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The 5th of the Hyosan Korean Traditional Music Festival - live performance
1. °­ÅÂÈ«·ù °¡¾ß±Ý »êÁ¶ 21:30
The Gang Tae-hong ryu Gayageum Sanjo °¡¾ß±Ý / È«°æÈñ, À屸 / ÀÌÀå¿ì gayageum/ Hong Gyeong-hi, janggu/ Yi Jang-woo
2. ±èÀ±´ö·ù °¡¾ß±Ý »êÁ¶ 22:16
°¡¾ß±Ý / ¿øÇѱâ, À屸 / ±èº´ÈÆ Kim Yun-deok ryu Gayageum Sanjo gayageum/ Won Han-gi, janggu/ kim Byeong-hun
3. ±èº´È£·ù °¡¾ß±Ý »êÁ¶ 24:53
°¡¾ß±Ý / ¾ç¿¬¼·, À屸 / ±èÁ¤¼ö Kim Byeong-ho ryu Gayageum Sanjo gayageum/ Yang Yeon-seop, janggu/ Kim Jeong-su
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¡á The 5th of the Hyosan Korean Traditional Music Festival - live performance
1. The Gang Tae-hong ryu Gayageum Sanjo
gayageum/ Hong Gyeong-hi
janggu/ Yi Jang-woo
There are a number of beauty in the Gang Tae-hong ryu Gayageum Sanjo: (i) in terms of setting the melodies it takes and comes into or leaps the jangdan (Àå´ÜíþÓ­, lit. "short and long", rhythmic cycles), and it transgresses a framework, making syncopated beats in between the duple and triple beat with each other; (ii) it also makes sounds by blocking the resonance of the strings and omitting, or controlling the nonghyeon (³óÇöÒ×úá, various vibrations and hand movements); (iii) it also replaces the bending tone (²ª´Â ¸ñ) into toiseong (Åð¼º), or employs jeonseong (Àü¼º) and adopts the pushing technique as in music of Pungnyu (dz·ù). Because of these musical features, this version of the Gayageum Sanjo receives a great attraction as a refined and profound Sanjo music from many audiences.
It is said to be heard Gwigokseong (±Í°î¼º) while the late Gang Tae-hong played his version of Sanjo in the bamboo forest. Due to this episode Gang Tae-hong's seong'eum (¼ºÀ½á¢ëå) was used to represent by metaphor of Gwigokseong. This adds profundity of his Sanjo and means that it is difficult to figure out its depth without attaining a stage of a high taste.
It is assumed that the completion of this Sanjo upto Sesanjosi (¼¼»êÁ¶½Ã) dates back to around 1950 that is a last phase of Gang Tae-hong's life. His Sanjo version has been transmitted to Gu Yeon-woo and Shin Myeong-suk.
2. Kim Yun-deok ryu Gayageum Sanjo
gayageum/ Won Han-gi
janggu/ kim Byeong-hun
Kim Yun-deok ryu Gayageum Sanjo was designated as Jungyomuhyeongmunhwajae (Á߿乫Çü¹®È­Àç, Important Intangible Cultural Asset) No. 23 in 1968 by the Government and regarded as the representative version that is well set in its form among other Gayageum Sanjos. Its characteristic feature lies in that the setting of its jangdan has simplicity and clarity that fits in the formulation of 'gi-seung-gyeol-hae (±â½Â°áÇØÑÃã¯Ì¿ú°, lit. introduction-development-conclusion-resolution)': dynamic elements of the alternative of the tension and release are contained throughout controlling emotion from jangdan of Jinyangjo to Jungmori and rhythms of Jungjungmori to Jajeunmori are set with syncopation and hemiola rhythm. This makes rhythmical sections of the eot beat with the syncopated notes within the jangdan rhythms can be embodied in the best element that this Gayageum Sanjo can be revealed. When being performed in its techniques of simplicity, force and vigour seamlessly, its masc! uline character can be unravelled with its strong touch of the personality. There is a unique technique in the Kim Yun-deok ryu Gayageum Sanjo that is to make a sound a blocked tone of Con Sordino which is played by putting the left-hand on the hyeonchim in a section of Danmori. This version mainly adopts melodies of Jeong Nam-hee, and it is also substantially influenced by melodies of Gang Tae-hong. Kim Yun-deok left his own mark on the Gayageum Sanjo by adding his own Sanjo melodies on the basis of the Jeong Nam-hee melodies.
3. Kim Byeong-ho ryu Gayageum Sanjo
gayageum/ Yang Yeon-seop
janggu/ Kim Jeong-su
Kim Byeong-ho (his pen name is Geumam) studied the gayageum with Kim Chang-jo, a pioneer of Gayageum Sanjo, at around the age of 10. Finally he completed his own version of Gayageum Sanjo by putting a newly set jangdan of Eotmori, adding techniques and originality into it. This version consists of seven sections that are Jinyangjo, Jungmori, Jungjungmori, Eotmori, Jajinmori, Hwimori and Danmori. Its difference from other versions of Gayageum Sanjo lies in that Eotmori is inserted in between Jungjungmori and Jajinmori, and in general the section is performed as a free rhythm matching with the janggu accompaniment regularly. The most characteristic feature of the Kim Byeong-ho ryu Gayageum Sanjo is the subtlety of a variety of timbre, mixing with microtonic expressions of nonghyeon that reveals some techniques such as melodic patterns of the 'push and pull' formulation with sigimsae (variety of ornamentations) and nonghyeon as well as expressing the 'tension and release' m! usically. In particular, its nonghyeon technique gives profound and clean feeling with a deep and thick nonghyeon so as to be no rhythmic width, which cannot be compared with other ryus.
¡á Profile of the participants
Hong Gyeong-hee: She was a leader of Cheongju Sirip Korean Music Ensemble and taught the gayageum at Busan University, Cheongju University and Seoul Sirip University. She is currently a teacher for transmitting the Gang Tae-hong ryu Gayageum Sanjo which is designated by the Busan Municipality Intangible Cultural Asset No. 8.
Yi Jang-woo: He is teaching at Daegu Arts College, Yeongnam University and a leader for Percussion of the Busan Sirip Korean Traditional Orchestra.
Won Han-gi: He is currently a Instruction Committee of Gunglipgugakwon, a leader of the Dabu Korean Music Orchestra and a Professor of Korean Music Department at Daegu Arts College
Kim Byeong-hun: He is teaching music at Daegu Arts College and the leader for Percussion of the Gyeongsangbukdo Dorip Korean Music Ensemble.
Yang Yeon-seop: Professor of Music Department of Hanyang University.
Kim Jeong-soo: Professor of Music Department of Yongin University

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