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The Piri Pungryu(ÇǸ® dz·ù) of Choe Kyeong-man A Series of Folk Song(Minyo ¹Î¿ä): Kyeonggi & Seodo ProvincesG
¢´ 1.³ë·¡°¡¶ô Noregarak 02:41
¢´ 2.ûÃá°¡ Chngchunga 01:55
¢´ 3.âºÎŸ·É Changbu-taryeong 03:47
¢´ 4.ÅÂÆò°¡ Taepyeongga 02:05
¢´ 5.¾ç»êµµ Yangsando 02:16
¢´ 6.º£Æ²°¡ Beteulga 01:34
¢´ 7.¿Àµ¹µ¶ Odoldok 01:34
¢´ 8.dz³â°¡ Pungnyeonga 01:32
¢´ 9.¹Ð¾ç¾Æ¸®¶û Miryang-arirang 01:48
¢´ 10.ÇÑ¿À¹é³â Han-obaeknyeon 01:48
¢´ 11.°­¿øµµ ¾Æ¸®¶û kangweondo-arirang 01:46
¢´ 12.±ä¾Æ¸®¶û Kin-arirang 04:36
¢´ 13.±¸¾Æ¸®¶û Ku-arirang 01:47
¢´ 14.¾Æ¸®¶û Arirang 02:02
¢´ 15.±º¹ãŸ·É Kunbam-taryeong 01:21
¢´ 16.»çödz³â°¡ Sacheol-pungnyeongga 01:53
¢´ 17.°æº¹±ÃŸ·É Kyeongbokgung-taryeong 01:26
¢´ 18.õ¾È»ï°Å¸® Cheonansamgeori 01:26
¢´ 19.À̺°°¡ Ibyeolga 02:50
¢´ 20.µÕ±×·¹´ç½Ç Tunggeuredangsil 02:07
¢´ 21.ÇÑ°­¼öŸ·É Hangangsu-taryeong 01:50
¢´ 22.¹î³ë·¡ Paet-nore 01:50
¢´ 23.»ê¿°ºÒ San-yeombul 03:03
¢´ 24.¹æ¾ÆŸ·É Panga-taryeong 03:15
¢´ 25.»ç¼³¹æ¾ÆŸ·É Saseolbanga-taryeong 01:31
¢´ 26.´Ò¸®¸®¾ß Nilliriya 01:38
¢´ 27.µµ¶óÁö Toraji 01:48
¢´ 28.³ëµé°­º¯ Nodeulgangbyeon 02:12
¢´ 29.¹Ú¿¬ÆøÆ÷ Pakyeonpokpo 02:14
¢´ 30.´Â½ÇŸ·É Neunsil-taryeong 01:35
¢´ 31.½Å°í»êŸ·É Shingosan-taryeong 02:05 ±ÃÃÊ´ó±â Kungchodaenggi
¢´ 32.âºÎŸ·ÉII Changbu-taryeong II 04:38 TOTAL 70:10
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¡á The Piri Pungryu (ÇǸ® dz·ù) of Choe Kyeong-man
A Series of Folk Song (Minyo ¹Î¿ä): Kyeonggi & Seodo Provinces
1. Note of the piri
The term 'piri (ÇǸ®, bamboo oboe)' was derived from 'pilyul (ÇÊ·ü)'. The piri is classified as the aerophone family and is one of the representative melodic Korean instruments. It constructs the bamboo material. It is the smallest bamboo woodwind instrument, but produces a well resonant big and clear tone. Its resultant sound evokes a variety of range of expressions from a touch of warm sorrow, soft but rigorous, as much as a loud and sharp tone to quiet and wailing one explored by the master piri players. Its core of producing such various tones is the ggyeophyeo (°ãÇô), also calling a 'seo (¼­, double reed)' which is made of thick and old haejuk (ÇØÁ×ú­ñÓ, bamboo growing beside the sea) and is cut thinly. It is attached to its inside gwandae (°ü´ë, bamboo tube) and sounds by placing a player's lips on it.
