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 ¤ý ³ìÀ½: 2002.11.5 ÇѾç´ëÇб³ ¹é³²À½¾Ç°ü ½ÇȲ, INTRO
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TOPCD-059
 
¹«±ÃÈ­ ÐÖ ÁßÁÖ´Ü The Mugunghwa Geum Trio Im Mi-ae, Jeong Ok-nam, Song Eun-mi
¡á 3´ëÀÇ °¡¾ß±ÝÀ» À§ÇÑ ¸ð¸® Mori for the Three Gayageums 12:16
¹Ú¹üÈÆ ÀÛ°î composer: Park Beom-hun °íÀ½ ¼ÛÀº¹Ì / ÁßÀ½ Á¤¿Á³² / ÀúÀ½ Àӹ̾Ö
¡á °­°­¼ú·¡¿¡ ÀÇÇÑ º¯ÁÖ°î Variations of Ganggangsulrae 06:59
¹é´ë¿õ ÀÛ°î composer: Baik Dae-ung °íÀ½ ¼ÛÀº¹Ì / ÁßÀ½ Á¤¿Á³² / ÀúÀ½ ÀÓ¹Ì¾Ö / Ÿ¾Ç À±È£¼¼
¡á 18Çö °¡¾ß±Ý 3ÁßÁÖ°î 'ÇÑ°­(ùÓË°)' <À§ÃËÃÊ¿¬> 10:14
Han'gang for Trio for the 18-stringed Gayageum(commissioned piece of music)
¹é¼º±â ÀÛ°î composer: Paik Seong-gi °¡¾ß±ÝI ÀÓ¹Ì¾Ö / °¡¾ß±ÝII Á¤¿Á³² / °¡¾ß±ÝIII ¼ÛÀº¹Ì / À屸 À±È£¼¼
1¾ÇÀå <¹ß¿ø> 1st movement: Barwon (lit. prayer)
2¾ÇÀå <Å«°­> 2nd movement: Keun'gang (lit. big river)
3¾ÇÀå <È­ÇÕ> 3rd movement: Hawhap (lit. reconciliation)
4¾ÇÀå <¿°¿ø> 4th movement: Yeomwon (lit. solicitude/desire)
5¾ÇÀå <¹ø¿µ> 5th movement: Beonyeong (lit. prosperity)
¡á ¸®Ã³µå. Ŭ¶óÀÌ´õ¸¸ÀÇ °¡À»ÀÇ ¼Ó»èÀÓ 25Çö °¡¾ß±Ý 3ÁßÁÖ <À§ÃËÃÊ¿¬> 05:21
Murmuring of the Autumn with the 25-stringed Gayageum (arrangement was commissioned by the performers) composer: Richard Clyderman
Æí°î ±è¿µ¹Ì arrangement: Kim Yeong-mi °¡¾ß±ÝI ¼ÛÀº¹Ì / °¡¾ß±ÝII Á¤¿Á³² / °¡¾ß±ÝIII Àӹ̾Ö
¡á 3ÁßÁÖ¸¦ À§ÇÑ 17Çö ´Ü¸ð¸® 08:47
Danmori for Trio for the 17-stringed Gayageum
±è¿µÀç ÀÛ°î composer: Kim Yeong-jae °¡¾ß±ÝI ÀÓ¹Ì¾Ö / °¡¾ß±ÝII ¼ÛÀº¹Ì / °¡¾ß±ÝIII Á¤¿Á³² / À屸 À±È£¼¼
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¡á The Mugunghwa Geum Trio
The Mugunghwa Geum Trio constitutes of three gayageum players centred on the age of their 30s who graduated between 1886 to 1988 from the study of Korean Traditional Music at Hanyang University in Seoul. Its foundation aims to find out the beauty of the geum ±ÝÐÖ (means 'string instrument') ensemble performance limited to the gayageum. It is to pursue a new approach and to bring its sound to a wider range of music lovers. The trio has regularly been performing since its set up in 1998. The gayageum is regarded as one of the popular Korean traditional instruments. It is a half tube zither and has twelve strings. It sounds by plucking with bare fingers of the right hand and by pressing strings with the left hand to alter pitches. Now it has been developed into 17-, 18- and 25-stringed instruments in order to facilitate more tones and other techniques.
