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TOPCD-043
최문진 가야금정악 II 평조회상 平調會相
Choi Moon-Jin Gayageum Jeongak II - PYEONGJOHOESANG
¤ 1 상령산 Sangnyeongsan 14:52
¤ 2 중령산 Jungnyeongsan 13:02
¤ 3 세령산 Seryeongsan 04:29
¤ 4 가락덜이 Garagdeori 03:11
¤ 5 상현도드리 Sanghyeondodeuri 03:56
¤ 6 염불도드리 Yeombuldodeuri 04:26
¤ 7 타령 Taryeong 03:35
¤ 8 군악 Gunak 04:30 TOTAL 52:04
■ 가야금/ 최문진 gayageum: Choi Moon-jin
■ 대금/ 안성우 daegeum: Ahn Sung-woo
■ 최 문 진
학력
국립국악원 부설 국악사 양성소 중등부·국악고등학교 졸
서울대학교 음악대학 국악과 졸
경희대학교 교육대학원 졸
연주경력
Seattle Asian Art Museum초청 연주 등 독주회 11회 개최
경북도립국악단·대구시립국악단·KBS국악관현악단과 수차례 협연
일본·중국·러시아 초청 연주 등 수십회 공연
강태홍류 산조보 출간
중광지곡 CD 출반
사회경력
국립국악원 연주원,
국립국악고등학교 교사,
경북대·동국대·대구예술대 강사
University of Washington 객원교수 역임
무형문화재 제83-나호 향제줄풍류 이수
사사
김영윤겷零嚥?권혁태겚蛙甦?김정자곀鍍옥ㅏ?강낙승겱타茨?선생
現
영남대학교 음악대학 교수
대구시·경상북도 문화재 전문위원
대구 琴 앙상블 단장
대구문화예술회관 운영위원
부산시 문화재 제8호 강태홍류산조보존회 이사
한국음악사학회 종신회원
한국전통음악학회 이사
I.C.T.M (Intermational Council Traditional Music) 종신회원
■ 안 성 우
現, 영남대학교 음악학부 조교수
■ Note for PYEONGJOHOESANG 평조회상平調會相
Pyeongjohoesang, also known as "Yuchosinjigog 유초신지곡柳初新之?, is one of three versions of Yeongsanhoesang (영산회상靈山會相). Yeongsanhoesang consists of nine pieces of music: from the first piece to the last one; Sangnyeongsan, Jungnyeongsan, Seryeongsan, Garakdeori, Sanghyeondodeuri, Hahyeondodeuri, Yeombuldodeuri, Taryeong and Gunak. It is said that its original version derived from a vocal music of seven syllables called "Yeong-san-hoe-sang-bul-bo-sal" which each syllable was allotted to two jangdan (장단長短, rhythmic cycle). But its text had been lost and developed it as an independent instrumental music. It has three different versions which are derived from Yeongsanhoesang that is also known as "Geomungohoesang (거문고회상)", "Hyeonak-yeongsanhoesang (현악영산회상)", or "Jul-pungnyu (줄풍류) whose music is centred on the stringed instruments, especially the geomungo. Another is called "Gwanak-yeongsanhoesang (관악영산회상)", or "Samhyeon-yeongsanhoesang (삼현영산회상)" or "Dae-pungnyu (대풍류)" which is largely comprised of the woodwind instruments.
Pyeongjohoesang is to perform "Geomungohoesang 거문고회상" transposing fourth below. These two versions differ in tonal organisation: Geomungohoesang constitutes hwangjong-gyemyeonjo ("hwangjong 황종黃鐘", the 1st/fundamental pitch in ancient Korean music theory, and "gyemyeonjo 계면조界面調" means gyemyeon mode, that is equivalent to western minor mode), while Pyeongjohoesang has imjong gyemyeonjo ("imjong 임종林鐘", the 8th pitch in ancient Korean music theory). According to Akhakgwaebeom 악학궤범樂學軌範 article 7, a well-known manuscript of music and its related document (compiled in 1493), hwangjong belongs to wujo 우조羽調 which denotes a mode in a higher layer and imjong is categorised as pyeongjo 평조平調 referring to a mode in a lower layer. "Pyeongjo" of Pyeongjohoesang denotes "being low" in relation to a concept of a key, rather than a nomenclature of a mode. Thus Pyeongjohoesang is another version of Yeongsanhoesang which is arranged in lower pitches stretching down to imjong from hwangjong.
