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TOPCD-060
 
ÀÌÁ¾´ë ÇǸ® ¼¼°è Art World of Lee Jong-dse's Piri
¡á »ó·É»ê 05:31 Sangnyeongsan
ÇǸ® ÀÌÁ¾´ë piri: Lee Jong-dae
¡á ÇǸ®»êÁ¶ (¹Ú¹üÈÆ·ù) 14:57 The Piri Sanjo - Park Beom-hun ryu
ÇǸ® ÀÌÁ¾´ë piri: Lee Jong-dae À屸 ¹Úȯ¿µ janggu: Park Hwan-yeong
¡á ÇÑ¿À¹é³âÁÖÁ¦¿¡ ÀÇÇÑ ¸Þ³ª¸® 06:35 Menari by the theme of Hanobaeknyeon
ÇǸ® ÀÌÁ¾´ë piri and arrangement: Lee Jong-dae À屸 ±æ¼®±Ù janggu: Gil Seok-geun
¡á ´ëdz·ù 12:37 Daepungnyu
ÇǸ® ÀÌÁ¾´ë piri: Lee Jong-dae ´ë±Ý ±è¹æÇö daegeum: Kim Bang-hyeon ÇØ±Ý È«¿Á¹Ì haegeum: Hong Ok-mi À屸 ¹Úȯ¿µ janggu: Park Hwan-yeong
¡á ÅÂÆò¼Ò¿Í »ç¹°³îÀÌ 11:08 Taepyeongso and Samulnori
ÅÂÆò¼Ò ÀÌÁ¾´ë taepyeongso: Lee Jong-dae »ç¹°³îÀÌ ³²±â¹® ÃÖº´»ï ÀÌÈ«±¸ ÀÌ´ë¿ø Samulnori troupe: Nam Gi-mun, Choi Byeong-sam, Lee Hong-gu and Lee Dae-won
¡á ¾Ç°î Çؼ³
1. »ó·É»ê
<»ó·É»ê>Àº <¿µ»êȸ»ó>ÀÇ Ã¹°îÀÌ´Ù. ¡°¿µ»êȸ»ó ºÒº¸»ì¡±À̶ó´Â 7ÀÚ¸¦ ³ë·¡ÇÏ´ø ¼º¾Ç°îÀÌ ¾ðÁ¦ºÎÅÏ°¡ ³ë·¡°¡ ¶³¾îÁ®³ª°¡¸é¼­ ±â¾Ç°îÀÌ µÇ¾ú°í, ¼Óµµ¸¦ Á¡Â÷ »¡¸®ÇÏ¸ç °¡¶ôÀ» ´ú¾î³»´Â ¹æ½ÄÀ¸·Î ÆÄ»ý°îÀ» ¸¸µé°í ¿©±â¿¡ ¿©·¯ »õ·Î¿î °¡¶ôµéÀ» µ¡ºÙ¿©Á® <»ó·É»ê>¡¤<Áß·É»ê>¡¤<¼¼·É»ê>¡¤<°¡¶ô´úÀÌ>¡¤<»óÇöµµµéÀÌ>¡¤<ÇÏÇöµµµéÀÌ>¡¤<¿°ºÒµµµéÀÌ>¡¤<Ÿ·É>¡¤<±º¾Ç> µî 9°îÀÇ ¸ðÀ½°î ÇüÅ ±â¾Ç°îÀÌ µÇ¾ú´Ù. <¿µ»óȸ»ó>Àº °Å¹®°íÁß½ÉÀÇ Çö¾Ç Æí¼ºÀÇ <Çö¾Ç¿µ»êȸ»ó(Áß±¤Áö°î)>, ÇâÇǸ® Áß½ÉÀÇ °ü¾ÇÆí¼ºÀÎ <°ü¾Ç¿µ»êȸ»ó(Ç¥Á¤¸¸¹æÁö°î)>, ³·Àº À½¿ªÀ¸·Î µÈ <ÆòÁ¶È¸»ó(À¯ÃʽÅÁö°î)>ÀÇ ¼¼Á¾·ù ¿µ»êȸ»óÀÌ ÀÖ´Ù.
