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 ¤ý ³ìÀ½: 1972.4.
 ¤ý µð·ºÅÍ: ¾çÁ¤È¯ (À½Á¦1442È£) Yang Jeong-hwan
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The unknown performance of two Gayageum Sanjo presented by the age of 21, Kim Myeong-shin
 ¢´ °¡¾ß±Ý»êÁ¶ / ±èÀ±´ö·ù Gayageum Sanjo / Kim Yun-deok ryu
¨ç Áø¾çÁ¶ Jinyangjo 05:50
¨è Á߸𸮠Jungmori 03:19
¨é ÁßÁ߸𸮠Jungjungmori 01:53
¨ê ÀÚÁø¸ð¸® Jajinmori 01:41
¨ë Èָ𸮠Hwimori 02:05
¨ì ´Ü¸ð¸® Danmori 02:00
 
¢´ °¡¾ß±Ý»êÁ¶ / ¼º±Ý·Ã·ù Gayageum Sanjo / Seong Geum-ryeon ryu
¨í Áø¾çÁ¶ Jinyangjo 05:16
¨î Á߸𸮠Jungmori 03:16
¨ï ÁßÁ߸𸮠Jungjungmori 01:09
¨ð ±Â°Å¸® Gutgeori 01:11
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¨ò Èָ𸮠Whimori 02:42
¨ó ¾ù¸Ó¸® Eonmeori 00:17
¡á °¡¾ß±Ý/ ±è¸í½Å gayageum/ Kim Myeong-sin
¡á Àå°í/ Àå´öÈ­ janggo/ Jang Deok-hwa
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¡á Profile of Kim Myeong-sin (nickname: Jeong-a, Mi-Jin)
 Kim Myeong-sin was born in 1951 in Yecheon, Gyeongsang-bukdo (northern part of Gyeongsang Province of Korea). Her parents were the source of the musical influences which made her to continue to develop her musical skills. She studied the gayageum (°¡¾ß±Ý Ê¡å¦ÐÖ, 12 stringed zither) and its music at Hanguk Gugak Yesul School (current Seoul Gugak Yesul High School, 1966-69) and then continued her studies at Seorabeol Yesul College (current Jung-ang University, 1969-73). During the College she was lucky to study these two particular styles of Gayageum Sanjo (»êÁ¶ß¤ðà, lit. scattered melody and a highly virtuoso music within improvisation) with the both master musicians, Seong Geum-ryeon and Kim Yun-deok, who developed their own styles of Gayageum Sanjo. She also learned the Gayageum Byeongchang (°¡¾ß±Ý º´Ã¢Ü½óÝ, singing with a gayageum accompaniment by the singer) from Park Gwi-hi as well as Korean dance from Han Yeong-suk. This made her musical experience rich. Her musical talent began with winning a number of important prizes in many competitions including the excellent award on the gayageum part at the 1st 5.16 National Music Competition in 1967; her formal artistic debut sponsored by The Public Information Bureau; the special award at the Student Dance Competition organised by Jung-ang University. She was actively engaged in music-making during the College, including solo gayageum performances. Furthermore, her musical career started to bloom when she joined the Korean Folk Art Company. The Company did regular overseas tours of important performances such as EXPO '70 hosted by Japanese International Export in 1970; at The Munchen Olympic Festival in 1972; a series of tours to the European countries, Southeast Asia, Middle East, African countries, and so on. Her musical development and maturity were also gradually increased with her regular based performances. Unfortunately she had to stop playing music when getting married. She was no longer encouraged to develop further her talent by the social environments and cultural systems. Sadly this attitude towards Korean female artists was typical in the 1970s. This recording is derived from a series of performances which she had made during her early 20s, so that it reveals her passionate and exuberant spirits within that music. In particular, it is remarkable to note that she has clearly interpreted such distinctive styles of the two master pieces of Gayageum Sanjo which she had directly obtained from the composers. She even shows her maturity of dealing with these virtuoso pieces of musics. It is certainly a great loss for the field of Gayageum Sanjo music to have lost her further contribution. There might be a different situation today if she would have continued to carry on her musical career.
