ȸ¿ø°¡ÀÔ ºñ¹Ð¹øȣã±â

 ¡¤ Å¾¿¹¼ú±âȹÀ½¹Ý/TOPCD
 ¡¤ ÃßõÀ½¹Ý/Á¤Ã¢°ü½Ã¸®Áî
 ¡¤ °ü·ÃÀ½¹Ý
 ¡¤ °íÀ½¹Ý/SP LP MC CD

   °í°´¹®ÀÇ
   Å¾ À̾߱⠹æ
   ÀÚ·á½Ç
±¹¾ÇÀ½¹Ý¹Ú¹°°ü
±¹¸³±¹¾Ç¿ø
±¹¾Ç¹æ¼Û
ÇѼҸ®±¹¾Ç¿ø
Ȩ > ž¿¹¼ú±âȹÀ½¹Ý/TOPCD
  ž¿¹¼ú±âȹÀ½¹Ý/TOPCD | ÃßõÀ½¹Ý/Á¤Ã¢°ü½Ã¸®Áî | °ü·ÃÀ½¹Ý | °íÀ½¹Ý/SP LP MC CD
 


 
[ÀÌÀü] ¼Ò¸®²Û ±ÇÀçÀº    [´ÙÀ½] ¹Ú¿ëÈ£ ´ë±Ý»êÁ¶

µé¾îº¸±â


±èÁ¤¸² ÇØ±Ý µ¶ÁÖ°îÁý 2 »êÁ¶¿Í dz·ù
 ¤ý ¾ÆƼ½ºÆ®: ±èÁ¤¸²
 ¤ý À½¹Ý»ç : ¿¹¼ú±âȹ ž
 ¤ý À½¹Ý¹øÈ£: TOPCD-085
 ¤ý ¹ß¸ÅÀÏ: Manufactured by HWAEUM. 2004.11. Seoul, Korea
 ¤ý ³ìÀ½: 2004.3 Tori ³ìÀ½½Ç(±â»ç ¼ÕÈ«Èñ)
 ¤ý µð·ºÅÍ: ¾çÁ¤È¯ (À½Á¦1442È£)/ ¨Ü&¨Ï: Yang Jeong-hwan, www.gugakcd.com
 ¤ý ºñ°í: Cover Design / Musong
 ¤ý ÆǸŰ¡°Ý : ¿ø
 ¤ý ¼ö ·® : °³
¹Ù·Î ±¸¸Å Àå¹Ù±¸´Ï¿¡ ´ã±â »óÇ°º¸°ü Ãßõ¸ÞÀÏ


  »óÇ°¼³¸í»ç¿ëÈıâ | »óÇ°¹®ÀÇ | ¹è¼Û/±³È¯/¹ÝÇ° | °ü·Ã»óÇ° 
¡Ü ÀÌ À½¹Ý¿¡ ¼ö·ÏµÈ ³»¿ëÀÇ ÀüºÎ ¶Ç´Â ÀϺθ¦ ¹«´Ü º¹»ç¡¤º¹Á¦ »ç¿ëÇÏ´Â °ÍÀº ¹ý·ü·Î ±ÝÁöµÇ¾î ÀÖ½À´Ï´Ù.
TOPCD-085
 
±èÁ¤¸² ÇØ±Ý µ¶ÁÖ°îÁý 2 »êÁ¶¿Í dz·ù
KIM JEONG-LIM'S HAEGEUM SOLO II SANJO & PUNGNYU Áö¿µÈñ·ù ÇرݻêÁ¶ The Ji Yeong-heui Ryu Haegeum Sanjo
¡á ±ä »êÁ¶ Gin Sanjo (longer version) 27:34
1. Áø¾çÁ¶ Jinyangjo 09:43
2. Á߸𸮠Jungmori 07:25
3. ÁßÁ߸𸮠Jungjungmori 04:43
4. ±Â°Å¸® Gutgeori 02:11
5. ÀÚÁø¸ð¸® Jajinmori 03:32
 