<»ó·É»ê>Àº ¿µ»êȸ»óÁß Ã¹°îÀ¸·Î ¡°¿µ»êȸ»ó ºÒº¸»ì¡±À» ³ë·¡ÇÏ´ø º»°î¿¡ ÇØ´çÇÏ´Â °¡¶ôÀÌ´Ù. º»·¡´Â 20¹ÚÀÚÀÇ ±æ°í ´À¸° Àå´ÜÀ¸·Î µÇ¾îÀÖÀ¸³ª <°ü¾Ç¿µ»êȸ»ó>ÀÇ °æ¿ì¿¡´Â Àå´ÜÀÇ ¸¶Áö¸· ºÎºÐÀÌ Âª¾ÆÁ® ±× ±æÀÌ°¡ µéÃ೯ÃàÇÏ´Ù. ƯÈ÷ <ÆòÁ¶È¸»ó(À¯ÃʽÅÁö°î)>ÀÇ <»ó·É»ê>Àº ´ë±ÝÀ̳ª ÇǸ®ÀÇ µ¶ÁÖ°îÀ¸·Îµµ ÀÚÁÖ ¿¬ÁֵǴµ¥, ÀÌ ¶§´Â À屸ÀÇ ¹ÝÁÖ¾øÀÌ ÇǸ® ȤÀº ´ë±ÝÀÇ µ¶Áַθ¸ ¿¬Áֵǰí, ¿¬ÁÖÀÚÀÇ ¿¬ÁֱⷮÀ» ¸¾²¯ Ç¥ÇöÇϱ⠶§¹®¿¡ ÀÚÀ¯¸®µë¿¡ °¡±õ°Ô ±× Àå´Ü°ú ¹ÚÀÚ°¡ ¹«³ÊÁ® ¹ö¸°´Ù.
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2. ÇǸ®»êÁ¶(¹Ú¹üÈÆ·ù)
<ÇǸ®»êÁ¶>´Â °¡¾ß±Ýµî ´Ù¸¥ ¾Ç±âµéÀÇ »êÁ¶¿Í °°ÀÌ ±¸ÇѸ»ºÎÅÍ ¿¬ÁֵDZ⠽ÃÀÛÇÏ¿´´Ù. ±×·¯³ª ±× ÀüÅëÀÌ ²÷¾îÁ® Àü½ÂµÇÁö ¾Ê´Ù°¡ ±Ù·¡¿¡ ´Ù½Ã ¿¬ÁֵDZ⠽ÃÀÛÇÏ¿´´Ù. ÇǸ® »êÁ¶´Â ±Ù 60ºÐ¿¡ ´ÞÇÏ´Â ±ä °¡¾ß±Ý»êÁ¶µî¿¡ ºñÇØ 20¿©ºÐÀÇ ÂªÀº ±æÀÌ·Î µÇ¾îÀÖ´Ù. ÇǸ®»êÁ¶°¡ ±× Àü½ÂÀÌ Áß´ÜµÈ ÀÌÀ¯´Â ¾Ç±â ÀÚü°¡ Áö´Ñ Á¼Àº À½¿ª°ú ¼­(àß : Çô¶ó°íµµ ÇÔ.)¸¦ ¹°°í ÀÖ´Â ÀÔ¼úÀÇ °­µµ, ÀÔ±èÀÇ Á¶ÀýÀÌ ±î´Ù·Ó±â ¶§¹®¿¡ Àå½Ã°£ µ¶ÁÖÇϱⰡ ¾î·Æ´Ù´Â Á¡, ±×¸®°í »êÁ¶¸¦ ÇѹÙÅÁ Â¥¼­ ¿¬ÁÖÇØ¿Â ÇǸ®¿¬ÁÖÀÚ°¡ ¾ø´Ù´Â Á¡ µîÀ» µé¼ö ÀÖÀ» °ÍÀÌ´Ù.
1960³â´ë¿¡ ÀÌÃæ¼±Àº ÇÑÁÖȯ ´ë±Ý»êÁ¶ °¡¶ôÀ» ÂüÁ¶ÇÏ¿© ÇǸ®»êÁ¶¸¦ ±¸¼ºÇÏ¿© ±¹¸³±¹¾Ç¿ø ºÎ¼³ ±¹¾Ç»ç¾ç¼º¼Ò¿¡¼­ °¡¸£Ä¡±â ½ÃÀÛÇÏ¿´´Âµ¥, À̸¦ ¼­ÇѹüÀÌ ¾Çº¸È­ÇÏ¿© Á¤¸®ÇÏ¿´À¸³ª ±Ù·¡¿¡´Â ÀÚÁÖ ¿¬ÁÖµÇÁö ¾Ê´Â´Ù. ÇÑÆí Á¤¾ÇÇǸ®ÀÇ ¸íÀÎÀÎ Á¤Àç±¹Àº ¿ÀÁø¼® ÇǸ®»êÁ¶ÀÇ °¡¶ôÀ» ´ë±Ý»êÁ¶ÀÇ ¸íÀÎ ÀÌ»ý°­ÀÇ ±¸À½À¸·Î Àü¼ö¹Þ¾Æ ¿¬ÁÖÇϱ⠽ÃÀÛÇÏ¿´°í, ±¹¸³±¹¾Ç¿ø ÇǸ®¿¬ÁÖÀÚÀÎ ÇѼ¼ÇöÀº ´ë±Ý»êÁ¶ÀÇ ¸íÀÎÀÎ ¼­¿ë¼®À¸·ÎºÎÅÍ »êÁ¶°¡¶ôÀ» ±¸À½À¸·Î Àü¼ö¹Þ¾Æ ¿¬ÁÖÇϱ⠽ÃÀÛÇÏ¿´´Ù.
