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CD I
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Yeongsanhoesang(Junggwangjigok) ¡¤¡¤¡¤¡¤¡¤¡¤¡¤¡¤¡¤¡¤¡¤¡¤¡¤¡¤¡¤¡¤¡¤¡¤¡¤53:03
01 »ó·É»ê Sangryeongsan ¡¤¡¤¡¤¡¤¡¤¡¤¡¤¡¤¡¤¡¤¡¤¡¤¡¤¡¤¡¤¡¤¡¤¡¤¡¤¡¤ 16:00
02 Áß·É»ê Jungryeongsan ¡¤¡¤¡¤¡¤¡¤¡¤¡¤¡¤¡¤¡¤¡¤¡¤¡¤¡¤¡¤¡¤¡¤¡¤¡¤ 13:47
03 ¼¼·É»ê Seryeongsan ¡¤¡¤¡¤¡¤¡¤¡¤¡¤¡¤¡¤¡¤¡¤¡¤¡¤¡¤¡¤¡¤¡¤¡¤¡¤¡¤ 04:00
04 °¡¶ô´õ¸® Garakdeori ¡¤¡¤¡¤¡¤¡¤¡¤¡¤¡¤¡¤¡¤¡¤¡¤¡¤¡¤¡¤¡¤¡¤¡¤¡¤¡¤ 02:43
05 »óÇöµµµå¸® Sanghyeon dodeuri ¡¤¡¤¡¤¡¤¡¤¡¤¡¤¡¤¡¤¡¤¡¤¡¤¡¤¡¤¡¤ 03:23
06 ÇÏÇöµµµå¸® Hahyeon dodeuri ¡¤¡¤¡¤¡¤¡¤¡¤¡¤¡¤¡¤¡¤¡¤¡¤¡¤¡¤¡¤¡¤ 02:46
07 ¿°ºÒµµµå¸® Yeombul dodeuri ¡¤¡¤¡¤¡¤¡¤¡¤¡¤¡¤¡¤¡¤¡¤¡¤¡¤¡¤¡¤¡¤ 03:31
08 Ÿ·É Taryeong ¡¤¡¤¡¤¡¤¡¤¡¤¡¤¡¤¡¤¡¤¡¤¡¤¡¤¡¤¡¤¡¤¡¤¡¤¡¤¡¤¡¤¡¤¡¤ 03:02
09 ±º¾Ç Gunak ¡¤¡¤¡¤¡¤¡¤¡¤¡¤¡¤¡¤¡¤¡¤¡¤¡¤¡¤¡¤¡¤¡¤¡¤¡¤¡¤¡¤¡¤¡¤¡¤ 03:45
õ³â¸¸¼¼ Cheonnyeonmanse ¡¤¡¤¡¤¡¤¡¤¡¤¡¤¡¤¡¤¡¤¡¤¡¤¡¤ 08:53
10 °è¸é°¡¶ôµµµå¸® Gyemyeongarak dodeuri ¡¤¡¤¡¤¡¤¡¤¡¤¡¤¡¤¡¤¡¤¡¤ 03:25
11 ¾çûµµµå¸® Yangcheong dodeuri ¡¤¡¤¡¤¡¤¡¤¡¤¡¤¡¤¡¤¡¤¡¤¡¤¡¤¡¤¡¤ 02:21
12 ¿ìÁ¶°¡¶ôµµµå¸® Ujogarak dodeuri ¡¤¡¤¡¤¡¤¡¤¡¤¡¤¡¤¡¤¡¤¡¤¡¤¡¤¡¤ 03:07
13 µµµå¸®(¼Û±¸¿©Áö°î)Dodeuri (Songguyeojigok) ¡¤¡¤¡¤¡¤¡¤ 06:19

