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 ¤ý ¹ß¸ÅÀÏ: Manufactured by HWAEUM. 2005.12. Seoul, Korea
 ¤ý ³ìÀ½: 2002.3.17. Çѱ¹À½¹Ý½ºÆ©µð¿À
 ¤ý µð·ºÅÍ: ¾çÁ¤È¯ (À½Á¦1442È£) / ¨Ü&¨Ï: Yang Jeong-hwan, www.gugakcd.com
 ¤ý ºñ°í: Cover Design / Musong
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¡Ü Releasing the Album of Dongpyeonje Jeokbyeokga
Song Sun-seop (holder of pansori Jeokbyeokga, Important Intangible Cultural Asset no. 5)
I am very thrilled to have my own album of Dongpyeonje (pansori style and repertoire practised in the East side of Jeolla areas, southern part of Korea) Jeokbyeokga released at the age of 70. I started to learn it with the late Park Bong-sul, a master pansori singer, and the more time passes, the more difficult to sing this repertoire I feel. Nevertheless, I think it is a time to release the repertory as an album to the public and to get positive comments from pansori lovers, so that I am able to make more efforts toward a completion of its interpretation.
Whenever I perform the Dongpyeonje Jeokbyeokga, I remember what my teacher used to give me the same advice: "you may sing certain parts of its saseol (text) by correcting by yourself, if there are any wrong letters or words in it." Based upon his encouragement and with my curiosities and desires to go into much deeper level, I have been trying to inquire into all the questions (i.e. some ambiguous meanings, or distorted parts) related to the saseol of Jeokbyeokga from various sources such as scholars, books, and so on. I have belief that the content of the saseol and pitches of jangdan seem to be vital in pansori singing, and I try to stick to those elements when I perform it.
Through such passion I feel proud of such hardship in search of finding out profound meanings that pansori saseols possess. My happiest and proudest moments were when I challenged the Jeonju Daesaseupnori Competition bringing my talent with only the Dongpyeonje Jeokbyeokga and won the Grand Prix. Now I became to understand in my heart the phrase - "dongpyeonje sori possesses a high spirit". I am about to feel the deeper level of singing and have a new way of experiencing singing this repertory.
I owe my great debt to my teacher, Park Bong-sul, and I would like to dedicate this CD to him. I would also like to thank those who encouraged me and helped release this repertory.
¡Ü Dongpyeonje Jeokbyeokga by Song Sun-seop, master pansori performer
Yu Yeong-dae (Prof. of Korean Literature, Korea University)
Song Sun-seop will greet a celebration of his 70th birthday. Traditionally a person in such an age should be precautious with his health and need to be self-restraint. But he is still active in his engagement in sori (means 'singing'/ vocal music) and shows a finesse of an energetic, light and clear and crisp voice in his pansori performance.
Born in Goheung, Jeollanamdo, a home of Korean sori and graduated from the Middle School there, Song Sun-seop entered a sori world in his early age. He learned a variety of styles and repertories with the contemporary master singers and then made his own singing style. He started to learn Four Pansori Repertories with master singers: Heungboga with Gong Dae-il in 1957; Shimcheongga with Kim Jun-seop; Jeokbyeokga with Park Bong-sul and Chunhyangga with Kim Yeon-su. Song Sun-seop is regarded as a performer who has an enormous and tireless intentions and incredible concentration of his attention with learning and seeking a good sori. He also made his own version of the total Five Repertoire of Pansori after studying Sugungga and Heungboga with Park Bong-sul. In particular encountering Park Bong-sul led him to apprehend the quint-essence of a Real McCoy of a singing practice. He was gained the honourship of Human Treasure through the Park Bong-sul je Jeokbyeokga.
Jeokbyeokga sung by Song Sun-seop is also called 'Songpan' that refers to the Dongpyeonje Jeokbyeokga. The dongpyeonje singing style constitutes a number of features. It is framed by the 'daemadi daejangdan' that requires a burly voice in its line of the sounds. Such old singing style also demands an extra energy of masculinity. His dongpyeonje pansori follows a lineage of Song Man-gap and Park Bong-sul.