¡á ªÀº»êÁ¶ Jjalbeun Sanjo (shorter version) 11:42
6. Áø¾çÁ¶ Jinyangjo 03:35
7. Á߸𸮠Jungmori 02:34
8. ÁßÁ߸𸮠Jungjungmori 01:24
9. ±Â°Å¸® Gutgeori 01:48
10. ÀÚÁø¸ð¸® Jajinmori 02:21
 
¡á ÃëŸdz·ù Chwitapungnyu 18:14
11. ̑٠Chwita 04:52
12. ±æ±º¾Ç Gilgunak 01:59
13. ±æ±º¾Çµ¹Àå Gilgunak Doljang 01:38
14. ±æŸ·É Giltaryeong 01:07
15. ¿°ºÒŸ·É (±ä¿°ºÒ) Yeombultaryeong (Ginyeombul) 03:07
16. »ïÇöŸ·É Samhyeontaryeong 02:03
17. º°°îŸ·É Beolgoktaryeong 03:23
* À屸/±èÁ¤¼ö (¿ëÀδëÇб³ ¿¹¼ú´ëÇпøÀå) janggu/ Kim Jeong-su (Director of the Graduate Art College, Yong'in University)
¡Ü Áö¿µÈñ·ù ÇرݻêÁ¶
¿ì¸®³ª¶ó Çö´ëÀ½¾Ç»ç¿¡ À־ ÇرÝÀ̶õ ¾Ç±âÀÇ ¹ßÀü¿¡ Å«¿µÇâÀ» ³¢Ä£ Àι°·Î ´Ü¿¬ Áö¿µÈñ¸¦ ²ÅÀ» ¼ö ÀÖÀ¸¸ç, ±×´Â Áö¿ë±¸ÀÇ °æ±â ±Â°¡¶ôÀ» ¹«´ë À½¾ÇÈ­ ½ÃÅ°´Âµ¥ ±â¿©Çß´Ù. Áö¿µÈñÀÇ Çرݰ¡¶ôÀº °æ±âÀ½¾ÇÀÇ ¹àÀ½°ú ¼Ò¹ÚÇÔ ±×¸®°í ºÎµå·¯¿òÀ» µÎ·ç ¼ö¿ëÇÏ°í ÀÖ°í. ƯÈ÷ °æµå¸§À̳ª °æÁ¶¶ó´Â À̸§À¸·Î ºÒ¸®´Â °æ±â°¡¶ôÀÇ ¼±À²Àº ´Ù¸¥ ¾Ç±â¿¡¼­´Â Ç¥ÇöÇϱ⠾î·Á¿î Áö¿µÈñ¸¸ÀÇ ¾Æ±âÀÚ±âÇÑ ¸ÚÀ» Áö´Ï°íÀÖ´Ù.
Áö¿µÈñ·ù ÇرݻêÁ¶ Áß À̹ø À½¹Ý¿¡¼­ Ưº°È÷ ¼³¸íÀ» ÇÊ¿ä·Î ÇÏ´Â °ÍÀº ±Â°Å¸®Àå´Ü(¾ÇÀå)°ú ÁßÁ߸ð¸®Àå´Ü(¾ÇÀå)¿¡ °üÇÑ °ÍÀÌ´Ù. »êÁ¶¿¡¼­ Àå´ÜÀº »êÁ¶¸¦ ±¸¼ºÇÏ´Â ±âº» ƲÀ̹ǷΠÀå´ÜÀÇ ±¸¼ºÀÌ ±× »êÁ¶¸¦ ±ÔÁ¤ÇÏ´Â ¼º°ÝÀÌ µÈ´Ù. Áö¿µÈñ·ùÀÇ ÇرݻêÁ¶¸¦ ¸»ÇÒ ¶§ ±Â°Å¸®Àå´Ü(¾ÇÀå)ÀÇ Æí¼ºÀ» ÇϳªÀÇ Æ¯Â¡À¸·Î °Å·ÐÇÑ´Ù. ±×·±µ¥ ÁßÁ߸𸮿¡¼­ ±Â°Å¸®·Î ÁøÇàÇÒ ¶§ »êÁ¶ÀÇ º¸ÆíÀû Ư¼ºÀÎ ´À¸²¿¡¼­ ºü¸§À¸·Î ÁøÇàÇÏ´Â Á¡ÁøÀû °¡¼ÓÀÇ ÇüŸ¦ À¯ÁöÇØ¾ß ÀÚ¿¬½º·´°Ô µÈ´Ù. ±×·¡¼­ Áö¿µÈñ·ù ÇرݻêÁ¶¸¦ ¿¬ÁÖÇÒ ¶§ ±Â°Å¸®¾ÇÀåÀ» ±Â°Å¸®Àå´Ü¿¡ ¸ÂÃ߱⺸´Ù´Â ´À¸°ÀÚÁø¸ð¸® ȤÀº ºü¸¥±Â°Å¸®·Î ¿¬ÁÖÇÔÀ¸·Î½á Á¡ÁøÀû °¡¼ÓÀÇ Æ²À» À¯ÁöÇØ¿Ô´Ù. ÇÏÁö¸¸ ±×·¸°Ô ¿¬ÁÖÇÏ´Â °ÍÀÌ Àå´Ü ¸íĪ¿¡ ¸ÂÁö ¾Ê´Â´Ù´Â ¹®Á¦°¡ Á¦±âµÇ¸é¼­ ±Â°Å¸®Àå´Ü(¾ÇÀå)À̶ó´Â Çü½Ä¿¡´Ù ¼±À² ³»¿ëÀ» ¸ÂÃß´Â »óȲÀÌ µÇ¸é¼­ µÎ °¡Áö ¾î·Á¿î ¹®Á¦°¡ ¹ß»ýÇÏ°Ô µÇ¾ú´Ù. Çϳª´Â ±Â°Å¸® ¾ÇÀåÀÇ °¡¶ôÀÌ ÁßÁ߸𸮺¸´Ù ´À·Á¼­ óÁö´Â ´À³¦À» Áشٴ °ÍÀÌ°í ´Ù¸¥ Çϳª´Â ±Â°Å¸®¾ÇÀå ÈĹݺο¡ ±¸¼ºµÈ µÎ ¹ø° ºñû °¡¶ôÀº ÅÛÆ÷°¡ ºü¸¦ ¼ö·Ï µ¸º¸ÀÏ ¼ö ÀÖ´Â °¡¶ô À̾ ±Â°Å¸®Àå´Ü¿¡ ¿¬ÁÖÇϱ⿡´Â ºÎÀûÀýÇÏ´Ù´Â °ÍÀÌ´Ù. µû¶ó? ?º» ¿¬ÁÖ¿¡¼­´Â Áö¿µÈñÀÇ Á¦ÀÚÀÎ ÃÖÅÂÇöÀÌ ±¸¼ºÇÑ °ÍÀ¸·Î ±Â°Å¸®Àå´Ü¿¡ ¸ÂÃßµÇ Á¡3ºÐÀ½Ç¥¸¦ 2+1 ȤÀº 1+2·Î ÂÉ°³´Â ¹æ½ÄÀ¸·Î °¢ È°À» »ç¿ëÇÔÀ¸·Î½á ÁßÁ߸𸮠¾ÇÀ庸´Ù ´À·ÁÁö´Â °ÍÀ» ¹æÁöÇÏ¿´´Ù. ±×¸®°í ÅÛÆ÷°¡ ºü¸¦ ¼ö·Ï µ¸º¸ÀÌ´Â ºñû °¡¶ôÀº ¾Æ?ÀÚÁø¸ð¸® ¾ÇÀå¿¡ Æí¼ºÇÏ¿© ¿¬ÁÖÇÏ´Â ¹æ½ÄÀ» ÃëÇÏ¿´´Ù. ±ä »êÁ¶ÀÇ ÁßÁ߸𸮠¾ÇÀåÀÇ °æ¿ì ½ÅÄ赿ÀÇ °Å¹®°í»êÁ¶ °¡¶ô,±èÀϱ¸ÀÇ ¾ÆÀï»êÁ¶,öÇö±Ý °¡¶ô°ú À¯»çÇÑ ¼¼¸¶·ç¸¦ µ¡ºÙ¿© ¿¬ÁÖÇϱ⵵ ÇÑ´Ù. ÀÌ À½¹Ý¿¡¼­ ±ä »êÁ¶´Â º»·¡ÀÇ ±Â°Å¸®Àå´ÜÀ¸·Î ¿¬ÁÖÇÏ¿´°í, ªÀº »êÁ¶´Â ±Â°Å¸®ºÎºÐÀ» ÀÚÁø¸ð¸®·Î °íÃÄ ¿¬ÁÖÇÏ¿´´Ù