The name 'Mugunghwa' signifies to the meaning of In ÀÎìÒ (lit. humanity) and Mi ¹ÌÚ¸ (lit. the beauty). It has a basic idea of not only preserving the spirit of Korean tradition and its music but also including the newly composed work based on traditional materials. In this respect we wish to explore the potential usage of the instrument, including those modified gayageums that are led by the register of high, middle and low for the trio ensemble. Thus we are able to render some new music with distinctly harmonised pitches and a variety of timbres within the same instrument. We will also adopt other kinds of string instruments so as to extend our experiences in a wider artistic level. This is to embody our new vision towards the 21st century and open to the whole musical world with the gayageum performance. In order to achieve these goals, we will keep this concept and spirit and make ourselves a constant effort and passion in order to interact with audiences. We hope al! l of you give us your affection and encouragement, so our work becomes a significant base to the world of traditional music.

¡á Performance Career of the Mugunghwa Geum Trio
29 April 2000 Alumni Concert for the 40th Celebration of Music Department ofHanyang University
29 November 2000 The Festival 2000 of Korean Traditional Music hosted by Hanyang University at Baiknam Concert Hall
17 June 2001 Charity Concert for "Shwimteo for Foreign Workers" at Seongnam Civil Centre
16 October 2001 "The Autumn Concert" with the population in the Ansan Area at Ansan Olympic Hall
29 October 2001 "Parangsae" Concert for the patient and their family at the Hospital of Hanyang University
2 November 2001 Celebrated Concert for the 4th Human Right Award
9 November 2001 The Festival 2001 of Korean Traditional Music hosted by Hanyang University at Baiknam Concert Hall
20 November 2001 Celebrated Concert for the Night for the 2001 Hanyang Alumni of and Approval on the building at the Union Hall
19 May 2002 Invited performance for the 22nd Celebration of the 5.18 Democrat Movement at Gwangju 5.18 Cultural Centre
3 June 2002 Hanyang Graduate Gayageum Ensemble for the 2nd Regular Concert at Wumyeondang, Gungnipgugakwon

¡á Notes for the Repertoire
1 Mori for the Three Gayageums
'Mori' refers to "driving out", but its concept is rather varied. A mori based on structure of jangdan Àå´ÜíþÓ­ (rhythmic cycle) in traditional music is a multiple concept which evokes the innate activity of semantic expression that provides dynamics and vitality in music. When it gradually reaches the climax within its progression, a self-deviation of ecstasy releases the awareness that confines to the frame. Thus the mori can be a positively activated process of the energy that leads straightway to a self-devotion. This piece of music contains rhythmic operations within a temporal process which is gradually driving out a variety of rhythm that is inherent in the unique jangdan structure of Gyeonggi Shaman music.
The 1st movement comprises a mori of rhythmic structure that the 7-beat, 9-beat, 10-beat and 11-beat are combined with the compound beats of triple and duple metres. The 2nd one is the mori of free rhythmic structure; the third develops the mori of transformation of hwimori jangdan and again returns to the mood of the 1st movement.
2 Variations of Ganggangsulrae
Stream of the human consciousness is rather free and the repetition of a simple melodic pattern in music reflects this. When turning round and round, the starting point is always the same existing within the time. Thus the time of Korean music tends to be cyclic. But as languages of various jangdan that is inherent within flowing lead to an epic story, jungjungmori and eotmori jangdans are unravelled with the flows of the musical piece by uniting each other. Towards the end of the piece, long echoes are vibrated as if notes flow with a flexible rhythm of jungmori.
3 Han'gang ùÓË° for Trio for the 18-stringed Gayageum
This music is portrayed the Han river, a mainstream of the nation, with the gayageum trio. The interlude starts with a fierce and colourful glissando technique. The 1st movement consists of a thread of a lyrical theme melody that symbolises the slender mainstream originating from the Taebaik mountains and of different chords of magnificent mood that surrounds. The 2nd movement has a feature of flowing and soft melodic progressions by the divided rhythms, as if it expresses the flow of the river and its undulating waves. The 3rd one is expressed with gutgeori jangdan leading to a space for exuberant playing that prays the reconciliation of the nations, looking over the Han river. The 4th movement possesses the desire of unification that is a dream and hope for the whole nation and is represented in eotmori jangdan. The last one contains a hopeful message that the desire of the unification, connecting from the Amnok river to the Nakdong river via the Han river, is achieved! and then the great prosperity is accomplished. This is done by the intention of dramatic effect that makes its culmination by the rapid tempo of danmori.
