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  TOPCD-101
 
  À̼öÁø °¡¾ß±Ý»êÁ¶
  Gayageum Sanjo Performed by Lee Soo-Jin
  ±èÁ×ÆÄ·ù °¡¾ß±Ý»êÁ¶ Kim Juk-pa ryu Gayageum Sanjo
 
  ¡á 1. ´Ù½º¸§ Daseureum 02:20
  ¡á 2. Áø¾çÁ¶ Jinyangjo 22:49
  ¡á 3. Á߸𸮠Jungmori 10:36
  ¡á 4. ÁßÁ߸𸮠Jungjungmori 03:10
  ¡á 5. ÀÚÁø¸ð¸® Jajinmori 03:57
  ¡á 6. Èָ𸮠Hwimori 05:21
  ¡á 7. ¼¼»êÁ¶½Ã Sesanjosi 04:18
  Total 52:33 
 
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¡Ü BRIEF NOTE OF THE PROGRAMME
The term ?sanjo? refers to ?scattered melodies?. It is an instrumental music which melodies based on Sinawi (highly improvisational instrumental ensemble) and pansori (epic songs performed one vocalist with accompaniment of a barrel drum) are framed on the certain jangdans. Sanjo is regarded as the core of traditional repertories, as it requires a spontaneity and improvisation according to performance situations within a solid form. It is said that the frame of the sanjo was initiated by Kim Chang-jo (1865-1919), master musician, on the gayageum in the late 19th century. Then he and his contemporary master musicians - Park Pal-gae, Shim Chang-re formulated its form. Such masters of the second generation as Gang Tae-hong, Han seong-gi, Choi Ok-sam, Park Sang-geun built up each own melody based on the sanjo form. Then the next generation such as Kim Juk-pa, Seong Geum-nyeon, Hamdong Jeong-wol, Kim Yun-deok and so on established their own gayageum sanjo ryupa (style or version) to settle in. Upon the gayageum sanjo, its form developed other instruments like geomungo (6stringed plucking zither), daegeum (large bamboo flute), ajaeng (7 stringed zither with bow), piri (bamboo oboe). This process of sanjo music became the ground for a remarkable development of Korean music.
Kim Juk-pa (real name is Nan-cho, 1911-1989) was designated as art holder for Important Intangible Cultural Asset no. 23 for her own Gayageum Sanjo in 1979. She learned the sanjo music from her grand father - Kim Chang-jo and his protege - Han Seong-gi (1899-1950) and then she established her own version extending its playing time longer that 25 minutes? melody of her own is added in the original Gayageum Sanjo which lasts about 30 minutes. The Kim Juk-pa Ryu Gayageum Sanjo is highly regarded as some aspects: being solid in its form and alternating seamlessly the tension and relaxation in between melodies. It requires both a highly technical demand and control in performance. Its jangdan starts from Daseureum and then changes to Jinyangjo - Jungmori - Jungjungmori - Jajinmori - Hwimori - Sesanjosi. Based on such jangdans it leads its music to change to various moods using such modes as wujo, pyeongjo, gyemyeonjo, gyeongdeureum and gangsanje.
Due to the priory to using wujo or gangsanje, this sanjo music provides an elegant flavour with strong and vigorous melodies that transcendent the mood of sorrow, compared with those of jingyemyeon in the Namdo music that evokes a heartbreaking sorrow. The Kim Juk-pa Ryu Gayageum Sanjo has both contrastive features: an artistic finesse that shows a taste of a feminine subtlety and splendor, and a masculine strength.
¡Ü PROFILE OF LEE SOO-JIN
Education: Graduated from Gungnipgugak Senior School in 1994, she entered Seoul National University to study Korean music and received a B.A. degree in 1998. She also studied further and received an M.A. degree on music at the same university in 2001.
Award: She won a third award for the String Music Part at the 9th Dong'a Korean Traditional Music Competition in 1993 and also won the first prize for the Gayageum Part at the same competition in 1996.
Performance career: She joined in a number of orchestras: with the KBS Gugak Orchestra in 1996; Invited performance with the Gungnipgugak Senior School Orchestra, with the Youth Korean Traditional Orchestra, joining in the International Folk Music and Dance Festival in Sidmouth, England, with the 39th Seoul National Korean Traditional Music Orchestra in 1997; recital for the 61st Debut Concert sponsored by the Joseonilbo Newspaper in 1998; invited performance for Geumwuakhoi by Japan in Aomori Prefecture; the first performance of Geumwuakhoi, joining in the performance of the 3rd Asia Geum Exchange in 2000; the 2nd Geumwuakhoi performance and invited performance by the Society of Traditional Music in Gangneung City, 1st solo recital at Gungnipgugakwon in 2001; 5th Asia Geum Exchange performance, invited by Jeonju Sanjo Festival in 2002; 3rd Geumwuakhoi performance, 2nd gayageum solo recital at Gungnipgugakwon in 2003; at the University Festival for Gayageum Symphony, 6th Asia Geum Exchange performance and invited performance by Yeonbyeon Arts College, China, the 5th Geumwuakhoi performance in 2004; delivered a special lecture on The Understanding Korean Music at the SeoulJonghapYesul Academy, the 7th Asia Geum Exchange performance, the 5th Geumwuakhoi performance including demonstration. A special performance of Geumwuakhoi for the People of the Gyeonggi Province.
She taught music at the Gungnipgugak Senior School between 2002-2005 and at the Talented Children for Arts Class Programme sponsored by the Seoul Metropolitan Education Bureau between 2002-2004.
She is currently a member of the Asia Society of Geum Exchange and Geumwuakhoi. She teaches the gayageum at Mokwon University. She studied the gayageum with Yi Jae-suk, Kim Jeong-ja, Seo Won-suk, Ji, Sun-ja, Kim Sang-sun and An Seung-huei.
Kim Ung-sik/ janggu
He received a B.A. and M.A. for music at Dangug University and is currently teaching music there. He is a founder of the percussion music group called 'Puri' and a member of the Saeul Traditional Percussion Promotion Society.

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