In a role of a gayageum of playing Pyeongjohoesang, toeseung 퇴성退聲 (literally means 'movement of bending a string sharply and abruptly and one of the characteristic methods of vibrations or ornamentations) is executing in both pitches of taeju (태주太簇, the 3rd pitch in ancient Korean music theory) and namnyeo (남려南呂, the 10th pitch in ancient Korean music theory). This signifies that the position of toeseong emerging in gyemyeonjo is the fifth above the fundamental note, thus bending sharply taeju considering tritonic gyemyeonjo, which constitutes imjong of the fundamental tone, hwangjong and taeju, and also bending namnyeo denoting tritonic gyemyeonjo that consists of taeju, the fundamental tone, imjong and namnyeo. In this respect Pyeongjohoesang can be seen as the complex gyemyeonjo of imjong and taeju.
In the current performances of Pyeongjohoesang, however, toeseong of the main melodies centred on the stringed and woodwind instruments such as a piri (피리, bamboo oboe), daegeum (대금, the largest bamboo transverse flute) frequently occurs in the pitches of namnyeo and jungnyeo (중려仲呂, the 6th pitch in ancient Korean music theory), except for the gayageum. This version is also supported by the three musical notations of Daegeumjeongak 대금정악 compiled by Kim Gi-su and Yi Sang-ryong, Pirijeongak 피리정악 by Suh Han-beom and Pirigueumjongakbo 피리구음정악보樂譜 compiled by Kim Tae-sup and Jeong Jae-guk. Pyeongjohoesang is the piece comprising the five notes (pentatonic) - hwang, tae, jung, im and nam - which are also occurring in a modal type of hwagjongpyeongjo, and if the toeseong among these five notes are placed on the jungnyeo and namnyeo, this corresponds to the position of toeseong of hwangjongpyeongjo which has mentioned in the article, The methods of jeonseong and toeseong 전성법과 퇴성법, written by Jang Sa-hun. This theory led to consider Pyeongjohoesang, which known as gyemyeonjo in the past, as Yeongsanhoesang possessing a modal type of pyeongjo. From the view of the latter case, the performance of Pyeongjohoesang in this CD includes hwangjongpyeongjo encompassing Sangnyeongsan to Taryeong whose toeseong largely occur in the jungnyeo and namnyeo. Gunak, the last piece of Pyeongjohoesang, constitutes taejupyeongjo whose toeseong is executed in both imjong and eungjong (응종應鐘, the twelveth pitch in ancient Korean music theory), but in this performance one of these two tones is replaced by hwangjong instead of eungjong due to the occurrence of hwangjong.
■ Profile of the performers
Choi Moon-jin (gayageum)
He learned the gayageum at Gunglip Gugak Senior School(Korean Traditional Music National Senior School), which is affiliated by GunglipGugakwon (the National Centre for Korea Traditional Performing Arts) and sub-institute for training professional musicians for Korean traditional music. Then he specialised in the gayageum as a B.M. at Seoul National University, as well as an M.A. degree for Music Education at Gyeonghee University. During this time, he has widen his musical experiences as a solo performer in absorbing a variety of repertoire performing more than 11 times including a recital at Seattle Asian Art Museum, as well as joining several ensembles/ orchestras such as Gyeongbuk Province Korean Traditional Music Orchestra, Daegu City Korean Traditional Music Orchestra and a number of times with the KBS Korean Traditional Music Orchestra. He also performed music in abroad such as Japan, The USSR, China, and so forth. He published a musical notation of Sanjo (representative instrumental piece of music for solo which demands highly musical skills) of the Gang Tae-hong ryu ("school/style/version") and released his CD containing Junggwangjigog 중광지곡 which is another version of Yeongsanhoesang.
He was a member of GunglipGugakwon Ensemble and also taught the gayageum at Gunglip Gugak Senior School. At the same time he taught at several colleges including Gyeongbuk University, Dongguk University, Daegu Arts College. He also was the Visiting Artist at University of Washington. He finished the course of Hyangjejulpungnyu 향제줄풍류 which is designated as Muhyeongmunwhajae 무형문화재(Cultural Asset No. 83-naho. He was taught the gayageum by several masters, Kim Yeong-yun, Choe Chung-ung, Gweon Hyeok-tae, Kim Chun-ji, Kim Jeong-ja, Hamdong Jeongweol, Gang Nak-seung and Sin Myeong-suk.
He is currently a full professor in department of Korean Music at Yeungnam University. As a member of Cultural Preservation Institution in Daegu City, Gyeongsangbukdo province, he is a leader of Daegu Geum 琴 Ensemble. He is responsible for managing Daegu Cultural Arts Hall, A Society of Preservation for Gang Tae-hong Ryu Sanjo which becomes a Cultural Asset No. 8 in Busan City. He is a lifetime member of the Society of Korean History and of Korean Traditional Music, as well as a member of International Council Traditional Music.Ahn Sung-woo (daegeum)
As a daegeum player, An is both member of GunglipGugakwon Ensemble and the KBS GugakGwanhyeon Orchestra. He was the leader for Gyeonggi Dorip Gugak Orchestra. He is currently an Assistant Professor in department of Korean music at Yeungnam University. |
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