¡á Kim Yun-deok ryu Gayageum Sanjo Kim Yun-deok (penname, Nokya, ÒÔå¯, lit. deer in the forest, 1918-1978) was born in Jeongeup, Jeollanamdo, southern part of Korea. He learned Gayageum Pungnyu from Jeong Ja-seon, Kim Gwang-seok, Geomungo Pungnyu from Kim Yong-geun, and Gayageum Sanjo from Jeong Nam-hee and Gang Tae-Hong in about 1950. Pungnyu is one of the representative classical genres performed by the noble on both stringed instruments, the geomungo and gayageum. He also learned the genre of Sanjo on the both instruments from Gang Tae-hong and from Han Gap-deuk respectively. Then he made his own unique version adding his own musical elements such as garak (°¡¶ô, melody) based on these masters' Sanjo, particularly on the gayageum in the late 1960s. He was retained as Gayageum Sanjo Kineung Boyuja and became the No. 23rd JungyoMuhyeong Munhwajae in 1968. He had taught the gayageum and its music as agsa (¾Ç»ç, professional musician employed by the government) for more than 10 years at GunglipGugakwon since 1953. He was actively engaged in performance, recording, broadcasting, while teaching young people at Hanguk Gugak Yesul School until his death. His musical career was extraordinary performing around the world such overseas as in Japan, Mexico, European countries and North America. Especially performance at the Carnegie Hall with other master musicians, the Ji Yeong-hi and Seong Geum-ryeon couple, as well as Kim So-hi, one of the finest Pansori singers, was of great success and was released immediately their record from the live performance. His Sanjo style was continued to preserve by such his protege as Yi Yeong-hi, Won Han-gi, Yi Hyo-bun and the gayageum master, Hwang Byeong-gi who had learned from him since 1951, as well as his daughter, Jeong-suk. His version of Gayageum Sanjo consists of six parts as in the front of this CD sleeve. Its sound is not colourful, but embodies serenity and elegance of noble character. There is also a striking contrasting effect of nongdam (³ó´ãÒØÓ¿, ¡°shade and light") in which listeners become embedded.
¡á Seong Geum-ryeon ryu Gayageum Sanjo Seong Geum-ryeon (1923-1986) was born in Gwangju, Jeollanamdo, southern part of Korea. Her autonym was Yungnam (ë»Ñû, lit. six men) and her penname Chunsa (õðÞÈ, lit. spring history). She was married to Ji Yeong-hi who was one of the master musician, particularly on the piri (bamboo oboe) and haegeum (2 stringed spike fiddle). She learned the gayageum from Choe Mag-dong (also called Choe Ok-san, Ok-sang) who was the master player, and An Gi-ok. She also learned Gayageum Sanjo, Pungnyu (dz·ùù¦×µ means "cultural act" or does "in a tasteful and enjoyable manner", or "playing a nice and enjoyable life"), yangeum (¾ç±ÝåÇÐÖ, dulcimer), Byeongchang, and so on from Jo Myeong-su and Park Sang-geun. She extended to learn Chunhyangga (song of Chunhyang) of Pansori (ÆǼҸ®, narrative song with a drum player) from Jeong Jeong-ryeol, a master singer, as well as the geomungo (°Å¹®°í, 6 stringed plucked zither) with Kim Sang-gi. She was involved in performing both in abroad and home, while working on broadcasting and recording. She also devoted her time to teaching young people at Hangug Gugak Yesul School in 1960s and at Seorabeol Art College since 1968. Her musical career was highlighted when being retained the Gayageum Sanjo Gineung Boyuja (±â´Éº¸À¯ÀÚ, the holder of the particular style of music) for the 23rd JungyoMuhyeongMunhwajae. Afterwards she emigrated to Hawaii with her husband in 1974, and devoted to playing and teaching music there. She had visited home and performed at the Sanullim Small Theatre in Sinchon shortly before she passed away. Her disciples are Kim Myeong-sin, Hwang Byeong-ju, Kwon Hyeok-tae, and so on, including her own immediate family, daughters, Ji Seong-ja, Sun-ja and Mi-ja. She also composed such pieces as Heung (Èï, enjoyment), If a tear were a pearl, and so on. Her version of Gayageum Sanjo comprises seven parts (see on this CD) and its rhythmic arrangement differs from other Sanjo, which Gutgeori jangdan (rhythm and melody based on shaman music) is in between Jungjungmori and Jajinmori. This element adds to its music much more fun, and gives it flowing and bright character in the entire movement. Her style of Sanjo achieves colourful and exuberant, energetic sound as well as sadness.
¡á Jang Deok-hwa: janggo Jang Deok-hwa is regarded as the janggu (À屸, hour-glass shaped percussion instrument) virtuoso and the leading exponent of jangdan (Àå´Ü, rhythmic cycle) of Gyeonggi-Seodo Sori (°æ±â¼­µµ ¼Ò¸®, vocal music rooted in the Gyeonggi and Seo Provinces in which are situated in the middle of Korean). This recording is his first janggu accompaniment for Sanjo music, so it can be a memorable work for him. He was appointed by Jeonsu Jogyo (Àü¼öÁ¶±³, assistant teacher) for No. 5 Pansori gobeop (ÆǼҸ® °í¹ý, epic song with one person singer accompanied by one drum player, and its method of drumming) which was appointed as JungyoMuhyeongMunhwajae (Á߿乫Çü¹®È­Àç, Important Intangible Cultural Asset). He is the committee of the Association of Korean Traditional Music and the leader of the Folk Music Ensemble attached to GunglipGugakwon (±¹¸³±¹¾Ç¿ø, The National Centre for Korean Performing Arts). He also teaches the janggu at many colleges including the School of HanggugYesulJonghap (Korean Complex Arts College).

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