ÀÌ ¿Ü¿¡ 1920³â´ë ÇǸ® ½Ã³ªÀ§ÀÇ ¸íÀÎ ÃÖÀÀ·¡(õËëëÕÎ)·ÎºÎÅÍ »ç»ç¸¦ ¹ÞÀº Áö¿µÈñ(ò®ç²ý÷)´Â °æ±âÁö¹æ(¼ö¿ø)À» Áß½ÉÀ¸·Î ÇÑ °æ±â½Ã³ªÀ§¸¦ ÀüÇÏ°í ÀÖ´Ù. ¹«´çÀÇ ±¸À½(Ï¢ëå)À» ÇǸ®°¡ µû¶ó ºÒ´ø 15¹ÚÀÇ Çª»ì¡¤»ìÇ®ÀÌ¡¤´Ü¿À°üû¡¤ÀÚÁø¸ð¸®·Î À̾îÁö´Â ±×ÀÇ ½Ã³ªÀ§´Â ÁïÈïÀ¸·Î ¿¬ÁֵȴÙ. ÀÌ ÇǸ®»êÁ¶ÀÇ Àü½ÂÀº ¼­¿ï±¹¾Ç¿¹¼ú°íµîÇб³¸¦ Áß½ÉÀ¸·Î Àü½ÂµÇ¾ú´Âµ¥, ¹Ú¹üÈÆÀº ÀÌ »êÁ¶¸¦ Áß½ÉÀ¸·Î »êÁ¶ÀÇ Æ²À» ´Ù½Ã ÀçÆí¼ºÇÏ¿© ¹Ú¹üÈÆÀÛ°î <ÇǸ®»êÁ¶>¸¦ ³»³õ¾Ò´Âµ¥, ±× ±¸¼ºÀÌ Àß Â¥¿©Á®ÀÖ¾î ÇǸ®¿¬ÁÖÀÚµéÀÇ »ç¶ûÀ» ¹Þ°íÀÖ´Ù. ÇǸ®, ƯÈ÷ ÇâÇǸ®´Â ¸ðµç ¹Î¼ÓÀ½¾ÇÀÇ ÁÖ¼±À²À» ´ëÇ¥ÇÏ´Â ¾Ç±â·Î¼­ ÀÚÀ¯·Î¿î ¿¬ÁÖ¹ý°ú dzºÎÇÑ ¼º·®À» Áö´Ñ ¾Ç±âÀÓ¿¡µµ ºÒ±¸ÇÏ°í Àü·¡µÇ´Â ±× µ¶ÁÖ°îÀº ¸Å¿ì µå¹® ÆíÀÌ´Ù. ´Ù¸¥ ¾Ç±âÀÇ »êÁ¶µéÀÌ ¿À·£ ¿ª»ç¿Í ¸¹Àº °è½ÂÀÚ·Î À̾î¿À´Â ¹Ý¸é ÇǸ®»êÁ¶ÀÇ ÃâÇöÀº 30¿©³â Á¤µµÀÇ ÂªÀº ¿ª»ç¹Û¿¡ °®Áö ¸øÇÑ °ÍÀº ¿©·¯ °¡Áö ¹®Á¦Á¡ÀÌ ÀÖ°ÚÁö¸¸, ¾Æ¸¶µµ ¾Ç±â ÀÚüÀÇ Á¼Àº À½¿ª°ü°è ¶§¹®ÀÌ ¾Æ´Ò±î »ý°¢ÇÑ´Ù. ¹Ú¹üÈÆ ÀÛ°îÀÇ ÇǸ®»êÁ¶´Â ÀÌ·¯ÇÑ ³­Á¡À» ±Øº¹Çϱâ À§ÇÑ ÇÑ ¹æ¹ýÀ¸·Î ÀüÁ¶¸¦ ¸¹ÀÌ »ç¿ëÇÏ°í ÀÖÀ¸¸ç ³²µµ À½¾Ç°ú °æ±â ½Ã³ªÀ§ °¡¶ôÀ» Áß½ÉÀ¸·Î Çؼ­ Á¶? ?Ö°?±¸¼ºµÈ °îÀÌ´Ù.
