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ÇѸí¼ø °æ¼­µµ¼Ò¸® Han Myeong-soon's Gyeong Seodo Sori
1. ¼ö½É°¡ Sushimga 02:39
2. ¿«À½¼ö½É°¡ Yeoggeumsushimga 05:51
3. Á¦Àü Jejeon 08:26
4. »ê¿°ºÒ Sanyeombul 03:24
5. ÀæÀº¿°ºÒ Jajeunyeombul 01:45
6. ±ä³­ºÀ°¡ Ginnanbongga 03:25
7. ÀæÀº³­ºÀ°¡ Jajeunnanbongga 02:13
8. º´½Å³­ºÀ°¡ Byeongsinnanbongga 01:31
9. »ç¼³³­ºÀ°¡ Saseolnanbongga 01:38
10. ³ë·§°¡¶ô Noregarak 03:31
11. âºÎŸ·É Changbutaryeong 04:44
12. ¹î³ë·¡ Bennore 01:40
13. ÀæÀº¹î³ë·¡ Jajeunbennore 02:04
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¡á CD of the Gyeong Seodo Sori Han Myeong-soon
Cho Yoo-mi (Member of The Society Korean Discology)
The sound and style of the Gyeong Seodo (°æ¼­µµÌÈà¤Ô³, the provinces of Gyeonggi and Pyeongan which are situated in the middle of Korea including the North) can be described from my point of view as follows:
"as having simplicity that forget-me-nots are coming out splendidly in the mountains and fields; refreshment that shallow streams are flowing energetically; fragility as if coloured fallen leaves are laid with moist caused by foggy rain; a combination of humour and lonesomeness that a song is likely to be sung with quietness in a singer's face of touching of yearning under the full-moon, but featured with a full of joy without superficiality."
Though songs seemed to be heard in everywhere, particularly villages of areas of the Gyeong Seodo were the places for a full of songs. Songs would be evolved in such a way that simple melodies generated from village to village became widely sung and then elaborated and refined by master singers, and people largely called these songs 'Gyeong Seodo Sori (¼Ò¸® means sound)'.
Such survived songs attached to the people's lives are very valuable and the germs, but I selected some of these songs for my CD. They include Sushimga, a song that symbolises longing for farewell and nostalgia; Jejeon, Sanyeombul and Nanbongga, songs for the representative sounds of Seodo; Changbutaryeong, Noretgarak, Bennore and so forth, joyful and amusing songs. As master singers in past times enjoyed to sing without distinguishing the regional differences, singers today also tend to integrate these songs in their singing practice.
It would be necessary for singers to look back themselves and take care of their direction related to singing. This will be part of the singers' capacity. I have been tried to feel the real beauty of the songs with my body and to put it into the sound rather than just being remembered as an able singer while preparing this CD. I would like to stress that it is not presented for displaying techniques and repertoire to the audience. It is coming out of my sincerity and devotion that would require to check whether my singing practices have been aiming at a right path or not.
¡á The artistic world of Han Myeong-soon
Yi Ja-gyun (Member of the Study of Korean Folklore)
Han Myeong-soon was born in Daebongni, Namyangmyeon, Cheongyanggun, Chungcheong Namdo as the fifth daughter of seven children of Han Jeong-su and Yi Ye-ja. His father was a man who was just singing Sijo (½ÃÁ¶ãÁðà, short lyric song). Myeong-soon showed her talent in singing at her early age: humming melodies listened to the 78 records of Gang Og-ju and Kim Og-shim, who were master singers for Gyeonggi Sori, on her ways of schooling.
It was at the age of 16 when she entered the singing world: she joined in the Folk Song Contest that occurred in the Open Hall of Korean Broadcasting Station (the current KBS) in Namsan. At this time Kim Jeong-yeon (1913-1987), a master singer, who then was appeared in the broadcasting as a special guest listened to Han's singing. Kim Jeong-yeon immediately sent a telegram to Myeong-soon's hometown. Kim recognised Myeong-soon's potentiality for her good singing quality and would be desperate to take Han as her disciple. Kim persuaded Myeong-soon's parents that she would provide all the cost of living and education for their daughter when she came up to Seoul where Kim lived and taught songs. Then Myeong-soon hastily followed Kim to study songs with her.