CD II
ÆòÁ¶È¸»ó(À¯ÃʽÅÁö°î)
Pyeongjohoesang(Yuchoshinjigok) ¡¤¡¤¡¤¡¤¡¤¡¤¡¤¡¤¡¤ 39:52
01 »ó·É»ê Sangryeongsan ¡¤¡¤¡¤¡¤¡¤¡¤¡¤¡¤¡¤¡¤¡¤¡¤¡¤¡¤¡¤¡¤¡¤¡¤¡¤ 11:15
02 Áß·É»ê Jungryeongsan ¡¤¡¤¡¤¡¤¡¤¡¤¡¤¡¤¡¤¡¤¡¤¡¤¡¤¡¤¡¤¡¤¡¤¡¤¡¤ 09:29
03 ¼¼·É»ê Seryeongsan ¡¤¡¤¡¤¡¤¡¤¡¤¡¤¡¤¡¤¡¤¡¤¡¤¡¤¡¤¡¤¡¤¡¤¡¤¡¤¡¤ 02:59
04 °¡¶ô´õ¸® Garakdeori ¡¤¡¤¡¤¡¤¡¤¡¤¡¤¡¤¡¤¡¤¡¤¡¤¡¤¡¤¡¤¡¤¡¤¡¤¡¤¡¤ 01:50
05 »óÇöµµµå¸® Sanghyeon dodeuri ¡¤¡¤¡¤¡¤¡¤¡¤¡¤¡¤¡¤¡¤¡¤¡¤¡¤¡¤¡¤ 03:24
06 ¿°ºÒµµµå¸® Yeombul dodeuri ¡¤¡¤¡¤¡¤¡¤¡¤¡¤¡¤¡¤¡¤¡¤¡¤¡¤¡¤¡¤¡¤ 03:56
07 Ÿ·É Taryeong ¡¤¡¤¡¤¡¤¡¤¡¤¡¤¡¤¡¤¡¤¡¤¡¤¡¤¡¤¡¤¡¤¡¤¡¤¡¤¡¤¡¤¡¤¡¤ 03:02
08 ±º¾Ç Gunak ¡¤¡¤¡¤¡¤¡¤¡¤¡¤¡¤¡¤¡¤¡¤¡¤¡¤¡¤¡¤¡¤¡¤¡¤¡¤¡¤¡¤¡¤¡¤¡¤ 03:51
ÃëŸ ~ ±º¾Ç Chwita ~ Gilgunak ¡¤¡¤¡¤¡¤¡¤¡¤¡¤¡¤¡¤¡¤¡¤¡¤¡¤17:26
09 ÃëŸ(¸¸ÆÄÁ¤½ÄÁö°î) Chwita(Manpajeongsikjigok) ¡¤¡¤¡¤¡¤¡¤¡¤¡¤ 04:57
10 ±æ±º¾Ç(ÀýÈ­) Gilgunak(Jeolhwa) ¡¤¡¤¡¤¡¤¡¤¡¤¡¤¡¤¡¤¡¤¡¤¡¤¡¤¡¤¡¤ 03:54
11 ±æŸ·É(ÀϽ¿ùÇ×, ¿ì¸²·É) Giltaryeong(Ilseungwolhang, Ulimryeong) 02:16
12 º°¿ìÁ¶Å¸·É(±ÝÀü¾Ç) Byeolujotaryeong(Geumjeonak) ¡¤¡¤¡¤¡¤¡¤¡¤ 02:44
13 ±º¾Ç Gunak ¡¤¡¤¡¤¡¤¡¤¡¤¡¤¡¤¡¤¡¤¡¤¡¤¡¤¡¤¡¤¡¤¡¤¡¤¡¤¡¤¡¤¡¤¡¤¡¤ 03:34
 
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- ÆíÀú : °¡¾ß±Ý ÁÖ¹ý°ú ½Ç½À ¼­¿ï: ¼¼±¤À½¾Ç ÃâÆÇ»ç, 1987
 - ÆíÀú : °¡¾ß±Ý ÁÖ¹ýÀÇ ÀÌÇØ ±¤ÁÖ: Àü³²´ëÇб³ ÃâÆÇ»ç, 2000      
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Sung, Sim-on

 

* Born in Seoul, in 1949.

* Graduated from Department of Korean traditional music, College of Music, Seoul National University and its graduate school.

* Worked as an Exchange Professor at University of Illinois, at Urbana Champaign. At present,

* Professor of Korean Music Department, College of Arts, Chonnam  National University.