Its method of producing sound is to vibrate the bamboo tube putting into the player's mouth. Its playing technique varies such as mok'ttwigim (¸ñÆ¢±è), hot'ddeoreum (Ȭ¶³À½), gyeot'ddeoreum (°ç¶³À½), and so on, which are unique to the piri. Its registers of the tone also vary: the low part as a deep and stable resonance; the middle part as a straight strong tone; the high register as a boisterous and gorgeous one called "gwigogseong" (±Í°î¼ºÐ¡ÍÖá¢, the sound of keening) when it sounds properly. Like the taepyeongso (ÅÂÆò¼Ò, conical oboe), its high register produces "entreaty tone" which expresses outcry for "han (ÇÑùÏ, means Korean feeling toward longing for)". We even feel emptiness in the straightly uttered sound shortly after having released the han. This type of producing the sound in the high register appears to be in common in the nature of the bamboo material.
It can be suggested that such intuitive expressions explored in the piri would suit the music of the Gyeonggi-Seodo Sori (songs of Gyeonggi and Seo Provinces in which are situated in the middle of Korean Peninsula) and one of the verses of a song starting with: "Neungsubeodl tree standing near the river makes people to dance for fun". Of course, there is such well known style of Namdo-je (style of the southern parts of Korea) provoking in a deep sorrow and lingering feeling for the han with gyemyeonjo (gyemyeon mode which is equivalent to western concept of minor mode) with the piri. Otherwise, its other styles reminiscence of such pastoral mood as a poet in the spring.
2. The artistic world of Choe Gyeong-man's piri performance
It has already attracted huge attention from music-lovers all over Korea, so that the piri master, Choe Gyeong-man, is now releasing this substantial CD material. The CD is full of musical exuberances and subtleties, and reveals the elegant style of the piri sound. Choe grew up listening to the sound of the piri from his early childhood, during which time he learned many tunes by ear and this encouraged him to become a piri player. Choe's earlier musical talent had showed when he won the Competition for Korean Traditional Music on the piri during attending at Gugak Art High school in 1963.
It was Ji Yeong-hi (19-19), who endowed Choe's destination to be a piri artisan. Ji was not only the master musician and composer on both the haegeum (two stringed spike fiddle with bow) and the piri, but also the theorist and educator in the emergence of the modern Korean traditional music. It would not be exaggerated to take into account his position as the innovator and contributor to the development of Korean music in the early 20th century. In particular, Ji was the expert on the music of the Gyeonggi styles, importantly on Gut (shaman ritual performance) music in the areas. Unfortunately his achievements were not recognised in Korean musical world. He learned Ji's style of the piri music and then his repertoire of Gyeonggi music such as Busal, Dosalpuri and Garaejo-garak which were the core of shaman melodies of Gyeonggi Province. Ji transcribed all the melodies from the Gyeonggido Danggut (°æ±âµµ ´ç±Â) and rearranged them to instrumental versions. Choe then extended to learn the master pieces such as Dae-pungnyu (´ëdz·ù ÓÞù¦×µ), Chwita-pungnyu (ÃëŸdz·ù), and so on. In fact, Choe was enchanted by Ji's clear and soft tone of the piri playing and continued to absorb Ji's musical styles and repertoire. All the time Choe followed to Ji's teaching, except for one occasion that he had learned Hojeok-Chiwita (È£ÀûÃëŸ) from the Dae-chwita master, Choe In-seo. The relationship between the two, Ji and his pupil, was special: Once Choe determined to study the gut performances from the fields so he was on and off those spots. When Ji knew this, Choe was reprimanded by him not have been to devote his time to the study of the piri and its music. Then Choe gave up his plan and concentrated on studying the piri.
He became Ji's protege, but was deeply disappointed by the environments where prejudice was predominant in performing world. He decided to immigrate to America to fulfil his love of playing music. In America he organised the performance group called the Si'nawi (½Ã³ªÀ§, lit. highly improvised virtuoso instrumental genre of folk music based on shaman melodies) of Korean Folk Music and played Korean folk music to a wide range of people. Now he returned to Korea and established his own institute for Korean music where this CD was recorded.