From this time Myeong-soon became involved in a long way of singing apprenticeship and special relationships with her teacher; she started learning Seodo Sori for the first time. Kim was a meticulous and rigid teacher which made Myeong-soon difficult to approach to her teacher both in professionally and personally. Even she could not, for instance, ask about how to produce a proper sound and a certain technique she was learning. Because of her traditional method of teaching songs - "by ear", Myeong-soon felt very hard to follow what Kim demanded in some phrasings of a song from memory after finishing the lessons. She did not learn properly such repertoire of Gwanbuk regions (Hamgyeong Provinces of the North) as Sushimga, Yeoggeumsushimga, GwansanYungma and so on, at the early stage. Kim Jeong-yeon intended to train Myeong-soon in terms of not only for a preparation of a future master singer but for being all-round person. Myeong-soon realised that such rigorous stage was! part of "rites of passage" to become a real traditional singer. She began to grasp how to learn singing along with taking care of her teacher staying with her house. During her hardship, her only comfort was Kim Su-yeong (penname is Juksa) who was a sister of Kim Jeong-yeon and also a singer.
It was the singing fraternity when Myeong-soon finally realised deeply into her bone that "her teacher's sori was really valuable to follow", as Kim's singing colleagues, friends and graduates from the Gweonbeon (±Ç¹øÏçÛã traditional public arts institutions trained for female professional entertainers) sang in turn a certain phrasing of a song for themselves. At the moment she was determined to devote herself to learning songs with Kim. Then she practised what she learned for the day thoroughly and heartedly through the processes of repetitions and 'tries and errors' as well as listening to many other singing performances.
For three years of studying songs with Kim she could sing such repertoire as Nolryang, Sanyeombul, Apsantaryeong, Dytsantaryeong, Gyeongballim, Sageori for the Seodo Sori and Ginari, Jajinari, Ginnanbongga, Jajeunanbongga, Sushimga, Yeoggumsushimga, Gwansanyungma for folk songs. After a formal education with Kim Jeong-yeon, Myeong-soon had some other teachers and learned different styles of singing from them. She also studied such songs as Ginnanbongga, Gyeongsataryeong, Santaryeong with Ji Gwan-yong (1909-1986), from Yeonbaek, Hwanghae Province in 1977. Ji Gwan-yong was a teacher of Kim Hyeong-seon and originally was a musician played such instruments as piri and heageum rather than a singer. In 1979 Han studied Sushimga and some folk songs with Kim Og-seon. Og-seon, from Pyeongyang, Pyeongan Namdo, sang Sushimga in a slightly different version compared with her other contemporaries. She had a vocal quality of a male "cheong (ûôè)" and displayed Sorimok (a kind of voca! l technique in Pansori singing) embedded in 'longing/saudade ÇÑùÏ'. She was a junior to Yiban Dora and Yi Jeong-yeol and a disciple of Yi Dong-beog (?-?), from Sariwon, was charged of the Guild of the Sariwon Yegi (¿¹±âçÝÐõ professional entertainers). Yi Dong-beog played a pivot role in the performance of Bongsantalchum (ºÀ»êÅ»Ãã, folk mask dance and dram) and worked as Ajeon (¾ÆÀüä·îñ, a traditional official rank with hereditary job, but without receiving payment) in his teenage. It is said that he was a similar age with Kim Myeong-wun (1920-), another master singer and a disciple of Shin Gi-won (?-?).
After the Division of the South and North of the Korean peninsula, famous Gisaeng (±â»ýÐõßæ, female professional entertainers) from such North Korea as Haeju, Beogseong, Ongjin, Gaeseong, Yeonbark, etc. used to meet and to sing frequently for themselves. At the meetings Kim Og-seon used to refer all the time to her teaching of Sushimga with great pride until her death of 1984. Although there are such singers as Kim Milhwa-ju, Jang Hag-seon, Jang Geum-hwa, Choi Seom-heung, Son Jing-heung, Baek Mo-ran, Gil Jin-heung, and so on, who were called 'authentic singers' for a traditional sense and sang Gwanbuk Sori in the club, Kim Og-seon was the most renowned singer amongst them. Myeong-soon did not learn songs directly from Kim Su-yeong, a sister of Kim Jeong-yeon, but she used to listen to her quiet singing such repertoires - Chupunggambeokgog or Gungmundypuri.