3. ÇÑ¿À¹é³âÁÖÁ¦¿¡ ÀÇÇÑ ¸Þ³ª¸®
¡®¸Þ³ª¸®¡¯´Â ¡®»êÀ¯È­(ߣêóü£)¡¯ÀÇ ¼ø ¿ì¸®¸»·Î »ê¾ÇÁö´ë°¡ ¸¹Àº ÇÔ°æµµ¡¤°­¿øµµ¡¤°æ»óµµ Áö¿ªÀÇ Æ¯Á¤ÇÑ ³ë·¡¸¦ ÁöĪÇÑ´Ù. ±×·¡¼­ ÀÌ Áö¿ª ¹Î¿äÀÇ À½¾ÇÀû Ư¡À» ¡®¸Þ³ª¸®Å丮¡¯¶ó Çϴµ¥, ƯÈ÷ °­¿øµµ Áö¿ªÀÇ <Á¤¼±¾Æ¶ó¸®>¿Í <ÀÚÁø¾Æ¶ó¸®>, °æ»óµµ Áö¿ªÀÇ ¸ð½É´Â¼Ò¸®ÀÎ <Á¤ÀÚ¼Ò¸®>¿Í ³ª¹«ÇÏ´Â ¼Ò¸®ÀÎ <¾î»ç¿ë>ÀÌ ¡®¸Þ³ª¸®Å丮¡¯ÀÇ Æ¯Â¡À» Àß ³ªÅ¸³»ÁÖ´Â ±× ´ëÇ¥ÀûÀÎ ¹Î¿äÀÌ´Ù.
ÀÌµé ¹Î¿äÀÇ °¡¶ôÀº ¡®¹Ì-¼Ö-¶ó-µµ-·¹-¹Ì¡¯ 5À½À½°è·Î ±¸¼ºµÇ´Âµ¥ ¡®µµ¡¤¶ó¡¤¼Ö¡¤¹Ì¡¯·Î ÁøÇàµÇ´Â ÇÏÇàÀÇ ¼±À²±¸Á¶¿Í, ¡®·¹¡¤µµ¡¯ÀÇ ¹Ýº¹µÇ´Â ²ª´Â¼Ò¸®, ±×¸®°í ¡®¶ó¡¤¼Ö¡¤¹Ì¡¯·Î ÁøÇàµÇ´Â ÇÏÇà°¡¶ôÀÌ Æ¯Â¡ÀÌ´Ù. ƯÈ÷ ¡®·¹¡¤µµ¡¯ÀÇ ²ª´Â ¼Ò¸®´Â Àü¶óµµ Áö¹æÀÇ ¡®À°ÀÚ¹è±âÅ丮¡¯¿¡¼­ ¡®µµ¡¤½Ã¡¯·Î ²ª´Â Ư¡°ú ºñ±³µÇ¾î ¼­·ÎÀÇ ¿¬°ü¼ºÀ» º¸¿©ÁÖ´Â °ÍÀ¸·Î ¾Ë·ÁÁ®Àֱ⵵ Çѵ¥, ¡®¸Þ³ª¸®Å丮¡¯¿¡¼­ÀÇ ¡®²ª´Â ¼Ò¸®¡¯ ¡®·¹-µµ¡¯´Â ¿©·¯ Â÷·Ê ¹Ýº¹µÇ´Â Ư¡À» º¸¿©ÁÖ°í Àִµ¥, ÀÌ´Â ¾ËÇÁ½º »ê¾ÇÁö´ëÀÇ ³ë·¡ÀÎ ¡®¿äµé¡¯°úµµ À¯»çÇÏ´ÙÇÏ¿© ÀÌµé ¡®¸Þ³ª¸®Å丮¡¯ÀÇ ¹Î¿äµéÀ» ¡®Çѱ¹ÀÇ ¿äµé¡¯À̶ó°í ºÒ·ÁÁö±âµµ ÇÑ´Ù.
