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 ¤ý µð·ºÅÍ: ¾çÁ¤È¯ (À½Á¦1442È£) / ¨Ü&¨Ï: Yang Jeong-hwan, www.gugakcd.com
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¡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-099
 
  ÙãáÔäÅÀÇ Ù£ìÑ(°æ±âµµ ¹«Çü¹®È­Àç Á¦15È£ ¿¹´Éº¸À¯ÀÚ)
  Çã¿ë¾÷ ±â¾Ç µ¶ÁÖÁý
  Master musician of the shaman and folk music
  HEO YONG-EOP SOLO INSTRUMENTAL ALBUM
 
  ¡á È£Àû(ÅÂÆò¼Ò)µ¶ÁÖ The hojeok(taepyeongso) repertoire
     1. ¿°ºÒ, ¹Ý¿°ºÒ 03:46
     2. ±Â°Å¸® 02:11
     3. ²É¹æ¾ÆŸ·É 02:33
     4. ´É°èŸ·É 02:10
     5. ±æŸ·É 02:12
     6. ÇãưŸ·É 02:18
     7. ÀÚÁø¸ð¸®, ÈÖ¸ð¸®, dz³â°¡ 01:58
  ¡á ÇǸ®µ¶ÁÖ The piri repertoire
     8. ¿°ºÒdz·ù(¿°ºÒ, ¹Ý¿°ºÒ, »ïÇöµµµå¸®, º°°îŸ·É, ±Â°Å¸®, ÀÚÁø±Â°Å¸®, ´ç¾Ç) 16:22
     9. âºÎŸ·É 04:44
    10. ÃëŸdz·ù(ÃëŸ, ±æ±º¾Ç, ±æŸ·É, º°°î, ´À¸°ÇãưŸ·É, ÀÚÁøÇãưŸ·É) 10:54
    11. ÀÚÁøÇÑÀÙ 06:05
  ¡á ´ë±Ýµ¶ÁÖ The daegeum repertoire
    12. ¿°ºÒdz·ù(¿°ºÒ, ¹Ý¿°ºÒ, ±Â°Å¸®, ´À¸°ÇãưŸ·É, ÀÚÁøÇãưŸ·É, ´ç¾Ç) 06:53
    13. û¼º°î 02:30
  ¡á Çرݵ¶ÁÖ The haegeum repertoire
    14. ÇرÝdz·ù(¿°ºÒ, ¹Ý¿°ºÒ, ±Â°Å¸®, ´À¸°ÇãưŸ·É, ÀÚÁøÇãưŸ·É, ´ç¾Ç) 06:51
    15. ±æ±º¾Ç 01:58
  Total 73:57
 
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Master musician of the shaman and folk music
HEO YONG-EOP
SOLO INSTRUMENTAL ALBUM
The hojeok(taepyeongso) repertoire
1. Yeombul & Banyeombul
2. Gutgeori
3. Ggotbang¡¡ataryeong
4. Neunggyetaryeong
5. Giltaryeong
6. Heoteuntayreong
7. Jajinmori, Hwimori & Pungnyeonga
The piri repertoire
8. YeombulPungnyu (Yeombul, Banyeombul, Samhyeondodeuri, Byeolgogtaryeong, Gutgeori, Jajingutgeori & Dang¡¡ak)
9. Changbutaryeong
10. ChwitaPungnyu (Chwita, Gilgunak, Giltaryeong, Byeolgog, Neurinheoteuntayreong, & Jajinheoteuntaryeong)
11. Jajinhannip
The daegeum repertoire
12. YeombulPungnyu (Yeombul, Banyeombul, Gutgeori, Neurinheoteuntayreong, Jajinheoteuntaryeong & Dang¡¡ak)
13. Cheongseonggog
The haegeum repertoire
14. HaegeumPungnyu (Yeombul, Banyeombul, Gutgeori, Neurinheoteuntayreong,
Jajinheoteuntaryeong & Dang¡¡ak)
15. Gilgunak
Notes for CD sleeve: Kim Jeom-seok
Engineer: Hong Dong-gi
Location of recording: The Dada Recording Studio
Time of recording: July 1996
The hojeok, piri, daegeum & haegeum/ Heo Yong-eop
The daegeum/ Kim Jeom-seok(track 10)
The janggo/ Jang Deok-hwa
Musical world of the master performer - Heo Yong-eop
Born in 1947 at Sutaengni Gurimyeon Yangjugun, Gyeonggi province, Heo Yong-eop was the second child of four children. Since then he has mostly grown up at ¡¡Damteo¡¡ near his birth place and close to Seoul. Heo Yong-eop was born in a hereditary folk musician¡¡s family. His father - Heo Sang-cheon - was a piri player performed in professional folk groups as well as his uncle on father¡¡s side - Heo Sang-bok - was actively engaged in performing folk music as a master musician around 1940-50s in Korea. However, his father discouraged his son to be a professional musician, because at that time traditional musicians, especially folk players, were very looked down regarding their social status and job, and suffered from a social prejudice .