It was not common for singers to take as many teachers as they wished to develop, as Korean musical tradition would be disapproval learners of changing so many teachers. But Myeong-soon dared to seek some master singers in order to learn their styles and repertoire. She found such experiences very helpful in terms of accumulating many song repertoire and different ways of singing later, and this became her valuable property.
After the death of Kim Jeong-yeon in 1987, Myeong-soon stopped studying singing and then resumed to tune with Yi Heui-wan (1938-) from Hwaseongsi, Gyeonggi Province in 1999. She was also influenced by the late Jeon Tae-yong's Sori whose one of repertoire Changbytaryeong was famous. She had a formal debut as a professional singer at her first recital which took place at Wumyeondang, Gunglipgugakwon in 1999 (22 November) and then had a stage for 'Han Myeong-soon Gyeong Seodo Sori' for celebrating the President Award she obtained in the Contest of Gyeonggi Folk Song sung at Munyehyigwan in Suwonsi, Gyeonggi Province in the same year. She is currently engaged in teaching and training her pupils at her private institution in Jongogu, Seoul.
Han Myeong-soon formally finished her singing training under her teacher, Kim Jeong-yeon, in April 1986. Kim Jeong-yeon was born in Pyeongan Namdo, North Korea, and came to Gaeseong at the age of 10. Then she finished the training course for the repertoire of Gagog (°¡°îÊ°ÍØ, long lyrical songs) and Gasa (°¡»çÊ°Þò, classical narrative song) under the Yi Seung-chang's teaching in the Guild of GaeseongYegi at the age of 15, and also learned traditional dance from Yi Jang-san at the age of 21. Kim Jeong-yeon left some records produced from such companies as Kingstar in 1959, Sinsegye in 1963, entitled in the Great Anthology of Seodo Sori in 1979, and released some more records until the early 1980s. She also published an Illustrated Book of Korean Traditional Dance and was appointed for Jungyomuhyeongmunhwajae (Á߿乫Çü¹®È­Àç Important Intangible Cultural Asset) No. 29 for the Seodo Sori by the government in 1970.
It is said that the South Korea has Pansori (one songer narrative song with a drum accompaniment), whereas the North has Sushimga. But elderly master singers who used to sing the Gwansoebuk Sori (areas of the North) can no longer sing nowadays in public. Under this circumstance, this CD of Han Myeong-soon will be much valuable source for tracing back to the genealogy of Seodo Sori singers and for revealing the changes of Seodo Sori as a protege of Kim Jeong-yeon. As there is a saying that "Simnibudongsog ½Ê¸®ºÎµ¿¼Óä¨×ìÜôÔÒáÔ (lit. means "saying that any villages can be different")", Han Myeong-soon and her parents are not from the area of the North Korea. But it is really an admirable thing relating her efforts that she showed her utmost devotion to learning the Seodo Sori of her teacher and elaborated such style with great care. This would not be easy for people who would do something quickly without patience.
To produce proper sound/sori would require for singers that such elements as eotbuchim (kind of syncopated beat or rhythm) or Sigimsae (all kinds of vibrations or ornamentations) should be coming out properly and effectively within a context of regional musical Tori (Å丮, accents/dialects). But producing such a quality of the sound became rare today. The "authentic" manner of interpreting the Seodo Sori is remained intact as in the North and Kim Jin-myeong (?-?), from Jangtongmyeon, Eunryulgun, Hwanghae Province, was a exponent. But he had been already passed away and his pupil Kim Gwan-eun (?-?) would transmit his teacher's repertoire. It is true that North Korean people no longer seem to value such repertoire as Sushimga or Sanyeombul, whereas singers in the South still do. In this situation I believe that the singer Han Myeong-soon will perpetuate the singing history of the Seodo Sori nicely putting in this CD.

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