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Ji Soon-ja Gayageum Solo Performance "The Revival of Seong Geum-nyeon Melodies (Compositions)"
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¡á ´Ù½º¸§ Daseureum 00:26
¡á Áø¾çÁ¶ Jinyangjo 28:55
¡á Á߸𸮠Jungmori 10:23
¡á ÁßÁ߸𸮠Jungjungmori 02:19
¡á ±Â°Å¸® Gutgeori 03:39
¡á Àæ¸ð¸® Jatmori 06:36
¡á ÀÚÁø¸ð¸® Jajinmori 00:50
¡á Èָ𸮠Hwimori 03:35
¡á ¾ù¸ð¸® Eotmori 00:37 Total 57:25
¡á À屸 ±èÀϱ¸ janggu: Kim Il-gu
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(UNIVERSITY OF HAWAII)
1982³â WASHINGTON SMITSONIANH¹Ú¹°°ü(¼º±Ý¿¬ °¡Á· ÃÊû ¿¬ÁÖ)
1995³â Á¦1ȸ Áö¼øÀÚ ±¹¾Ç¿¬±¸½Ç ¿¬±¸»ý ¹ßǥȸ
1996³â Á¦2ȸ Áö¼øÀÚ ±¹¾Ç¿¬±¸½Ç ¿¬±¸»ý ¹ßǥȸ
1997³â ¡¸Áö¼øÀÚÀÇ ºÎÈ°¡¹, KOREA:SOUND SPACEÀ½¹ÝÁ¦ÀÛ»ç
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¡á "The Revival of Seong Geum-nyeon Melodies (Compositions)":
"Like flowers are blossoming in the old tree"
There is no doubt that Seong Geum-nyeon ryu (·ù×µ, school, style, version) has so far been loved, played and studied by a numerous gayageum players. This makes me to be anxious to perform such a well-known gayageum repertory in the presence of Korean audiences since I being away for a long time. Although I learned the gayageum at the age of seven from my mother, Seong Geum-nyeon, I get very nervous with this performance under the enormous pressure that it is my duty of displaying my maturity of musical interpretation to the audience at this time. Having long been parted from my country and lived in the America from my early year, I also feel in a way uneasy with exposing myself to a new situation of living, and this tends to make me to some extent distant from Korean audiences. But I need to comfort myself accepting the reality that a culture is always changing and is part of a process, as we change.
It seems to me that nowadays studying and enjoying Korean traditional music become prerogative for only the people who can afford material advantages, and in this situation I realise as if it belonged to another people. I used to hear the sayings that musicians in olden time played music unravelling with their everyday life when their living standard was so poor and hard, and consequently their music reflected these circumstances. But they must have felt being rewarded by their freedom of expressing themselves through the music the way they played. For instance, it is said that Baik Gyeol (around 6th century), the gayageum master, used to play music with his gayageum in order to forget his hardship.
My sister, who is also gayageum player, once told me that "you should keep the Seong Geum-nyeon ryu as closely as she used to play and must not change it, for you are the "Real MaCoy" for her style. If you don't preserve the style, I may be regarded as a fake player!" I thought she must be joking with it. After a few years, I was able to understand of her advice, as nowadays many people tend to prefer to Korean traditional heritage such as a piece of furniture, costume, food, and so on. I wish if they unconditionally liked and enjoyed Korean traditional music as well!
The repertoire which I contain in this CD is the works of Soeng Geum-nyeon who was used to facilitate me as a tape recorder between 1964-1965 for her compositional method. Though Seong Geum-nyeon ruy Sanjo and her compositions have so far been played by some musicians, it has been passed for 37 years when I just managed to release my mother's work as a member of her own family. I included Chunmong Ãá¸ù, Saegarakbyeolgok »õ°¡¶ôº°°î, Ggocheui hyangsu ²ÉÀÇ Çâ¼ö, Heung Èï, Sanjo »êÁ¶ among other her own tunes. I was able to understand the melodic organisation which we would call a 'mode', very clearly in a separate level while preparing this recording. On the basis of her melodic arrangements I have found out that it was very helpful to render her own Sanjo. So I would like gayageum players to recommend to try to learn her compositions for a better performance of her Sanjo.2002.4.2
Ji Soon-ja
¡á Brief Note of Seong Geum-nyeon (1923-1987)
Seong Geum-nyeon ¼º±Ý¿¬à÷ÐÞæé was one of the gayageum virtuosi as well as composers in Korean traditional music. Her own version of Gayageum Sanjo was one that became a popular concert repertory among gayageum players. It displays a player's brilliant musical skill in relation the instrument and the understanding of her musical idioms with regard to melodic organisations. She was not only a gayageum master herself but also a prolific composer whose double career was very unusual as female in the past time. It was proved that particularly her status as composer was not recognised until western scholars found and researched her own works beside her Gayageum Sanjo while living in Hawaii. She was born in Gwangju in Jeollanamdo, the area of southern province of Korea in 1923 and died in Hawaii in 1987. Her autonym was Yuknam À°³²ë»Ñû.
She learned gayageum byeongchang with Jo Myeong-soo in 1935. She then learned Sanjo with An Gi-ok, who was another gayageum master in 1936 and then with Park Sang-geun in 1940 during the Japanese occupation. She built up the Korean Music Institute in 1948 to teach music to people and to foster her students. The following year she entered Yeoseong Gukgeukdan (¿©¼º±¹±Ø´Ü Female National Theatre Troupe) and accompanied the gayageum for the troupe. In 1953, she established the Dance Institute for Traditional Classic Music. She married to Ji Yeong-heui who was the well-know musician on the haegeum and piri as well as a expert on the music of Gyeonggi Gut. Afterwards she was the leader of the Sirip Gugak Orchestra in 1966. Then she emigrated to Hawaii with her family in 1974. Since then she blossomed her musical career there, actively being engaged in teaching music, composing tunes and playing music with her family at the famous concert halls and colleges as special guests. She left her family Soon-ja and Seong-ja who are carrying out her musical legacy.
¡á Brief Notes for the Repertoire
Seong Geum-nyeon ryu Gayageum Sanjo ¼º±Ý¿¬·ù °¡¾ß±Ý»êÁ¶
Sanjo »êÁ¶ß¤ðà (lit. scattered melody) is a genre and repertory for solo instrument which is required a highly technical skill and musicianship. This version was recreated by fine techniques and musical ideas in terms of a variety of moods and tempi. It is required for players to have incredible efforts and disciplines to express its subtle nuances. It is recognised that Seong Geum-nyeon ryu Gayageum Sanjo among other ryupa Sanjo is one that is easily approached to players. But it is proved to be the most difficult one for players to interpret properly, as it has a distinct concept of division between jangdan and jo (modes or melodies). Since beginners gain access to playing it from their early stage, so many people would regard it as a basic ryu for Sanjo study. In practice, students are learning this version as a preliminary stage of approaching to the other Sanjo version. It requires, however, a careful nature of approaches to a control of many elaborated phrasings/melodies, and its adequate control results in a neat and colourful sound. Its overall character has many demanding melodies or very fine melodies that are difficult to master beyond merely displaying its splendid manner of playing. The Sanjo version consists of such many jangdans as jinyangjo Áø¾çÁ¶, jungmori Á߸ð¸®, jungjungmori ÁßÁ߸ð¸®, gutgeori ±Â°Å¸®, jatmori Àæ¸ð¸®, jajinmori ÀÚÁø¸ð¸®, hwimori Èָ𸮠and eotmori ¾ù¸ð¸®.

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