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Yang, Seung Kyeong's Keomungo - SOJIEUM
1. Áø¾çÁ¶ Jinyangjo 32:18
2. Á߸𸮠Jungmori 12:24
3. ¾ù¸ð¸® Eotmori 02:12
4. ÁßÁ߸𸮠Jungjungmori 03:08
5. ÀÚÁø¸ð¸® Jajinmori 17:50
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¡Ü CONGRATULATION FOR RELEASING CDS
With great pleasure, I welcome the release of Mr. Yang, SeungKyeong Keomungo recording in CD, live from his 2001 solo concert, in response to the persistent demand by the students of Keomungo and by those who appreciate his music.
Mr.Yang first studied Keomungo at the Training School for Traditional (KukAkSa YangSeongSo) attached to the National Center for Korean Traditional Performing Arts, which he entered in 1967. After successfully completing its 6-year program, he then went to study at the College of Music, Seoul National University, and then at the Graduate School of Education, Danguk University. There he not only immersed himself in professional training in Keomungo but also pursued studies in traditional Keomungo musicology.
Currently, Mr.Yang plays at the Center Orchestra, having served as the First Keomungo and one of directors (JiDo WiWon) while also teaching at various colleges. He also carried out extensive researches on the interpretations and techniques of the past Keomungo masters. With his professional and academic accomplishments combined, he is known as one of the most accomplished Keomungo players of our times, versatile in a wide range of genres, from JeongAk to SanJo to contemporary Keomungo pieces.
Above all, his strength lies in SanJo, particularly of Han, KapDeuk school. Having studied SanJo (Intengible Cultural Property No 16) under Han, KapDeuk, the master himself, Mr.Yang, SeungKyeong now stands as a master on his own, winning accolades through numerous public performances in Korea. His interpretation, faithful to the tradition, brings out the ever-changing dynamics characteristic of SanJo. At times the melody flickers tenuously but, the moment it appears to expire, it flares again. Or a movement may rage like a hurricane in the sea but the very next may slip into the tranquility of calm waves after such tempest. The audience, in entrance, would surely feel him or herself rising above the mundane.
As I listen to Mr.Yang performance, the expression that comes to my mind is lue dye is bluer than the indigo it is made from. It alludes to the student surpassing the teacher. My feeling is more than supported by the fact that Mr.Yang was the first among all of Master Han pupils to be recognized an ISUJA, one having mastered the art. Of all the numerous Keomungo players, I wonder how many are as thoroughly versed in both JeongAk and Sanjo, and both in theory and practice, backed by academic achievements as Mr.Yang.
His Sanjo at the 2001 concert captivated the audience. I consider it meaningful, therefore, that not only the students of Keomungo but also those interested in Kug-Ak should have an opportunity to relive it again through this CD for which I once again wishes to extend my congratulations.
Ku, Yun-Kuk
Professor, College of Music and Visual Arts, Kyungpook University
¡Ü A BRIEF NOTE OF THE PROGRAMME
- Keomungo SanJo of Han, GapDeuk School -
For Keomungo SanJo of Han, GapDeuk School, there are two SanJo versions, magnificently structured Gi:n SanJo, (±ä »êÁ¶, literally Long Sanjo) and short abridged JarBeun SanJo (ªÀº »êÁ¶, literally Short Sanjo).
Ki:n Sanjo consists of 53 JangDan, or phrases, in JinYang (Áø¾ç) movement, 90 JangDan in JungMori(Á߸ð¸®), 39 JangDan in EotMori (¾ù¸ð¸®), 42 JangDan in JungJungMori (ÁßÁ߸ð¸®) and 418 JangDan in JaJinMori (ÀÚÁø¸ð¸®).
Keomungo Sanjo was first created by Baek, NakJun. Park, SeokKi, one of his pupils, handed down the art to Han, GapDeuk. While SanJo originally consisted only of JinYang, JungMori, and JaJinMori, Master Han later added EotMori and JungJungMori to complete his SanJo.
JinYang begins, unadorned but magnificent, with U-Jo (Mode or Key) and U-Jo/Pyong-Jo. The music moves on through modal and key changes, from GyeMyeon-Jo, Byeon (Modulated)-U-Jo, Byeon-GyeMyeon-Jo, and back to GyeMyeon-Jo before moving onto JungMori movement.
JungMori Movement begins in GyeMyeon-Jo, modulates at 79th Jangdan to U-Jo and Byeon-U-Jo and returns to GyeMyeon-Jo, keeping to it to the end. Eot-Mori then follows. It again starts in GyeMyeon-Jo but changes to Byeon-U-Jo at 17th Jangdan, returnning to GyeMyeon-Jo towards the end.
For JungJungMori following, the entire movement for all of its 42 JangDan unfolds on GyeMyeon-Jo, enchanting and at the same time with full of strength. The Last movement in JaJinMori starts in GyeMeon-Jo and changes to U-Jo/Pyeong-Jo and then back to GyeMyeon-Jo. U-Jo/Pyeong-Jo and GyeMyeon-Jo then alternate twice before the music comes to an end.
JaChul (ÀÚÃâ) technique, whose creative usage sets apart Han, GapDeuk School from other schools, appears throughout Ki:n SanJo, rendering the music all the sweeter. JaChul means literally ?aking sounds from (string) Itself whereby the performer does not use SulDae, a plectrum, but with a left-hand finger, either the thumb or the forefinger, plucks or gently hits a string.
¡Ü Life of Master Han, GapDeuk
1919 : Born on December 02 in KwangJu
1927 : Studied Kayageum, SanJo and JeongAk, under An, GiOk
1930 : Graduated from GwangJu City Normal School
1931 : Studied Keomungo, SanJo and JeongAk, under Park, SeokKi
1932 : Travelled to Japan on an invited tour, playing KaYaGeum SanJo
1938 : Member of JeoSeon SeongAk YeonGuWon (Korea Vocal Music Institute)
1940 : Instrumental Ensemble Member, JeoSeon ChangGuk Dan (Korea Korean Opera Company)
1941 : Travelled to Japan as member of Yi,HwaJungSeon ChangGuk Dan (Yi, HwaChungSeon Korean Opera Company)
1943 : Keomungo Accompaniment to HeungBu-Ga, PanSori ( Song by Kim, YeonSu. OK Record )
1954 : Member of DaeHan KugGakWon. Wed to Ms Park, BoHwa (JinShim)
1958 : Solo Keomungo Concert, WonGak-Sa. Broadcast President Award, 1st KuGak Competition.
1961 : Member, Sub-committee for Instrumentalists, KuGak Association
1963 : Travelled to Japan as instrumentalist for Kim, GyeonSu ChangGuk Dan (Kim, GyeongSu Korean Opera Company)
1964 : Head of Instrumentalists, SamSeong Women KuGak Club
1969 : Lecturer of Keomungo, Korea Musical Academy under KuGakWon (NCKTPA)
1972 : Instrumentalist, KuGakWon (NCKTPA)
1978 : Designated as Master Artist in Intangible Cultural Property #16, Keomungo SanJo, by the Korean Government on 23 February
1987 : Passed away at Korea University Hospital, on 30 September

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