* Dean of College of Arts, Chonnam  National University.

* Director of Exchanging Society of Asian Zither Music

* Chief of Mudeung Gayagum Ensemble

* Member of the committee of Cultural Properties in Jeollanamdo

* Member of the committee of Cultural Properties in Gwangju City


¢Ã Major Performing Career

 - Joint Recital with Seoul Metro Orchestra of Korean Music, Gwangju Philharmonic of Korean Traditional Music, and with Gwangju Philharmonic. 

 - Many Gayagum Recitals and Invitation Concerts

 - Solo Concerts at New York Carnegie Hall, Chicago, University of Illinois at Urbana Champaign, East Germany, and West Germany.

 - Invitation Concerts in China, Canada, United States of America, England, Vietnam, and Taiwan.

 

¢Ã Writings and Essays

 - Editorial Writing : Playing Techniques and Practice of Gayagum, 1987, Seoul, Segwang Publishing Co.

                          : Understanding of Gayageum Playing Techniques, 2000, Gwangju, Chonnam  National

                            University Press.      

 - Essays : ¨ç A Study on the History of the Playing Techniques of Geomungo

                - focused on the Relationship between "Gung" and "Dang" by on the ancient manuscrip.

                 ¨è A study on the Melodies of Each School's Gayagum Sanjo.

                 ¨é A Study on Oriental String Instruments.

               - Focused on playing techniques-

                 ¨ê A Study on the Archetype and Variation of Gayagum Sanjo.  

 
Elegant Music Trip with Sung, Sim-on 

1. What is Yeongsanhoesang?
 The word Yeongsanhoesang can be divided into two words : Yeongsan and Hoesang. Yeongsan means 'divine mountain', that is Yeongchi mountain,  and Hoesang, Buddhist public meeting. The meaning of Yeongsanhoesang can be interpreted as the public meeting on the divine Yeongchi mountain where Buddha taught his disciples.
The reason why Yeongsanhoesang has been used as a title of music is because the song that praises Buddha¡®s mercy and virtue was sung at the public meeting on the divine mountain. The song is called Yeongsanhoeeum or Yeongsanhoesang bulbosal. 
 Yeongsanhoesang is summarized as the song that sings Buddha and Bodhisattva at the meeting where Sakyamuni Tathagata preached on the divine mountain. According to another version, the colorful rainbow followed Buddha and Bodhisattva and protected them and made beautiful sound when Sakyamuni Tathagata preached at the divine mountain. Yeongsanhoesang is said to have been made based on the beautiful sound.
 
2. Transmission of  Yeongsanhoesang
Yeongsanhoesang was originally a vocal form with the Buddhist lyrics of Yeongsanhoesangbulbosal. It is generally believed that the vocal piece gradually lost the words and accepted new pieces and at the end became a suite music.
  Yeongsanhoesang has been loved by a lot of music lovers, which is proved by so many old music books such as Yeondaegeumbo, Hangeumsinbo, Eoeunbo, Yuyeji, and etc. left by the literati of the late Joseon dynasty. Through these old music books  we can trace the transmitting progress of Yeongsanhoesang
 The first change is that the vocal form with the Buddhist lyrics of Yeongsanhoesangbulbosal became an instrumental music in the latter Joseon dynasty. Hyungeumsinjeunggeumbo, an old music book written in 1680, shows Yeongsanhoesang without words. We can guess  that the vocal form of Yeongsanhoesang became an instrumental version already in late 17th century through Hyungeumsinjeunggeumbo.
 The second change is that Yeongsanhoesang became a suite music that is composed of many pieces  including the variations of the original Yeongsanhoesang. Hangeumsinbo 1724 and Eoeunbo 1779 began to show the variations and most of the pieces of today appeared in Yuyeji written in early 19th century. In the time of Hyeongeumoeumtongnon 1886 the suite form of today were completed.
 Among the nine pieces that make the suite form, Jungryeongsan, Seryeongsan and Garakdeori are the variations of Sangryeongsan. Later Sanghyeondodeuri, its variation Hahyeongdodeuri, Yeombuldodeuri, Taryeong, and Gunak were added. Again variations of Boheoja that was originally derived form China were also included in the suite music around the end of the 19th century. 
3. Commentary on the Pieces of Yeongsanhoesang
 As mentioned above Yeongsanhoesang was a vocal form with the Buddhist lyrics of Yeongsanhoesangbulbosal. It was widely used as a dance accompaniment in the court during the Joseon dynasty.
There are three kinds of Yeongsanhoesang : the string Yeongsanhoesang, wind Yeongsanhoesang, and Pyeongjohoesang. When they say Yeongsanhoesang, they usually mean the string Yeongsanhoesang the most important instrument of which is the Geomungo. The wind Yeongsanhoesang is a wind ensemble version of String Yeongsanhoesang. Pyeongjohoesang was made by transposing the String Yeongsanhoesang a 4th lower.
The music recorded in these CD's are divided into two parts according to the instrumentation. Yeongsanhoesang, Cheonnyeonmanse, and Utdodeuri are performed with the Gayageum twelve-stringed zither, Haegeum two-stringed fiddle, Daegeum large cross bamboo flute and the piri cylindrical oboe. The other part is composed of Pyeongjohoesang, Chwita, Gilgunak, Giltaryeong, Byeolujotaryeong, and Gunak. They are played with the Gayageum and Saenghwang mouth organ.
For easier understanding of the music, we'll look at the Jangdan structure of all the pieces of Yeongsanhoesang.  
 