¡Ü ÃëŸdz·ù
ÃëŸdz·ù´Â ¹Î¼Ó¾Ç¿¡¼­ ¿¬Áֵǰí ÀÖ´Â ´ëdz·ù¿Í ¹ö±Ý°¡´Â ¹Î°£ dz·ùÀ½¾ÇÀÌ´Ù. ¾Ç°î ±¸¼º¿¡¼­ ´ëdz·ù´Â ±ä¿°ºÒ, ¹Ý¿°ºÒ, Ÿ·É, ÇêưŸ·É, ±Â°Å¸®, ÀÚÁø±Â°Å¸®, ´ç¾ÇÀ¸·Î ÀÌ·ç¾îÁ®ÀÖ°í ÃëŸdz·ù´Â ÃëŸ, ±æ±º¾Ç, ±æ±º¾Çµ¹Àå, ±æŸ·É, ¿°ºÒŸ·É, »ïÇöŸ·É, º°°îŸ·ÉÀ¸·Î ¿¬ÁֵȴÙ. °îÀÇ ºü¸£±â¸¦ º¸¸é Ã럺ÎÅÍ ±æŸ·É±îÁö´Â ¿Ï¸¸È÷ ÁøÇàµÇ´Ù°¡ ¿°ºÒŸ·É¿¡¼­ ´À·ÁÁö°í ÀÌÈÄ »ïÇöŸ·É ù° Àå´Ü¿¡¼­ ´Ù½Ã »¡¶óÁ®¼­ º°°îŸ·É±îÁö ¿¬°áµÈ´Ù. ¿¬ÁÖ ÇüÅ°¡ Á¤¾Ç°ú ¾à°£ÀÇ Â÷ÀÌ´Â ÀÖÁö¸¸ ±× ±âº» Â¥ÀÓ»õ´Â °°´Ù ÀÌ À½¹Ý¿¡¼­ ÃëŸdz·ù´Â Áö¿µÈñ ¼±»ý²²¼­ 亸 Á¤¸®ÇÑ ¾Çº¸¿¡ ¹ÙÅÁÀ» µÎ°í ¿¬ÁÖÇÑ´Ù.
¡Ü ÇÁ·ÎÇÊ
±èÁ¤¸²(ÑÑïö×ù Jeong-lim, Kim)
¼­¿ï±¹¾Ç¿¹¼ú°íµîÇб³ Á¹¾÷
Ã߰迹¼ú´ëÇб³ ±¹¾Ç°ú Á¹¾÷ ÇرÝÀü°ø
ÀÌÈ­¿©ÀÚ´ëÇб³ À½¾Ç´ëÇпø Á¹¾÷
¼­¿ï ±¹¾Ç¿¹°í, ´ë±¸¿¹´ë, Àü³²´ë, ¿ëÀδë, ºÎ»ê´ëÇб³ ´ëÇпø °­»ç ¿ªÀÓ
Çö, ±¹¸³±¹¾Ç¿ø ¹Î¼Ó´Ü ´Ü¿ø
ÀÌÈ­¿©ÀÚ´ëÇб³ ´ëÇпø ¹Ú»ç°úÁ¤(Çرݿ¬ÁÖÀü°ø)
KBS±¹¾Ç°üÇö¾Ç´Ü ¿¬ÁÖȸ ÇرÝÇù¿¬(1990.12)
ÀϺ» ¹®È­¿øÁÖ°ü 3ÀÎ À½¾Çȸ ÃÊû¿¬ÁÖ(1999.12)
ÀϺ»¹®È­¿øÁÖ°ü 4ÀÎÀ½¾Çȸ ÃÊû¿¬ÁÖ(2000.12)
Á¦1ȸ °³ÀÎ µ¶ÁÖȸ(1995.12)
Á¦2ȸ °³Àε¶ÁÖȸ(1997.6)
Á¦3ȸ °³Àε¶ÁÖȸ(2000.4)
±¹¸³±¹¾Ç¿ø »ó¼³ ¹× Á¤±â¿¬ÁÖȸµî ´Ù¼ö Çرݵ¶ÁÖ
À¯·´ ´ºÁú·£µå ³²¹Ì Áß±¹ µ¿,¼­³²¾Æ½Ã¾ÆÁö¿ª ´Ù¼ö ÇØ¿Ü°ø¿¬
¿À´À¸§ ½Ç³»¾Ç´Ü À½¹ÝÁ¦ÀÛ Âü¿©(1994.1)
»ï¼º ³ªÀ̼¼½º ÀþÀº»êÁ¶½Ã¸®Áî 4Áý Çرݵ¶ÁÖ(1997.9)
±èÁ¤¸² Çرݵ¶ÁÖ°îÁý1 CDÀ½¹ÝÃâ¹Ý(2002.1)
±èÁ¤¸² Çرݵ¶ÁÖ°îÁý2 »êÁ¶¿Í ÃëŸdz·ù CDÀ½¹ÝÃâ¹Ý(2004.10)
ÀüÁÖ ´ë»ç½À ÇлýºÎ Â÷»ó(1986)
°æÁÖ ½Å¶ó¹®È­Àç ÀÔ»ó(1986)
µ¿¾Æ±¹¾ÇÄáŬ ÀϹݺΠ´ë»ó(1990)
¼­¿ï ±¹¾Ç´ë°æ¿¬ ´ë»ó(1999)
KIM JEONG-LIM'S HAEGEUM SOLO II
SANJO & PUNGNYU
¡Ü The PROGRAMME
* The Ji Yeong-heui Ryu Haegeum Sanjo Áö¿µÈñ·ù ÇرݻêÁ¶
Gin Sanjo (longer version) ±ä»êÁ¶ 27:34
1 Jinyangjo Áø¾çÁ¶ 09:43
2 Jungmori Á߸𸮠07:25
3 Jungjungmori ÁßÁ߸𸮠04:43
4 Gutgeori ±Â°Å¸® 02:11
5 Jajinmori ÀÚÁø¸ð¸® 03:32
Jjalbeun Sanjo (shorter version)ªÀº»êÁ¶ 11:42
6 Jinyangjo Áø¾çÁ¶ 03:35
7 Jungmori Á߸𸮠02:34
8 Jungjungmori ÁßÁ߸𸮠01:24
9 Gutgeori ±Â°Å¸® 01:48
10 Jajinmori ÀÚÁø¸ð¸® 02:21
* Chwitapungnyu ÃëŸdz·ù 18:14
11 Chwita ̑٠04:52
12 Gilgunak ±æ±º¾Ç 01:59
13 Gilgunakdoljang ±æ±º¾Çµ¹Àå 01:38
14 Giltaryeong ±æŸ·É 01:07