His style of piri playing differs from what we used to be familiar with a ballad (lyric) style of a sound. His sound is rather deep and mature, and this is a sign of entering the mastery stage. In particular, his deeply resonant tone of the low part creates a new aesthetics of tone quality. Such production of the tone of the phrases of the low part derives, as Choe explains, from his own technique that he facilitates nonghyeon (³óÇöÒ×úá, various kinds of vibration as one of ornamentations) by using mok'ttwigim in the lower register of the piri, thus achieving straight or open and solid 'seongeum' (¼ºÀ½á¢ëå, means feeling in sound). This technique is to explore the possible development of the characteristic features of the lower part. In this respect, Choe is certainly the exponent, who is natural player with the piri, of this experiment. The old style of the Gyeonggi sound is regarded as sonority/ringing/resonance, and Choe sensitively renders such tone and feeling in his own right.
In general, one of the characteristic features of Korean music is based on the principle of "metggo-pureojum (¸Î°í-Ç®¾îÁÜ, means "tension and release")". His execution of "releasing" a note lies in a particular note is vibrated after a bit hesitation and moving his finger or lip slightly downward and then immediately vibrate towards the next note with resolute manner. Such body movements of fingers and breathing adds to the sound of the subtle nuance. This kind of technique also brings depth and energy into the sound he produces. It is like "a solid construction of the sound, but again is a frozen form of emptiness inside the note", that is to say, there is a contrast between great effort (artificial sound) and the natural sound which becomes a silence. The flow of his tone quality brings the contrasting colouring effect between articulation toward an increasing effect from them to thick gradual and then straight passing near to far away through the space of the sound, thus effectively expressing the full sound and empty one. This can be an analogue with 'saegjeugsigong (»öÁï½Ã°øßäñíãÀÍö)' and 'gongjeugsisaeg (°øÁï½Ã»ö ÍöñíãÀßä)'. In this respect, his music reaches a sublime stage.
According to him, "it needs to vibrate a note "sinaburo (½Ã³ªºê·Î, a kind of falling like leaves" downward when playing the Gyeonggi-sori, whereas Seodo sori needed to be vibrated notes upward. This opposed way is the distinction between the two styles of rendering the sound". It is said that in general it should be executed the ornamentation to initiate thin and weak vibration and then drive thick and strong vibrations towards the climax. Then the tension needs gradually to be released as if it is faded away as to obtain the echo effect.
This recording shows such subtle differences of regional style developed by Choe. Thus this CD is a collection of the core of Gyeong-Seodo folk songs for the Piri Pungnyu which reflects Choe's aesthetic philosophy and its practice in the music. It contains various styles of repertoire of songs which are transformed to the instrument, ranging from Changbu-taryeong. Geumgangsan-taryeong, Gunbam-taryeong, Neunsil-taryeong, San-yeombul and Jajin-yeombul, Ginari, Nilliriya, Dunggeuredangsil, Maehwa-taryeong, Gyeongbokgung-taryeong, Nore-garak, Cheongchunga, Pakyeonpokpo, Obongsan-taryeong, Beteulga, Yangsando, Bonjo-arirang, Doraji, Nodeulgangbyeon, Taepyeongga, Pungnyeonga, Baen-nore, Orang-taryeong, Cheonansamgeori, Hanobaeknyeon, Gangwondo-arirang, Miryang-arirang, and so on. These songs are based on Gyeoggi and Seodo garak (melody) as well as Gangwondo Menari garak (Gangwon Province).