But Heo Yong-eop tried to learn a piri for himself in secret, and he used to practice it from his father¡¡s sound at a secluded place. He was used to try to do ¡¡gim¡¡, a playing technique that is to practice to blow his breath out by blocking the 8 finger holes of the piri, which is an essential stage in learning it. Then he could play it much better, when he was at the age of 11. At his father¡¡s absence he was practising it openly at his father¡¡s room. Then he was caught up practising it by his father. He was so angry with his son¡¡s act that he severely punished his son physically. His intention was to stop his son taking up the instrument. But Heo Yong-eop was not discouraged by his father¡¡s punishment at all. But he was rather getting more and more enthusiastic in learning it. Finally his father gave up his son¡¡s willingness.
It was his uncle who encouraged him to study it in a proper way, when Yong-eop¡¡s father died at the age of 42. As recognised Yong-eop¡¡s musical ability, his uncle introduced Yong-eop to a master musician of his contemporary - Yi Chung-seon to receive a formal musical training. Under his apprenticeship, Heo Yong-eop made enormous progress in acquiring his musical skills. He almost completed a course of basic repertoire of music of samhyeon and overall shaman music for two month¡¡s lessons from Yi Chung-seon. In order to learn the piri further he went to Gang Hak-su, another piri master. Gang was a principle disciple of Kim Yeo-gwan who was a master musician on the piri music affiliated to the court during the late Joseon Dynasty.
His musical talent became at the height under the Gang¡¡s teaching that would possess the very traditional way of playing the piri. So his performing style may be an authentic lineage of transmitting the piri repertoire. He also received other styles of piri techniques from Yi Il-seon, who was wellknown for a ¡¡geoptwigim technique¡¡ of Yeombultaryeong that is an essential repertory of music of samhyeon at that time. Beside learning the piri, he took an interest in other instruments as well, and he was received formal training with such as a janggo, daegeum, haegeum and hojeok with master musicians. They include Ji Gap-seong & Yi Jeong-eop (janggo), Yi Il-seon, Gang Hak-su, Yi Chung-seon & Ji Yeong-hee (piri), Heo Sang-bok, Yi Chung-seon & Han Beom-su (daegeum), Ji Yeong-hee & Heo Sang-bok (haegeum), and Choi In-seo & Jeong-Gyu-nam (hojeok).
Having learned repertories and performance skills from such many master players, Heo¡¡s interpreting such repertories should be highly regarded as a genuine artist.
A brief note for the programme
Hojeok Yeombul & Banyeombul
Yeombultaryeong was particularly wellknown that two master players, Choi In-seo and Im Won-sik, played on the double hojeok regularly appearing on the KBS Radio Broadcasting, but its repertory became rare to be heard nowadays. Most contemporary ensembles tend to perform Daechwita of Chwiju music, but Yeombultaryeong has hardly been performed by the form of ensemble.
Hojeok Yeombul (Yeombul played on a hojeok) is largely used in accompanying the Nabi dance performed by monks, or religious music when religious rituals are holding in temples. But even today in temples, Hojeok Yeombul has hardly been played. The reason would lie in the fact that Yun Man-soon, a monk and a disciple of Choi In-seo, had his name entered in the family name due to his advanced age, and consequently he no longer performs it. Kim Jeom-seok and Heo Yong-eop have played it and Banyeombul by adapting the double hojeok players at the Seodo Sori Festival sung by Shin Jeong-ae and Yu Ji-sook.