Jeokbyeokga is based on a historical literature - Samgugjiyeonui that depicts the episodic story of the Great Battle between Son Gwon and Jo Jo at the Jeokbyeok River. Then it was made with music as pansori. It is also called 'Hwayongdo' whose title derived from the commemorative song of Jo Jo when he was defeated and retreated at Hwayongdo and a scenery where he was forgiven by Gwan Wu. Jeokbyeokga is divided into many subtitles such as Samgochoryeo, Battle of Jangpangyo, Gunsaseorumtaryeong, Scene of praying for dongnampung, Scene of the archery by Ja Ryong, Great battle of Jeokbyeok, Hwayongdo, and so on.
It is assumed that Jeokbyeokga have sung during the Joseon Dynasty (1392-1905) as a pansori genre when the upper class favoured it. The repertory was illuminated at that time by such master performers - Song Heung-rok, Mo Heung-gap, Bang Man-chun, Ju Deok-gi during the reign of Sunjo in around the early 19th century and during the reign of Choeljong in the middle of the 19th century Park Yu-jeon, Park Man-sun, Jeong Chun-pung, Kim Chang-rok, Seo Seong-gwan, Yi Chang-un, and so on. There are many master singers between the late 19th and the 20th century, and such experts on Jeokbyeokga include Jo Gi-heung, Park Gi-heung, Song Man-gap, Yu Seon-jun, Yi Dong-baek, Kim Chang-ryong, Jang Pan-gae, Jo Hak-jin, Yim Bang-ul, Kim Yeon-su, Gang Jang-won, Park Bong-sul, Jeong Gwon-jin, Park Dong-jin, Jeong Gwang-su, and so on.
Today the Jeokbyeokga repertory has traditionally been transmitted by four different 'je' (means versions or styles) and those lineages are as follows:
(i) 'Songpan' follows the line of Song Heung-rok - Song Gwang-rok - Song Wu-ryong - Song Man-gap - Park Bong-sul - Song Sun-seop; (ii) 'Yu Seong-jun je' is transmitted by Song Heung-rok - Song Gwang-rok - Song Wu-ryong - Yu Seong-jun - Jeong Gwang-su; (iii) 'Jeong Eung-min je' is followed by Park Yu-jeon - Jeong Jae-geun - Jeong Eung-min - Jeong Gwon-jin; (iv) 'Jo Hak-jin je' follows Jeong Chun-pung - Park Gi-heung - Jo Hak-jin - Park Dong-jin. Song Sun-seop follows the 'Songpan' of Jeokbyeokga.
Jeokbyeokga rendered by Song Sun-seop contains with a meticulous saseol which is logical in its story development. Pansori saseol was an integration of Korean traditional culture including both social stratifications of the upper class and the commoner. Accordingly certain parts can be difficult to interpret if there is no footnote or reference, or certain parts can be impossible to interpret even by its experts. When Song Sun-seop teaches pansori in a class, he explains first its whole story and move to the meanings of the saseol and then to gosaseongeo (set phrased ancient events/episodes). When his students understand it as a totality and in detail, he then teaches its music. Song Sun-seop was known for his painstaking research into the profession around which each repertory of pansori centred, drawing the saseols from making sense of it and taking up to long time to master each pansori repertory. The book - Pansori Dongpyeonje Jeokbyeokga was born out of such result! s of the process. When listening to this CD, the audience will be taking a fresh interest in his saseol.
Style of his sori is refined and grave. His vocal quality is thick particularly in a lower register that sounds attractive. He can also produce as high tones as he wants that sounds simple, bright, light and even rich. His voice is an embodiment of 'han (roughly means 'longing for')' that is expressed particularly in 'aewonseong' (one of the vocal techniques that is rendered for an entreaty scene in pansori performance). He is also good at articulating certain parts of the saseol with a manner of command. Such elements are considered as great values for a pansori performer to the core as a 'gwangdae (refers to a true sense of a professional performer)' in our time.
Above all, Song Sun-seop understands the real meaning of 'pan', and he actively engaged in his performance with the audience. He sensitively grasps the taste and response that the audience bring and in return he rewards their applauds and acclamations by adequately interacting with them. This attitude towards the audience's response makes his singing to render slightly different in each performance. This CD displays his musical skills and its maturity. I hope the audience and pansori lovers will be enjoying his mastery singing.

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