Jangdan Structure of Yeongsanhoesang and Cheonnyeonmanse

 

Titles

 

Jangdan

(Section Division)

 

1st

Section 

 

2nd

Section

 

3rd

Section

 

4th

Section

 

5th

 

6th

 

7th

Y

e

o

n

g

s

a

n

h

o

e

s

a

n

g 

1.

 Sangryeongsan

20-beat Jangdan

 

 

3 Jangdan

 

 

4 Jangdan

 

 

4 Jangdan

 

 

6 Jangdan

 

 

 

 6¡¤4¡¤4¡¤6

2.

 Jungryeongsan

20-beat Jangdan

 

4 Jangdan

 

4

Jangdan

 

3

Jangdan

 

3 Jangdan

 

4 Jangdan

 

 

 6¡¤4¡¤4¡¤6

3.

 Seryeogsan

10-beat Jangdan

 

4 Jangdan

 

4 Jangdan

 

3 Jangdan

 

3 Jangdan

 

 

 

3¡¤2¡¤2¡¤3

4.

 Garakdeori

10-beat Jangdan

 

4 Jangdan

 

3 Jangdan

 

3 Jangdan

 

 

 

 

3¡¤2¡¤2¡¤3

5.

 Sanghyeon

 dodeuri

6-beat Jangdan

 

8 Jangdan

 

11 Jangdan

 

6 Jangdan

 

9 Jangdan

 

 

 

3¡¤3

6.

 Hahyeon

 dodeuri

6-beat Jangdan

 

7 Jangdan

 

7 Jangdan

 

3 Jangdan

 

9

Jangdan

 

 

 

3¡¤3

7.

 Yeombul

 dodeuri

 

6-beat Jangdan

 

22

Jangdan

 

16 Jangdan

 

6 Jangdan

 

7 Jangdan

 

 

 

3¡¤3

8.

 Taryoeng

12-beat Jangdan

 

8 Jangdan

 

13 Jangdan

 

6 Jangdan

 

5 Jangdan

 

 

 

 3¡¤3¡¤3¡¤3

9.

 Gunak

12-beat Jangdan

 

10 Jangdan

 

9 Jangdan

 

21 Jangdan

 

7 Jangdan

 

 

 

3¡¤3¡¤3¡¤3

Cheonnyeonmanse

10.

 Gyemyeongarak

 dodeuri

12-beat Jangdan

 

42 Jangdan

 

 

 

 

 

 

 3¡¤3¡¤3¡¤3

11.