4 Murmuring of the Autumn with the 25-stringed Gayageum
I thought it must be difficult to arrange such a well-known piece of music for the gayageum performance when being asked for its adaptation. This piece for a piano composed by Richard Clyderman forms a 5 octave and has many half tones and accidental marks. Such musical features do make any Korean instrument to suit for playing, as it has a different tuning system. For this reason, this tune is arranged by the 25-stringed instrument which makes the tuning close to the western scale.
In playing it with three gayageums, an "gaeryang (means 'improved')" gayageum consisting of the register of high, middle and low and sanjo gayageum (gayageum for Sanjo music) would be more in tune in terms of its timbre than the 25-stringed one. Nonetheless I feel the necessity to use the 25-stringed one for this work. The reason for this will be left for further research. I did not employ a variety of techniques or special techniques of the gayageum in order to emphasise the maximum stillness and slow mood of its piece. It is worthy noticing that the original form of the piece largely remained intact, except for being arranged the 3 octave range reduced from the 5 octave according to the gayageum tuning method.
5 Danmori for Trio for the 17-stringed Gayageum
This piece of music is comprised of 5 sections - a total of A to E- including the prelude. It frequently employs the both hands that emphasise the characteristic feature of the 17-stringed gayageum. The typical nonghyeon ³óÇöÒ×úá (various kinds of vibrations) techniques are used in a modified gyemyeon °è¸é (¡°gyemyeon" mode that is equivalent to the western minor mode) that occasionally occurs. Its overall characteristics of mood lies in a typical pentatonic scale and consists of the contrast with Nong'ak ³ó¾ÇÒÜäÅ (farmers' music) rhythm after passing the transient episode.
Profile of the Performers
¡á Profile
Im Mi-ae
Specialised in the gayageum at Hanyang University between 1982-1986, she studied music further as a graduate student in 1999. She entered a number of competitions and received many awards including Jeonju Daesaseupnori for the All Regional Competition in 1996, Nangye Korean Traditional Music and the Grand Festival for Traditional Music during the Gyeongju Shilla Cultural Ceremony in 1999. She was also awarded for the Wureuk Award Competition sponsored by Goryeong Municipal. She joined many musical activities for playing in orchestras and ensemble and had her own solo gayageum performance twice in 1999 and 2002. Im Mi-ae is actively engaging in teaching at Seoul Yesul College, Hanguk Yesul Jonghap Preliminary School and Chung'ang University and working in the Alumni Gayageum Ensemble at Hanyang University. She studied the gayageum with Byeon Geum-ja, Park Jeong-heui, Park Hyeon-suk and Choi Chung-ung.
Jeong Ok-nam
Graduated from Seoul Gungnip Gugak Senior School in 1984, Jeong Ok-nam specialised in the gayageum obtaining distinguished marks through her whole academic years at Hanyang University between 1984-1988. She received a prestigious award from Director of the Preservation Bureau during the Senior School. She took part in the International Cultural Arts Festival hosted by the Australian and Korean governments and performed at the Sydney Opera House in 2001. She has also run her own institution for teaching the gayageum. Her involvement of teaching extends in many places both for children and adults in order to share the instrument and its music with more people. She studied the gayageum with Choi Mun-jin, Hwang Byeong-ju and Yang Yeon-seop.
Song Eun-mi
Song Eun-mi studied the gayageum at Hanyang University during 1984-1988. Afterwards she taught music at the number of schools until 2001. She has also been continuing teaching the instrument at several schools and playing music in the Ensemble. She studied the instrument with Park Jae-heui, Seong Ae-soon, Yi Myeong-heui and Kim Hae-suk.
Yun Ho-se
He is currently studying music in Jeontong Yesulwon at HangukJonghapYesul College.

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