15 Yeombultaryeong (Ginyeombul) ¿°ºÒŸ·É (±ä¿°ºÒ) 03:07
16 Samhyeontaryeong (»ïÇöŸ·É) 02:03
17 Beolgoktaryeong (º°°îŸ·É) 03:23
¡Ü NOTES FOR THE REPERTORY
* The Ji Yeong-heui Ryu Haegeum Sanjo
Ji Yeong-heui (1909-1979) greatly contributed to developing the music for a haegeum (two stringed spike fiddle) in a modern Korean music. He particularly achieved to make melodies of the Gyeonggi gut (shaman ritual practised in the Gyeonggi areas) on works for stages as an independent musical genre. The Ji Yeong-heui Ryu (means version/ style) Haegeum Sanjo (virtuoso solo instrumental music within improvisation) adopts the character of a cheerfulness, simplicity and gentleness of the Gyeonggi music in general. Especially Ji Yeong-heui's Gyeonggi melodies called "gyeongdreum" or "gyeongjo" has his own congenial atmosphere which would suit to express in only the haegeum itself.
The unique interpretation of his version can be seen in rendering the jangdans of Gutgeori (akjang=section) and Jungjungmori (akjang). Jangdan(s) in Sanjo play a principle role in framing the Sanjo music. The formation of the jangdans in a Sanjo music signifies not only a rhythmic organisation, but a temporal arrangement that normally proceeds from a slow tempo to a fast one in a gradual change. For instance, there is a common feature in forming the jangdans in order: 'Jinyangjo' is the first jangdan and at the same time is the first section that is the slowest tempo and 'Hwimori' or 'Jajinmori' is the fastest jangdan and the last section in any kind of Sanjo versions. However, in order to display an individual version/ style (ryu), Sanjo master players can add other types of jangdan based on this jangdan frame. Ji Yeong-heui added a Gutgeori akjang/jangdan that is his main exponent area in between the Jungjungmori and Jajinmori akjangs, which distinguishes from other Ha! egeum Sanjo versions.