 Yangcheong

 dodeuri

12-beat Jangdan

 

4

Jangdan

 

6 Jangdan

 

14

Jangdan

 

4

Jangdan

 

13

Jangdan

 

14

Jangdan

 

9

Jangdan

 3¡¤3¡¤3¡¤3

12

 Ujogarak

 dodeuri

12-beat Jangdan

 

2 Jangdan

 

3 Jangdan

 

7 Jangdan

 

2 Jangdan

 

5.5 Jangdan

 

9 Jangdan

 

7 Jangdan

 3¡¤3¡¤3¡¤3

Dodeuri

13.

Songguyeojigok

6-beat Jangdan

 

4 Jangdan

 

6 Jangdan

 

14 Jangdan

 

4 Jangdan

 

10 Jangdan

 

18 Jangdan

 

17 Jangdan

3¡¤3

As can be found from the

, pieces of Yeongsanhoesang draw our attention in many aspects. Each piece of Yeongsanhoesang differs in its speed and rhythmic structure, Relation of variation, instrumentation, tonal pitch and tonal system change gradually as the music progresses. This brings more beauty and taste to music and each piece arouses leisurely or elated atmosphere with dynamic musical changes.
Yeongsanhoesang is in Gyemyeonjo with Eb as a major tone. It uses Eb - F-Ab-Bb-Db. The basic tone, Eb is often played with a wide vibrato, but Ab rarely uses vibrato.  The tones of Bb and Db slide down when they appear in descending melody. In its Jangdan structure, a slow 20-beat Jangdan with each beat subdivided into two smaller beats recurs throughout Sangyeongsan and Jungryeongsan. In Seryeongsan and Garakdeori, 10-beat Jangdan with each beat subdivided into 4 smaller beats appear. A 6-beat Jangdan with each beat subdivided into 6 smaller beats in Dodeuri category a 12-beat Jangdan with each beat subdivided into 12 smaller beats for Taryeong, Gunak, Gyemyeongarakdodeuri, Ujogarakdodeuri, or a 4-beat Jangdan and a 12-beat Jangdan 4 Yangcheongdodeuri are used. Therefore, the music varies in the kinds of Jangdan and its tempo to produce the feeling of comfort and agileness.
Yeongsanhoesang holds many other attractive aspects to capture our attention for listening. Good examples are found in melodic corelation between Jungryeongsan and Seryeongsan or between Garakdeori and Seryeongsan, the beauty of Hahyeon Dodeuri especially in its melody at low pitch, modulation in Gunak from Gemyeonjo in the 1st Jangdan to Pyeonjo from the 2nd Jangdan, and the melody of Gwonmaseong by the Piri and the Daegeum  from 13th to 22nd Jangdan of the 3rd section in Gunak.
The Second CD contains some pieces of processional music with brisk and animated mood and it includes Pyeongjohoesang, Chwita, Gilgunak, Giltaryeong,  Byeoujotaryeong, Gunak. Unlike other CD's where similar kinds of music are recorded by the wind and string instruments or by Samhyeonyukgak instrumentation, the music in this CD is played in duet of the Saengwhang and Gayageum. Originally, Pyeongjohoesang uses different arrangement of instruments from Yeongsanhoesang.  Whereas Yeongsanhoesang includes Geomungo, Gayageum, Haegeum, Danso, Sepiri, Daegeum, Janggu, and Yanggeum, Pyeongjohoesang uses Hyangpiri for its larger volume instead of Sepiri and excludes Danso and  Yanggeum. Contemporary instrumentation of Chwita music is Hyangpiri, Daegeum, Sogeum, Haegeum, Ajaeng, Janggu, Jwago, Gayageum and Geomungo and processional music such as Giltaryeong generally uses Samhyeonyukgak instrumentation with Piri, Haegeum, Daegeum, Janggu, Buk.
Pyeongjohoesang or Yuchoshinjikok is varied from a Yeongsanhoesang in Gyemyeonjo with Eb as a major tone, by being transposed a fourth lower into  Gyemyeonjo with Bb as a major tone. Pyeongjo in Pyeongjohoesang means "lower key" a 4th lower. It is composed of eight pieces, all of which are in the identical order of Yeongsanhoesang with the exception of Hahyeondodeuri¡®. Pyeongjohoesang is in Pyeongjo using Eb - F - Ab -Bb - C as constitutional tones. Specifically, the music from Sangryeongsan to Tatryeong is in Pyeongjo with Eb as a major tone and Gunak is in Pyeongjo with F as a major tone using F -G - Bb - C -Eb. Pyeongjohoesang is extensively played specially as an accompanying music for court dances such as Chungaengjeon.
Chwita lit., blowing and striking is also called Manpajeongsikjigok and known as the music from the Goryeo period. Originally this piece was derived from Daechwita great winds and percussion or also called Muryeongjigok in dynamic, sprightly atmosphere. The melody of Chwita is made from playing that of Tapyeongso in Daechwita by a major second higher and played both by wind and string instruments. When Chwita is played only by string instruments, it is also called Suyonamgeukjigok. In addition to Geomungo, Gayageum, Hyangpiri, Daegeum, Haegeum, Janggu, Buk, such percussion instruments as Pyeonjong and Pyeongyeong are used for this music. Each Jangdan of Chwita is composed of 12 beats and they are divided into 4 smaller units.
 Gilgunak street military band is also named Jeolhwa picking flower. A Jangdan consists of 8 beats with each beat divided into 4 smaller beats. At the end of the 1st, 2nd and 3rd section, are added the 1st and the 2nd doljang lit., turning section. In the 4th section, change of Jangdan occurs where its scale turns into Gyemyeonjo and the tempo slows down to some degree at the ending part of the last Jangdan.
Giltaryeong street music is sometimes called Ilseungwolhangjigok. It is the varation from Taryeong in Pyeongjohoesang. It produces agile mood in Gymyeonjo. It is in the same tempo with Taryeong. Gb is always slided down and such tone treatment is another joy of listening to this piece.
Byeolujotaryeong or Geumjeonak is also a variation from Taryeong. It uses the same mode of Gemyeongjo as used for Giltaryeong.
Gunak, like Pyeongjohoesang, is in with F as a major tone. While its melody is nearly similar to that of Pyeongjohoesang, the 2nd section is the only place where variation takes place.
 
