È°µ¿À» ÆîÄ¡¸ç 21¼¼±â ÇǸ®À½¾Ç¿¬±¸È¸ °í¹®À» ¿ªÀÓÇϸ鼭 °³·®ÇǸ® ¿¬ÁÖÀÇ È°¼ºÈ­ ¹× º¸±ÞÀ» À§ÇÑ ¿¬±¸¿¡µµ Èû¾²°í ÀÖ´Ù.
¡á Chung Jae-guk
A master of piri, Chung graduated from the school of Korean Traditional Music affiliated with the National Center for Korean Traditional Performing Arts. Since he joined NCKTPA in 1966, he has held various positions, such as member of the directing team, assistant director, senior member, and finally arts director. Among many piri repertories, he excels especially in jeongak (lit. "proper music"). Considering the leading role of piri in jeongak performance and his career in NCKTPA, it can be said that he has been a pillar in preserving the tradition of jeongak in Korea.
Chung produces a variety of sounds out of the piri. His se-piri sound is soft while his hyang-piri (oboe for musics of Korean origin) sounds invigorating. He is also known for his mastering of the taepyeongso (conical-bore oboe) and saengwhang (mouth organ), and in 1993 he was designated as the holder of the Important Intangible Cultural Assets No. 46, Daechwita (Military processional music). And as the Piri Jeongak was added to the Important Intangible Cultural Assets No. 46 together with Daechwita in 1998, he is currently the holder of the Important Intangible Cultural Assents No. 46, Piri Jeongak & Daechwita.
He has given so many performances in Korea and abroad that it would be difficult even to list them all. He also received many awards, including one given by the Minister of Culture and Information (1974), the KBS Korean Traditional Music Grand Prize(1983), and the Cultural Medal of the Republic of Korea. He currently devotes himself to playing, while teaching students as a professor at the School of Korean Traditional Arts, the Korean National University of the Arts, since its opening in 1998. He also leads the Society for Piri Music Study in the 21st Century.

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