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Ji Soon-ja Gayageum Solo Performance "The Revival of Seong Geum-nyeon Melodies (Compositions)"
¡á Èïýé Heung (lit. enjoyment) 18:34
À屸¡¤ºÏ À±È£¼¼ janggu, buk: Yun Ho-se / À屸 ÃÖÈñ¿¬ janggu: Choi Heui-yoen
¡á »õ°¡¶ôº°°î Seagarakbyeolgok (lit. Byeolgok composed by a new melody) 07:34
À屸 À±È£¼¼ janggu: Yun Ho-se / ¡ ÃÖÈñ¿¬ jing: Choi Heui-yoen
¡á Ãá¸ùõðÙÓ Chunmong (lit. a dream of the spring time) 07:31
À屸 À±È£¼¼ janggu: Yun Ho-se
¡á Çâ¼öúÁáþ(¿ø¸í ²ÉÀÇ Çâ±â) Hyangsu (lit. longing for home) 12:36
À屸 À±È£¼¼ janggu: Yun Ho-se
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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.
¡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
Heung Èïýé (lit. enjoyment)
This tune expresses the scene of a child's playing and gesturing with gaiety who becomes immersed in the fresh and warm atmosphere of spring in the field. It employs pyeongjogyeongdeureum ÆòÁ¶°æµå¸§ so as to express a merry character of the child. Ji Soon-ja has arranged and played the part of ready-made cadenza for herself in this CD.
Seagarakbyeolgok »õ°¡¶ôº°°î (lit. Byeolgok composed by a new melody)
It was composed in the order of Pusal - Teobeolim - Bongdeungchae - Olimchae in 1964, and then Dosalpuri was included as a new tune in 1979. All the jangdans employed in this music originated exclusively from those of the Gyeonggi Musok °æ±â¹«¼ÓÙãáÔ (shaman melodies originated from the area of Gyeonggi province), that is a Gut ±Â (shamanistic ritual/performance). Its categories and rhythms are as follows:
Pusal Ǫ»ì 15-beat: after a completion of building up a house, the worship for Sinsa ½Å»çÁ¦ãêÞåðº is performed for its peace. The music is only accompanied by the janggu À屸 (Korean hour-glass drum) and jing ¡ (small brass gong) without employing any other instruments called mujaebi ¹«Àçºñ.
Teobeolim Å͹ú¸² 10-beat: its rhythm is for a worship Dangsan ´ç»ê and for Jinwugi Áø¿íÀÌ and its rhythm is used for dancing in the performance of Saenamcheondo-gut »õ³²Ãµµµ±Â.
Bongdeungchae ºÀµîä 5-beat: its jangdan is used in a song of Sinmoeum ½Å¸ðÀ½ with Gwonseon ±Ç¼± jangdan in a Saeseongju-gut »õ¼ºÁÖ±Â
Olimchae ¿Ã¸²Ã¤ 20-beat: it is only used in the performances of Jeseonggeori Á¦¼º°Å¸®, Gununggeori ±º¿õ°Å¸®, Josanggeori Á¶»ó°Å¸® and in the Sinsa-gut ½Å»ç±Â and Dangsanje as well as Cheondo Saenam-gut õµµ »õ³²±Â that means "wishing the dead person to go to the Heaven".
Salpurichae »ìǪ¸®Ã¤ 4-beat: when a number of instruments are played in ensemble playing, it is called Sinawi ½Å¾ÆÀ§/½Ã³ªÀ§.
The late Han Seong-jun (1874-1941) choreographed Taepyeongmu ÅÂÆò¹«÷¼øÁÙñ (lit. dance for peace) according to these jangdan in 1935 and for the jangdans he employed three instruments - jing, janggu and bara (cymbals) whose instrumentation was used in this piece. The origin of Saegarakbyeolgok derives from the performance when Han Yeong-suk and Gang Seon-nyeong performed that dance at Sigonggwan (the old National Theatre in Myeongdong in Seoul) in 1936, and then the music was added to a melody of the gayageum. At last, Saegarakbyeolgog was composed for the gayageum in 1964 when there were many repertories such as Sanjo and other improvisational pieces for the instrument. But this is the first time that the gayageum is made of a mediatory for the jangdan of Gyeonggi Musok.
I had released my record entitled in "Gayageum Sanjo and Byeongju º´ÁÖ (lit. playing in parallel) based on dancing music" produced by the Jindo Record Company in 1965 and its music is played slightly a reduced version rather than its original duration. In 1994 it was remade into a CD.
Chunmong Ãá¸ùõðÙÓ (lit. a dream of the spring time)
This piece of music portrays a spirit of the spring time in which all the things wake after a long winter. Its overall mood consists of pyeonggyemyeon Æò°è¸éøÁÍ£Øü and Gyeongdeureum °æµå¸§Ìȵ帧 which represent a cheerful atmosphere. It concludes three types of jangdan Àå´ÜíþÓ­ (rhythmic cycle) of jungmori gyemyeonjo °è¸éÁ¶ (mode based on gyemyeon which is equivalent to a western minor scale). These rhythms express in vain and sorrow which derides from the reality of being awaken from the dream that is difficult to achieve.
Hyangsu Çâ¼öúÁáþ (lit. longing for home)
This tune reflects the life of a flower that is an allegory for a life of a human being. It can be imagined that the flower would have had such experiences as blossoming the day of a wild flower near the railway, listening to the sound of the trains and birds' singing, being exposed to rain, bathing from the sunlight and facing fresh breeze, and playing for itself with freedom, and all of sudden these events disappeared. Then the flower is getting wither, as the sun sets. In this metaphor, our own life is also on the verge of the concluding stage that symbolises a transitory and lonesome life. This sad mood is expressed by wujo (mode based on wu) on the basis of menarijo ¸Þ³ª¸®Á¶ that is a typical melody of grass flute.

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