4. Meot Artistic Taste and Heung Joyful Spirit of  Yeongsanhoesang and Haengak Processional Music
 
The beauty of Yeongsanhoesang can be traced in its elegant, upright, flexible, profound, graceful, delicate and gentle progression of melody. On the other side, music in Haengak category brings the sense of dynamic, power, magnificence, openness, dignity and yet full of energy.
 I highly recommend the 'Elegant Music Trip with Sung, Simon' as a rare record where you will surely experience the elegant taste and delicate joy in Yeongsanhoesang and majestic quality and vigorous pleasure in Haengak. It is said that the sense of beauty is not conveyed through words but from heart to heart. I like to present her a poem from my heart as a token of my sincere congratulations for releasing this wonderful album.
                              
          Written by Kim, Se-Jong Ph.D. in Korean Musicology, The Poet
          Translated by Nam, Sang-Sook Ph.D. in Korean Musicology, adjunct professor of Wonkwang Univ.
 
Geumsun5)

Written by : Kim, Se-Jong


A long road of three hundred li6) where the soul of music resides
When you walk along the road
will reach the Yong Bong valley awaiting virtuous music

Under the Yeongjiyeon dragon pond in front hill sleeps a dragon.
Over the Byeokohdong a phoenix tree in rare hill strolls a phoenix.

Around the corner of the hill is Geumsun tuning five tones,
He is a garden balsam by whom a wondering poet may find a rest.

When the twelve strings spread the wings of sound,
crystal clear echo of Cheong, Heung, Dung, Dang, Jing fill the air
When all my ears are captured to the beauty of sound,
Upon each path of sound created by a finger touching each string

Thick string storms out the sound of whirling wind with heavy shower,
Thin string portrays a heartbreaking missing mind with whisper.

Your trace, treading down the clouds and then flying off like a swallow
remains as lingering tones as if singing praise of lost love

----------------------------------------------------------

5) Geumsun is the pseudonym of Sung, Sim-on and it means a fairy of Zither

6) a li is equivalent to 4Km or 2.5mile


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