In this CD, Heo Yong-eop includes Hojeok Yeombul & Banyeombul that are Gyeonggije hojeok melodies as solo, and such performance could be valuable greatly and benefit to younger players as educational purposes.
Ggotbang¡¡ataryeong
Traditional melodies for a hojeok have long been transmitted in Daedongnori, or folk festivals which are held in the Gyeonggi province centred on Seoul area. But its melodies were almost lost due to a death of master players. Fortunately Kim and Heo revived and performed its melodies at the Seodo Sori Festival. Its musical form comprises relatively short three sections like in other gyeonggije melodies for the hojeok. Its melody is elated and amusing. It has widely been performed on the double hojeok along with Hojeok Neunggyetaryeong. In this CD, Heo plays it as a hojeok solo.
Neunggyetaryeong
There will be no melodies for another hojeok as widely known as Neunggyetaryeong whose melodies are originated from Gyeonggi areas for the hojeok. It consists of three sections deriving from its melodies that seems to be adapted by the famous shaman song - Changbutaryeong. Unlike other melodies from the hojeok, its melody that is accompanied with a gutgeori jangdan is the most tasteful and fun, and this tune is regarded as the core of the master piece for the instrument. Heo¡¡s vigorous hojeok tone adds more a delightful atmosphere.
Hojeok Heoteuntayreong
Please refer to the notes of Jajinmori, Hwimori of the samhyeon music and Heoteuntaryeong.
Pungnyeonga
Pungnyeonga is widely known as a folk song from Gyeonggi areas, and in this CD it is chosen to be played as a final tune. It denotes ¡¡keeping always an industrious mind¡¡ that derives from wishing farmers a good harvest, and it has been the most favourite tune among the hojeok players.
Yeombul (or Heoncheonsu)
There are two ways of performing for this piece of music: (i) in jeong¡¡ak, a daegeum or danso is used for solo, though it is rare to be performed; (ii) in folk music, it is used for a wind ensemble, or the second section of samhyeonyukgag. This music is also used for accompanying a dance repertory for Seungmu (Buddhist dance), one of the essential and important dancing repertories in traditional folk dance. It is a standard piece of music and is one of the required musics for professional folk musicians. And of these Yi Il-seon made it famous for his ¡¡geoptwigim¡¡ technique on the piri. Heo Yong-eop reconstructed Yi¡¡s special technique and his rendition reminisces the master¡¡s traditional old style of playing.
Heo introduces a number of different versions of Yeombultaryeong on such instruments as Yi Chung-seon Ryu Daegeum Yeombultaryeong, Heo Sang-bok Ryu Haegeum Yeombultaryeong, Choi In-seo Ryu Hojeok Yerongbultaryeong, and so on, and he displays his versatility of performance techniques.
Banyeombul
Banyeombul consists of the third section of samhyeon music that is followed by Yeombultaryeong. This music belongs to a central part of shaman music called ¡¡Yeongsangeori¡¡ that is used in a shaman ritual. Texture of its melody is relatively simple and short, but its proper rendition depends on a player¡¡s musical skill. Particularly the late Choi Seok-gil and Kim Man-yong made it famous.
Samhyeondodeuri
This music belongs to jeong?ak that is included in Gwan¡¡ak Yeongsanhoisang (one of the representative classical repertories), but it is also played in folk music and is popular. It is followed by Banyeombul of the samhyeon music, and it can be categorised as the forth section in a practice of folk music. It is widely used in shaman ritualistic purposes in shaman music. In a case of performing folk music it has been rare to find performers to play this piece in an authentic way, but Heo plays it in a traditional manner.