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4. ´ëdz·ù
<´ëdz·ù>´Â ´ë³ª¹«·Î µÈ °ü¾Ç±â Áß½ÉÀÇ Æí¼ºÀ¸·Î ¿¬ÁֵǴ dz·ù¶ó´Â ¶æÀÌ´Ù. dz·ù´Â ³Ð°Ô´Â ¡®À½¾Ç¡¯À» ÁöĪÇϱ⵵ ÇÏÁö¸¸, À帣¸íĪÀ¸·Î´Â <¿µ»êȸ»ó>À» ÀǹÌÇϱ⵵ ÇÑ´Ù. <¿µ»êȸ»ó>Àº °Å¹®°í Áß½ÉÀÇ <Çö¾Ç¿µ»êȸ(Áß±¤Áö°î)>°ú ÇâÇǸ® Áß½ÉÀÇ <°ü¾Ç¿µ»êȸ»ó(Ç¥Á¤¸¸¹æÁö°î)>, <Çö¾Ç¿µ»êȸ»ó>À» 4µµ ¾Æ·¡·Î º¯Á¶ÇÑ <ÆòÁ¶È¸»ó(À¯ÃʽÅÁö°î)>ÀÇ ¼¼ Á¾·ù°¡ Àִµ¥, <Çö¾Ç¿µ»êȸ»ó>Àº ½Å·¡¿¡¼­ ¿¬ÁÖÇÏ´Â ¹æÁß¾Ç(Û®ñéäÅ)À¸·Î Çö¾Ç±â Áß½ÉÀÇ ¾Ç±âÆí¼ºÀ¸·Î ¿¬ÁֵDZ⠶§¹®¿¡ <ÁÙdz·ù>¶ó°í ÇÏ°í, <°ü¾Ç¿µ»êȸ»ó>Àº ½Ç¿Ü¿¡¼­ ¹«¿ëÀÇ ¹ÝÁÖÀ½¾ÇÀ̰ųª ´Ù¾çÇÑ Çà»ç¿¡ ¿¬ÁÖÇÏ´Â À½¾ÇÀ¸·Î, ÇâÇǸ® Áß½ÉÀÇ °ü¾ÇÆí¼ºÀ¸·Î ¿¬ÁÖÇϱ⠶§¹®¿¡ <´ëdz·ù>¶ó ºÎ¸¥´Ù. ¿©±â¼­ <´ëdz·ù>ÀÇ ¡®´ë¡¯´Â ¡®´ë³ª¹«(ñÓ)¡¯¸¦ ÁöĪÇÏ´Â °ÍÀ¸·Î ¡®´ë³ª¹«·Î µÈ ¾Ç±â¡¯ Áï ¡®°ü¾Ç±â¡¯¸¦ ÀǹÌÇÏ´Â °ÍÀÌ´Ù.
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¡á Brief Notes for the Repertoire
1. Sangnyeongsan »ó·É»êß¾ÖÄߣ
Sangnyeongsan is a first piece of music of Yeongsanhoisang ¿µ»êȸ»óçÏߣüåßÓ, which is one of the representative classical genres. Yeongsanhoisang was originated from the vocal music that was sung with seven syllables - "yeong-san-hoi-sang bul-bo-sal ¿µ»êȸ»ó ºÒº¸»ìçÏߣüåßÓ ÝÖÜÌß±" - and it became instrumental music through history. It is one of the repertories which shows creative processes of borrowing from other existing genres of music and putting different pieces together. The way in which the music reached the current form lies in that a derivative piece was taken out of the music by getting its tempo faster and then adding new ones to it. Now the total of the instrumental music have set up nine pieces of the music as a suite: Sangnyeongsan, Jungnyeongsan Áß·É»ê, Seryeongsan ¼¼·É»ê, Garakdeori °¡¶ô´úÀÌ, Sanghyeondodeuri »óÇöµµµéÀÌ, Hahyeondodeuri ÇÏÇöµµµéÀÌ, Yeombuldodeuri ¿°ºÒµµµéÀÌ, Taryeong Ÿ·É and Gunak ±º¾Ç.
Yeongsanhoisang has three different versions with regard to the method of instrumental arrangement: (i) "Hyeonak Yeongsanhoisang Çö¾Ç¿µ»êȸ»ó¡° or "Junggwangjigok Áß±¤Áö°î¡± that is a string instrument ensemble centred on the geomun'go °Å¹®°í (6-stringed plucking zither with a suldae); (ii) "Gwanak Yeongsanhoisang °ü¾Ç¿µ»êȸ»ó¡° or "Pyojeongmanbangjigog Ç¥Á¤¸¸¹æÁö°î¡± that is a woodwind instrument ensemble centred on the hyangpiri ÇâÇǸ® (native bamboo oboe); (iii) "Pyeongjohoisang ÆòÁ¶È¸»ó¡° or "Yuchoshinjigog À¯ÃʽÅÁö°î¡± that is arranged in a lower register of Yeongsanhoisang.
Sangnyeongsang, which has been known as a main piece of the vocal music and the initial music of Yeongsanhoisang, consists originally of a long and slow jangdan Àå´ÜíþÓ­ (rhythmic cycle or rhythmic pattern) of the 20-beat, but in the case of Gwanak Yeongsanhoisang, the final section of the jangdan becomes shorten and its length is irregular. Sangnyeongsan of Pyeongjohoisang is also played on a daegeum ´ë±Ý (largest horizontal bamboo flute) or a piri ÇǸ® (bamboo oboe) as a solo piece of music and is played without an accompaniment of the janggu À屸 (hourglass drum). In practice, its jangdan and time, when being played as solo, would be given way to be nearly close to free rhythm, so the player has a freedom to express his/her musical skill.