Choe's interpretation of these songs is based on the kernel of strong and solid sound like in the performance of the taepyeongso. At the same time, he renders a very light touch in the high notes; pushing resolutely toward the middle register; sticking and attaching a tone quality in the low register. Such diverse tone production can be met in such songs Neunsil-taryeong or Dunggeuredangsil, as opposed to a strong feeling such in a song of Geumgangsan-taryeong. Thus it is right to say that this CD is a comic picture of musical sound on the piri with which we are accustomed. Based on this scheme, Choe approaches these songs to the piri at his disposal, stressing that each song has its own character. As he is also the accomplished gueum (±¸À½, mouth music) player, his style can be delineated as a finesse of a tone called 'ganji (°£Áö, means craftsmanship)'. According to him, like two sides of denotation of Pansori (epic story performed by one singer with one drum player), and player should render the character of the individual song or tune. This can only be achieved when a player understands each song well. It is to note that his music is the combination of tradition and Choe's own feeling of each song.
3. Reassessing the Gyeonggi-Sori and Minyo
Re-listening to the Gyeonggi-sori and Minyo gives the listener the opportunity to reevaluate Gyeonggi music whose values have been seriously underestimated in Korean traditional music. As a result of this, Gyeonggi-sori and its music have become almost lost in other regional styles of music. There are cultural, historical and ideological reasons for this. First, Gyeonggi music had been the musical base of the Joseon dynasty (1392-1910), as Gyeonggi Province had been the centre of the cultural and political activities of the region. This is shown by the fact that the main melody of both Gyeonggi minyo corresponds to that of pyeongjo (ÆòÁ¶øÁðà, lit. major mode in terms of western musical scale) and gyemyeonjo (°è¸éÁ¶Í£Øüðà, lit. minor mode) of Jeongak (Á¤¾ÇïáäÅ, lit. "right music" which denotes classical and court music) in general. These close musical links between two different genres may suggest possible influences between court music and Gyeonggi folk music regardless of their quite different performance technique and theoretical orientations.
There has led to a chronic misunderstanding about its place in Korean music history. For instance, such well known genres as Pansori and Sanjo (»êÁ¶, virtuoso instrumental music within improvisation) as well as Chang-minyo (â¹Î¿ä, popular folk song) and Japga (Àâ°¡, vocal music sung by professional) in folk music consciously developed socially, morally and economically awareness in the growing wake of the modernist movement during the late Joseon dynasty. In this process, it is a mistake to underestimate the position of Gyeonggi minyo, which is the representative of certain key genres in Korean traditional music, and which supplies some crucial clues to the study of Korean folk music and its development.
Musicians of the late Joseon period attempted to apply a different approach, which I would call the principle of "negation of dialectic", to the concept of the modernism in music, but the feudal music institution and musical culture of the time resisted this development. In the light of this, we need to rethink its role for traditional music in the present time.
The two main factors have led to the misinterpretation of Gyeonggi music: one is internal and the other external. First, during the Japanese annexation of Korea (1910-1945), the Japanese attempted to eradicate the Korean culture through their malicious slanders and to make, for instance, Gyeonggi sori into an inferior music. On particular strategy used was to redefine Gyeonggi music as merely "entertainment" music, which became labelled "Gibang music (±â¹æÐõÛ® À½¾Ç)", i.e. played by female entertainers mainly indoors, and thus devaluating it. Second, there was sadly the negative attitude and behaviour of some musicians in the Gyeonggi Province. We do not hope to bear such misconcept as "the music of the Joseon period would correspond to music practised by the gisaeng (±â»ýÐõßæ, female entertainers), if Gyeonggi music was regarded as the gisaeng music". This historical and political background leads us to reflect whether or not we have unwittingly been the worst enemies of our own music.
After all, the foundation of all the cultural activities, especially folk arts, is deeply rooted in the basic stratification of a society rather than in the tradition itself; the deeper the foundation of life is, the more traditional the culture becomes. For instance, music has been integrated into our culture as a 'rite of passage (Åë°úÀÇ·Ê)' which is reflected in the everyday lives and activities of the common people. In this sense, Choe's piri music deserves a rightful place in our music culture, and to be given respect without changing its essential nature. It gives us a rare opportunity to listen to this music in its purest form played by a master who gives it the rich expression it deserves.

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