Byeolgogtaryeong
It is the fifth piece of the samhyeon music. It has five sections: it develops starting with a heavy and slow jangdan and altering into a lively melody by drawing into a gradual tense. Then its melody flows entering into Byeolgogtaryeong and is becoming fluent and tasteful. Its characteristics lies in that part of ¡¡soi¡¡ is a point where the highest range of the piri is exploited. It is a piece of music called ¡¡Gun¡¡ak¡¡ of Yeongsanhoisang in jeong¡¡ak that is very frequently performing. It is originally played in a wind ensemble, but Heo renders it as a piri solo which is very rare.
Gutgeori and Jajingutgeori
Gutgeori and Jajingutgeori are the fundamental repertories for musicians. These are very important and essential repertories in relation to folk music, whereas it is played for only dancing accompaniment in jeong¡¡ak. Its music was derived from music for shaman rituals in Gyeonggi areas centred on Seoul, but it is not known its composer and origin.
These pieces can be expressed the best when being played in an ensemble of samhyeonyukgak that provides a distant booming taste and pleasure. Stock melodies of Gutgeori have long been a typical repertoire for displaying folk musicians¡¡ performance competence and for requirement as basic tunes or melodies both for folk music and for folk dances.
Dang¡¡ak
Likewise in Gutgeori, it is used in a music for a professional shaman ritual. Its melodic frame is very tasty and enraptured. Its composer, like in Gutgeori, has been unknown. It contrasts to Gutgeori in terms of mood and is a final piece of music in the samhyeon music.
Changbutaryeong
Changbutaryeong is very important music for a shaman ritual that has originally been practised in Gyeonggi province centred on Seoul. It is mainly a shaman song that is sung a text of good wishes at each geory accompanied with a gyeonggije taryeongjo. But such Changbutaryeong became widely known and has been a favourite folk song among the people.
In this CD, Heo Yong-eop played a byeoncheong as special techniques on the piri that include a 7 gwan (means ¡¡tubes¡¡), 5 gwan, woncheong (a term for a piri technique that the piri deoreum is used in between the third and forth gwan), 2 gwan (called ¡¡bicheong¡¡), and so on. This way of performance contains a performing process of the piri that needs to be tuned to the cheong that possesses in transient and changeable shaman song repertoire, by adapting the piri techniques required in a shaman music. This will be helpful to understand various ways of rendering the piri techniques for younger musicians who may know only a basic folk song cheong, that is the 7 gwan.
Chwita
It is also called ¡¡Manpajeongsikjigog¡¡ that is categorised as jeong¡¡ak, and has been transmitted from the Shilla dynasty (B.C. 57-935) and has largely been used in a military music. Due to its valiant spiritual character, it has been played frequently. This piece of music has also been adapted to folk music as a function of a shaman ritual music. Although there are sharp differences between melodies of jeong¡¡ak and shaman music in terms of pitches and playing techniques, these melodies are the same regarding their ¡¡beats¡¡ and ¡¡gag¡¡.
Gilgunak
Gilgunak is playing followed by Chwita and is also used in a military music. But its melodic frame and mood are very different from those of Chwita, and it shows its features of wind instruments. As seen in Sangnyeongsan of Gwan¡¡ak Yeongsanhoisang it gives a complete form of the ending melody of the piri indicated by melodies of the daegeum and haegeum. Such way of ending is very gusto provided by echoes of the two instruments. This performance is shown to advantage in the piri part displayed by Heo Yong-eop¡¡s witty and imposing playing technique. Heo also plays the heageum as a solo and displays its important role in a melody of Gilgunak.
Giltaryeong
As mentioned in earlier, the order of playing the samhyeon music can be conventional, but it can be modified by the way in which it starts with playing Chwita and is followed by Gilgunak. Giltaryeong is immediately followed as soon as melodies of Gilgunak finishes, and a repertory that concludes the ends of the Samhyeonchwita music. Its melodic texture can be simple and rather short, but its ¡¡beats¡¡ gives relatively much fun.
A melody for a hojeok is similar to that of Giltaryeong, and it is also used as religious music when yeongsanje is offered as a Buddhist ritual in temples. Heo Yong-eop plays Giltaryeong of the samhyeon music and Hojeok Giltaryong with the piri and the hojeok respectively.