The piri has been represented the characteristic feature of Korean traditional melodies that displays a variety of expressions, ranging from firmly stretching out a tone at full length to subtle and tasteful ornamented tones as well as taking a brief rest and then stretching out melodies. Because of its less rigid kind of rhythm and tempo, Sangnyeongsan would be the most favourable solo piece for the piri in displaleeng the player's musicality and style.
2. The Piri Sanjo - Park Beom-hun ryu ÇǸ®»êÁ¶ - ¹Ú¹üÈÆ·ù
Piri Sanjo began to be played at the end of the Yi Dynasty around the 1880s along with other instrumental versions of Sanjo »êÁ¶ß¤ðà (lit. "scattered melodies") such as a gayageum, geomun'go, and so forth. But its tradition of performance had almost been ceased to transmit, but it was resumed to be played at around the 1960s. The Piri Sanjo takes its performance duration around almost 60 minutes that is shorter about 20 minutes than the whole length of Gayageum Sanjo whose instrument was first applied to the Sanjo music. The reason that the Piri Sanjo had not succeedingly been transmitted would lie in some aspects: (i) a nature of the piri itself has relatively less wider range than other woodwind instruments, and 'seo ¼­ or Çô (a kind of a reed)' makes piri players difficult to control the degree of strength of their lips that are held and the adjustment of air of their mouth. As a totality these specific qualities hinder them from playing considerably a long time; (ii)! there has not so far been a player who performed the Piri Sanjo with his/her own arrangement.
A history of the Piri Sanjo started to develop by Yi Chung-seon in the 1960s. He began to teach the music at Gugaksa Yangseongso (Academy for training traditional musicians) attached to Kunglipgugakwon, known as The National Centre for Korean Traditional Performing Arts, by organising it on the basis of melodies of Han Ju-hwan's Daegeum Sanjo that is a Sanjo music played on the daegeum. His version was transcribed by Seo Han-beom as a whole musical score, but nowadays it is almost rare to be played. It was Jeong Jae-gug, a master piri player for Jeong'ak Á¤¾ÇïáäÅ (genre of classical or court music), who played melodies of a Piri Sanjo by O Jin-seok, which was transmitted by gueum ±¸À½Ï¢ëå (mouth music or lilting) rendered from Yi Saeng-gang, a master player for Daegeum Sanjo. Then Han Se-hyeon played the Sanjo melodies by gueum transmitted by Seo Yong-seok, a master player of Daegeum Sanjo. Thus the melodies in the versions or styles of the Piri Sanjo are closely associa! ted with those of Daegeum Sanjo.
Ji Yeong-heui is another master for Piri Sanjo, whose version was based on Gyeonggi Si'nawi ½Ã³ªÀ§ (Si'nawi that is a highly improvised instrumental genre of folk music based on shaman melodies) played in areas of the Gyeonggi province, especially around Suwon. His version was transmitted by the Piri Sanjo of Choi Eung-rae, a master player of Piri Si'nawi, in the 1920s. The Si'nawi of the Ji Yeong-heui's version is played with improvisation by the piri which is followed by the process of imitation of shaman's gueum whose vocal pieces are consisted of Pusal Ǫ»ì, Salpuri »ìÇ®ÀÌ, Danogwancheong ´Ü¿À°üû and Jajinmori ÀÚÁø¸ð¸® of the 15-beat. His Piri Sanjo has been succeeded in the centre of Seoul Gugak Yesul Senior School, and then Park Beom-hun rearranged it as his own frame of the Piri Sanjo. This Piri Sanjo has widely been played and loved, as it was well organised. In Particular, Park Beom-hun has contributed to the popularization of the Piri Sanjo which has not been ! adequately appreciated for its value although it is one of the important solo instruments in ensemble performance. The piri, especially hyangpiri ÇâÇǸ® (the prefix, ÇâúÁ, means "native" or "autochthonous") is one of the representative melodic instruments in Korean folk music. It has been the woodwind instrument that players can explore a variety of technique with little difficulty and produce a rich sound, except for some limits as earlier mentioned. In spite of these advantages, there have not been many pieces of music for solo. While other versions of Sanjo music have been continued to play on various Korean instruments, the emergence of the Piri Sanjo has relatively a short history of more or less 30 years to be played. In order to improve its potentiality of the piri, Park Beom-hun recomposed the Piri Sanjo attempting a few methods: changing a number of moods or modes and adding it to melodies of Namdo, music from Southern areas of Korea, as well as Gyeonggi Si'nawi in ! a harmonious and balanced manner.