In performance, the tempo or speed of a Gutgeori jangdan (akjang) should be proceeding naturally and gradually to the Jajinmori akjang, when changing. In this performance norm, the Gutgeori akjang used to be rendered either making the Gutgeori jangdan much faster, or making the Jajinmori jangdan much slower in tempo, rather than using the Gutgeori jangdan as it is. This practice has broken the musical form of the Sanjo that the Gutgeori jangdan takes its own melody, but its rhythm and tempo are adopted by a different jangdan - Jajinmori. This resulted in unmatching its name in terms of jangdan and akjang. Accordingly such performing method created two issues: one is the melody of the Gutgeori akjang can be getting slower down than in the Jungjungmori one; the other is that the faster becomes the second bicheong melody in the second part of the Gutgeori akjang, the more effective is its performance, thus not being adequate to be performed with the Gutgeori jangdan.
From these problems, Choi Tae-hyeon, a disciple of Ji Yeong-heui, replaced the Gutgeori jangdan to the Gutgeori akjang. He used a divisive method in order to recount the beats that the dotted triple notes are divided into 2+1 or 1+2 for bowing. This approach prevented the Gutgeori akjang from being much slower down than the Jungjungmori akjang.
He also solved the problem of the bicheong melody by putting it into the Jajinmori akjang. The Jungjungmori akjang of the longer version of the Sanjo music also can be played adding by semaru which is similar to the melodies of the Shin Koae-dong Ryu Geomun'go (6 stringed plucking zither) Sanjo, Kim Il-gu Ryu Ajaeng (7 stringed zither with bow) Sanjo and the dulcimer music. In this CD the longer version was played as an original Gutgeori jangdan, but the shorter version was adapted from the Gutgeori section to Jajinmori.
* Chwitapungnyu ÃëŸdz·ù
Chwitapungnyu (ensemble for processional music) in folk music is one of the leading pungnyu (ensemble music performing classic genre) music practised by folk musicians along with Daepungnyu (large scale of orchestra for classic music). In musical forms, Daepungnyu consists of Ginyeombul, Banyeombul, Taryeong, Heoteuntaryeong, Gutgeori, Jajingutgeori and Dangak, while Chwitapungnyu is played Chwita, Gilgunak, Gilgunakdoljang, Giltaryeong, Yeombultaryeong, Samhyeontaryeong and Beolgoktaryeong. In the Chwitapungnyu, the change of tempi proceeds gradually faster from Chwita to Giltaryeong, and