Heoteuntayreong & Jajinheoteuntaryeong
As indicated in its name or title in itself, Heoteuntayreong is a repertory that players can render in an improvisational manner free from its fixed frame. Nonetheless it is one of the most important repertories that is employed as in many aspects of music as in a Gutgeori music. It is usually followed by Gutgeori and its repertory has been used in every kind of occasions and ceremonies in folk life, and its role and function remain intact even nowadays.
Because of disregarding its vital role in performing situation by some players, it is necessary to emphasise and explain this piece of music in relation to a piri playing technique. This repertory is a music that performers can show off their playing technique and musicality at the best as they can on any instruments without limits and impediment. Such special techniques can be displayed in the ¡¡soitwigim¡¡, ¡¡moktwigim¡¡, ¡¡deoreum¡¡, and so on, on a piri, the ¡¡ddeo¡¡iyeo twigim¡¡ hand technique rendered on the upper cheong on a daegeum and the ¡¡ingyeojul¡¡ hand technique on a haegeum. Thus its ¡¡tasteful¡¡ feel and refinement depend entirely on the performer¡¡s ability to execute these techniques and to interpret the music.
Today such tasty and exciting qualities of expressions of the heoteun melodies cannot be found in any performances at all. And this situation would be derived mainly from a lack of such technique skills for contemporary players compared with master performers of a previous generation. It seems to be me that, above all, folk musicians of today misuse the way of employing various sizes of one particular instrument, especially in the usage of the daegeum, that its ¡¡cheongsae (means ¡¡a pitch of a tone¡¡)¡¡ is about 3 degree higher than a normal pitch. In order to play Heoteuntayreong, a long length of the daegeum, that is a pungnyu daegeum, is required, as its tone and timbre are natural to ear, but largely a short length of the daegeum, that is a sanjo daegeum or junggeum, has been used whose tuning can be slightly different from other sizes of the daegeum. Consequently a taste of its melody in a natural combination of the instrument used would not be inured in its sound that gives an elated and swaying gently feel. To achieve its possible original playing, Heo Yong-eop and other performers in this CD tried to revive the conventional pitches that old masters used to play, employing the pungnyu daegeum. Although their performance technique and ability might be far from those of old masters, these performers applied old masters¡¡ melodic types to the pitches and hand techniques as required in Heoteuntayreong. In order to express its subtle and exquisite touches, Heo plays Heoteuntayreong and Jajinheoteuntaryeong consecutively with the daegeum and haegeum as solo.
Jajinhannip (also called ¡¡Geoseong¡¡ak¡¡, or ¡¡Yeomyangchun¡¡)
Jajinhannip is currently playing for a wind ensemble, or the piri solo in jeong¡¡ak (classical or court music). But at the same time it has widely been performed at a number of musical genres for the prelude of samhyeonyukgak in folk music, or music for shaman rituals, or in general various kinds of performing situations. Performance practice of this particular piece of music has been almost lost, as most professional folk musicians died. In this situation, fortunately Heo Yong-eop reconstructed its music in a traditional way of playing, and he is transmitting it in that way. With this repertory, the audience may be curious with the idea of different interpretations in terms of a performance technique and style of the piri between jeong¡¡ak and folk music. This piece of music is regarded as an essence of the wind ensemble due to its very solemn and rigorous atmosphere. It is also considered as the essential piece of music that properly expresses the characteristics of a samhyeonyukgak repertoire, as its gusto is grave and refined with grace.
Cheongseonggog
Cheongseonggog is also called ¡¡Yocheonsuniljigog¡¡. It is a varied version which suits the characteristic of the daegeum for the purpose of accompanying melodies of gagok (classical vocal music) in jeong¡¡ak. It can be played as a free feeling in terms of beats and jangdan. This repertory has largely and exclusively been played by master haegeum players in jeong¡¡ak, but Heo Yong-eop plays this tune probably for the first time as a folk musician.
A rich and gentle resonance of the lower register, a clean tone colour of the upper register and particularly thrilling cheong echoing sound that derives from a vibration of the ¡¡cheong¡¡ are the daeguem¡¡s characteristic feature. Heo Yong-eop expresses its sound excellently, and it highlights his performance skills.

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