3. Menari by a theme of Hanobaeknyeon ÇÑ¿À¹é³âÁÖÁ¦¿¡ ÀÇÇÑ ¸Þ³ª¸®
The word 'menari' refers to 'Sanyuhwa »êÀ¯È­ß£êóü£ (lit. flowers blossoming in the mountains) that denotes particular songs practised in the mountainous areas, such as Hamgyeong-do ('do'= provinces), Gangwon-do and Gyeongsang-do. Thus the word 'Menari tori ¸Þ³ª¸® Å丮' is to indicate a musical feature of folk songs derived from these areas. Such representative repertoire as Jeongseonarari Á¤¼±¾Æ¶ó¸® and Jajinarari ÀÚÁø¾Æ¶ó¸® of areas of Gangwon-do and Jeongjasori Á¤ÀÚ¼Ò¸®, a song for sowing, and Eosauong ¾î»ç¿ë, a song for wood-cutting, of areas of Gyeongsang-do is consisted of the specific character of the Menari tori.
Tonal organisation of these songs comprises a pentatonic scale that forms 'mi-sol-la-do-re-mi' in a sol-fa system and its melodic structures feature the descending progressions of 'do-la-sol-mi' and of 'la-sol-mi', with repeated "ggeokneun-sori ²ª´Â¼Ò¸® (bending tone)" of the notes of 're-do'. In particular, the trait of "ggeokneun-sori " that are rendered in a group of notes - 're-do' with occurrence of a number of repetitions in the song can be compared with that of "bending tone" in 'do-si' of Yukjabargi tori À°ÀÚ¹è±âÅ丮 derived from Jeolla-do, southern areas of Korea. This distinctive feature shows that the way of executing these characteristic tones may have related to these areas. This character of this Menari tori is often called 'Korean Yodel' in terms of its similar bending tones.
Menari by the theme of Hanobaeknyeon is recomposed by the performer, Lee Jong-dae, who combined the two well known folk songs of Hanobaeknyeon and melodies of Eorangtaryeong ¾î¶ûŸ·É derived from the provinces of Gangwon and Hamgyeong respectively. This piece of music is an excellent example of expressing the typical Menari tori possessed in those simple folk melodies. It also shows a further development of using variations with the original melody by changing cheong ûôè which results in a good balance. Thus this repertory is an embodiment of the Lee Jong-dae's personality and style of his own music that applied the music of Menari tori to the potential of the piri for an independent work.
4. Daepungnyu ´ëdz·ùÓÞù¦×µ
Daepungnyu ´ëdz·ùÓÞù¦×µ denotes 'Pungnyu dz·ù' played with an instrumental ensemble centred on the traditional woodwind instruments made of bamboo. The word 'dae ´ë' of 'Daepungnyu' signifies 'bamboo ´ë³ª¹«(ñÓ)', that means 'woodwind' instruments made of bamboo. 'Pungnyu' refers to 'music' in a broader sense, and also means Yeongsanhoisang in terms of categorisation of genres. Yeongsanhoisang, as already mentioned in the first piece, has three different, but independent versions: (i) "Hyeonak Yeongsanhoisang Çö¾Ç¿µ»êȸ»ó" or "Junggwangjigok Áß±¤Áö°î¡± centred on the geomun'go; (ii) "Gwanak Yeongsanhoisang °ü¾Ç¿µ»êȸ»ó" or "Pyojeongmanbangjigog Ç¥Á¤¸¸¹æÁö°î" centred on the hyangpiri; (iii) "Pyeongjohoisang ÆòÁ¶È¸»ó" or "Yuchoshinjigog À¯ÃʽÅÁö°î" that is arranged in a four degree lower than Yeongsanhoisang. Hyeonak Yeongsanhoisang is also called "Julpungnyu ÁÙdz·ù", due to its arrangement of stringed instruments and its performance setting that is played in indoor, also ! called ¡®Bangjungak ¹æÁß¾ÇÛ®ñéäÅ¡¯, whereas Gwanak Yeongsanhoisang being called 'Daepungnyu', as it is arranged in woodwind instruments centred on hyangpiri, and its function of performance is to accompany dances as well as for various occasions played in outdoor.
Yeongsanhoisang has essentially been performed in each region, and it has more or less different tradition of rendering, thus being revealed 'regional variations or styles', called "Hyangje Pungnyu ÇâÁ¦Ç³·ù¡°. But these slightly different versions of Yeongsanhoisang had nearly disappeared, and only the versions or styles of Iri À̸® and Gurye ±¸·Ê, that both locals belong to the Jeolla province, have been transmitted which are designated for Muhyeongmunhwajae ¹«Çü¹®È­Àç (Intangible Cultural Asset) by the government.