then slows down at the Yeombultaryeong, then getting faster again from the first jangdan of Samhyeontaryeong towards Beolgoktaryeong. Its performing style is slightly different from that of jeong'ak (classical music), but its basic form is the same. In this CD, the Chwitapungnyu is based on the musical notation that Ji Yeong-heui himself transcribed.
¡Ü PROFILE OF PERFORMER
Kim Jeong-lim (haegeum)
Graduated from Seoul Gugak (Korean traditional music) Arts Senior School, she specialised in the haegeum at Chugye Yesul College. Then she obtained the M.A. in music at Ehwa Women's University. Having taught the haegeum at several colleges such as Seoul Gugak Arts Senior School, Daegue Yesul College, the Universities of Jeonnam, Yong'in and Busan, she is currently a member of Gungnipgugakwon Minsokdan and is researching music as a PhD. student at Ehwa Women's University.
She has performed a number of occasions under the programme of the Regular Stage supported by Gungnipgugakwon. Besides these, other joint concerts are as follows:
December 1990 joined in the KBS Gugak Orchestra
December 1999 joined in the Concert for Three Performers sponsored by the Japanese Cultural Centre in Seoul
December 2000 joined in the Concert for Four Performers sponsored by the Japanese Cultural Centre in Seoul
Solo recitals are below:
December 1995 The 1st solo performance
June 1997 The 2nd solo performance
April 2000 The 3rd solo performance
She also toured overseas - European countries, New Zealand, South America, China, South and West Asian countries.
She has released a number of CDs:
January 1994 joined in a recording session for Oneureum Ensemble
September 1997 The 4th Haegeum Solo under the title of the Young Sanjo Series sponsored by the Samsung Naises
January 2002 The 1st Kim Jeong-lim Haegeum Solo
October 2004 The 2nd Kim Jeong-lim Haegeum Solo for "Sanjo and Chwitapungnyu"
She won numerous prizes in the competitions: The second award for Jeonju Daesaseup for the junior and award for the Gyeongju Shilla Cultural Property in 1986; grand prix for the Dong'a Gugak Competition for the senior in 1990; grand prix for Seoul Grand Gugak Contest in 1999.