The current version of Daepungnyu in this CD is recomposed by Ji Yeong-hui, who applied the shaman music of the Gyeonggi areas and music for dance accompaniment to this piece and this Daepungnyu is comprised of nine pieces: Yeombultaryeong ¿°ºÒŸ·É, Banyeombul ¹Ý¿°ºÒ, Samhyeontaryeong »ïÇöŸ·É, Neurinheoteuntaryeong ´À¸°ÇêưŸ·É, Jungheoteuntaryeong ÁßÇêưŸ·É, Jajinheoteun ÀÚÁøÇêÆ°, Gutgeori ±Â°Å¸®, Jajeungutgeori ÀæÀº±Â°Å¸® and Dangak ´ç¾Ç. Instruments employed in Daepungyru consist of the ensemble for a standard Daepungryu, hyangpiri, daegeum, haegeum, jwago Á°í (seated drum) and janggu. But in this CD, only four instruments are used to play this music and they are the piri, janggu, daegeum and haegeum.
5. Taepyeongso and Samulnori ÅÂÆò¼Ò¿Í »ç¹°³îÀÌ
Samulnori is a genre of folk music performing with four kinds of percussive instruments, consisting of ggwenggwari ²Ñ°ú¸® (small brass gong), jing ¡ (large brass gong), janggu and buk ºÏ (barrel drum). Its music is derived from Pungmulnori dz¹°³îÀÌ that has been transmitted for a long time. Pungmul originally used to be performed in the context of Gut (shaman ritual) and agricultural labours as outdoor occasions. It was Kim Deok-su who for the first time rearranged and recomposed the original melody and rhythm for ensemble music of the standard four instruments for indoor purposes. His troupe first formed and performed on the open stage at Gonggan Sarang in Seoul on February 1978 and received an enormously successful reaction from the audience. Since then many other Samulnori have been generated to appear to perform that become now the representative Korean 'cultural ambassador' across the world.
In this performance, the taepyeongso ÅÂÆò¼Ò (conical oboe) that are used to be involved in a performance of Pungmulnori is joined in this Samulnori group. The instrument is one of the central instruments for the performance of Samulnori. In this CD, this repertory plays a principal role highlightening the Lee Jong-dae's musical display that reflects in his unique melodies of areas of Gyeonggi. The piece is constituted Neunghyegarak ´É°è°¡¶ô, Cheonsubara õ¼ö¹Ù¶ó, Heoteungarak ÇêÆ°°¡¶ô, Jajinmori ÀÚÁø¸ð¸®, Hwimori Èָ𸮠of Gutgeori ±Â°Å¸® jangdan.

¡á Profile of Lee Jong-dae (piri)
After studying at Seoul Gugak (means "Korean traditional music") Arts Senior School, and Chugye Arts College, he became the leader at the Seoul Sirip (Municipal) Gugak Orchestra between 1968 - 1995. He has a brilliant musical career as a professional musician both at home and abroad. At home, he performed music with numerous orchestras such as Seoul Sirip Gugak Orchestra, the KBS Gugak Orchestra, Daejeon, Daegu and Busan Sirip Gugak Orchestras and Nangye Gugak Orchestra, and so on. He made his piri solo recital at the stage for 'Gugak Myeong'in (master musicians)' of the KBS FM in 1994, and made a CD of the Piri Concerto for the theme of Menarijo and Piri Sanjo produced by the KBS FM. In 1996 he had a second piri solo recital. He took the diploma in the piri repertory as being designated for Jungyomuhyeongmunhwajae No, 72 Á߿乫Çü¹®È­Àç (Important Intangible Cultural Asset) by the government.
He has been playing the piri as a guest musician almost every year across the world since 1975. In abroad, he had performed Korean music at a number of countries in Latin America and Europe in 1975 and at the Ceremony of the Summer Universiad Competition in Yugoslavia in 1987. In America, he performed music at the Los Angeles Festival of Folk Music in 1990 and also played some Korean repertoire hosted by American Society in 1994 as well as performing at Carnegie Hall in New York in 1997. He also attended to play music at the Tokyo Festival for Folk Music in 1995 and played both in ensemble and solo at the World Folk Dance Festival in the Netherlands. He was invited to play music at the International Industrial Exhibition in India in 1998 and in various kinds of other world stages in 1999.
He has published his book on the piri in 1998. He is currently associated professor at Arts College of Busan University.

¡á Other participated musicians
Kim Bang-hyeon (daegeum) is a member of Seoul Sirip Gugak Orchestra.
Hong Ok-mi (haegeum) is teaching at Seoul Gugak Arts Senior School.
Park Hwan-yeong (janggu) is a leader of Gyeonggi Dorip Gugak Ensemble.
Samulnori team:
Nam gi-mun is a leader of Folk Music Troupe at Gunglipgugakwon.
Choi Byeong-nam is a vice-leader of Folk Music Troupe at Gunglipgugakwon.
Lee Hong-gu is a member of Folk Music Troupe at Gunglipgugakwon.
Lee Dae-won is a member of Folk Music Troupe at Gunglipgugakwon.

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