  »ç¿ëÈıâ
À§ »óÇ°À» »ç¿ëÇغ¸¼Ì´Ù¸é »ç¿ë¼Ò°¨À» ½á ÁÖ¼¼¿ä!  

  »óÇ°¹®ÀÇ 
À§ »óÇ°¿¡ ´ëÇÑ ±Ã±ÝÇÑ »çÇ×ÀÌ ÀÖÀ¸½Å ºÐÀº Áú¹®ÇØ ÁÖ¼¼¿ä!  

  ¹è¼Û/±³È¯/¹ÝÇ° 

  °ü·Ã»óÇ°
ÀÌ »óÇ°°ú °ü·ÃµÈ »óÇ°ÀÌ ¾ø½À´Ï´Ù.

 
 
ȸ»ç¼Ò°³ | ¼­ºñ½º ÀÌ¿ë¾à°ü | °³ÀÎÁ¤º¸ º¸È£Á¤Ã¥
10118 °æ±âµµ ±èÆ÷½Ã ½Â°¡·Î 89, 102-301(dz¹«µ¿, À帪¸¶À»»ï¼º½¦¸£ºô)
ÀüÈ­: 031-984-5825. 010-3758-5845 / Æѽº: ¸ÞÀÏÁÖ¼Ò: topcd21@hanmail.net
»ç¾÷ÀÚµî·Ï¹øÈ£: 114-04-50660 ´ëÇ¥ ¾çȯÁ¤ / Åë½ÅÆǸž÷½Å°í: Á¦2006-234È£
¿î¿µÀÚ: ž¿¹¼ú±âȹ (topcd@dreamwiz.com) °³ÀÎÁ¤º¸°ü¸®Ã¥ÀÓÀÚ: ¾çÁ¤È¯(ȯÁ¤)

Copyright © 2005 ž¿¹¼ú±âȹ. All Rights Reserved.