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Chee Songja : Kyeonggi Minyo and Japga for the Gayageum solo
Towards the Way of Sori Korean Spiritual Songs
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2009³â 10¿ù        Áö ¼º ÀÚ

The Delight of Weaving Sori

Folk songs (minyo) are always impressive and warm whenever we listen to them, and make us feel that they have been living with us over a long period of time. The significance of this becomes more emotional and moving when I overlay the garak (melody) of a folk song on the twelve strings of the gayageum (12-stringed zither).
The melodies of the simple yet gentle lyrics of folk songs are convincing even without any additional explanation. Folk songs surpass the ever-changing times and dwell in our hearts till this very day, because the passion and interest of people who love these songs from the bottom of their hearts transcend the years and become one, all merging into its sori (voice).

Korean folk songs have a distinct musical idiom, and have been handed down from mouth to ear. They can be grossly divided into three types. The Namdo folk song centering around Jeonra-do (Jeonra Province) Honam area, the Seodo folk song centering around northern areas such as Hamgyeong-do and Hwanhae-do, and the Gyeonggi folk song centering around Gyeonggi-do and Chungcheong-do.
However, when we speak of the differences between folk songs today, we do not classify them according to the content of their lyric nor their birthplace, but rather by musical characteristics and singing technique.
When we classify according to characteristics of singing technique, the most impressive aspect of the Namdo folk songs is the dynamic voice that seems to be pulled up from the pit of stomach and pushed out. In the Seodo folk songs, the distinguishing aspect is the detached manner of singing which makes use of the nasal sound while expressing the lyrics with a slow and long breath.
The ornaments in the connecting parts of the sori lyrics of a Gyeonggi folk song were developed in line with the flowing jangdan (beat), and is notable for being sung fully and off the reel by a delicate and swinging clear voice.

I was curious about taking a folk song, inhabited by tradition, and expressing it as a gayageum solo piece, and this led me to a new endeavor.  It goes without saying that it is not an easy task to express the human voice with a string instrument such as the gayageum, but I could not resist the desire to express this to the limit of what was possible.
When I published the first volume of Towards the Way of Sori Korean Spiritual Songs and performed it on stage, my interest in cherishing folk songs was renewed. With the Gyeonggi folk songs I worked with this time, that feeling did not change, even though I also managed to experience new things too.
Gyeonggi folk songs have a different sensibility and flow from Namdo Folk Songs and this flow snuggled itself up to my body without me knowing it and filled every moment of the performance. It seemed especially mysterious and interesting to me that the sori, whose natural improvisational qualities are expressed richly by singers and accompanists, is what forms the driving force of folk songs, and that no one complained against the form of the song sung from long time ago and that every one held firmly to the repeating parts and could all sing together happily.

In most cases, the accompaniment of folk songs consists mainly in helping the singer by keeping the pitch or connecting between the sori call-and-response. However, when you turn the sori of a folk song into a solo gayageum piece you have to lead the sori by yourself and while taking care not to step out of the fundamental part of the piece, and I thought that I had to express the entire flow of the piece with the gayageum garak. That is why the completed solo piece must convey the meaning of the piece without skewing it, and I thought that it must be a sori in which the texture of folk song can also be greatly felt.
The majority of Namdo folk songs are composed of diverse lyric content and rich melody, and it was greatly useful upon transferring it to garak. However in the case of Gyeonggi folk songs, the length of a measure is shorter and there are many parts where the melody is repeated such as heuryeom (a refrain), so that when turned into a gayageum performance without lyrics, the same melody always get repeated causing a regrettable point in regards to its degree of completion as a solo gayageum piece.
In a folk song, melodies are composed centering around the lyrics, and its strength of creating a sense of affinity around the parts that are repeated when the lyrics are heard or sung, becomes its limitation in a solo without words. Whereas most of the Namdo Folk Songs express the sikkimsae (ornaments) by neongheon (a technique of giving expression to a sound by pressing the string plucked by the right hand with your left finger), in Gyeonggi folk songs, the techniques of right hand can express the flow of melody by becoming the central flow of music, which freed the flow of the beat used in the accompaniment of gayageum, thus adding splendor to the piece.
In this way, I made use of every role that could be expressed by the improvisational quality which is the heart of Korean ethnic music, added changes by gradually arranging the piece itself, created different melodies to adjust the connecting sections and attempted to reconstruct the piece so that its entire atmosphere became extremely dynamic.
From the songs I worked on this time, pieces such as Geumgangsan-taryeong or Maehwa-taryeong that are sung together by everyone were arranged in a way that the sori of gayageum becomes one with the flow of the song, whereas in pieces such as Noraetgarak or Changbu-taryeong I transferred the characteristics of the singer to gayageum garak centering around the most typical melodies or passages where the individuality of the singer is fully displayed. Also, I tried to create a lively atmosphere by arranging the repetition part of sori that are sung in absorbed unison such as Jajin banga-taryeong, Jajin baetnorae or Milyang arirang into a different melody for the gayageum solo. In the case of Taepyeonga, the flow of song was transcribed without change in the first two verses, but in the third and fourth verses I gradually added distinct gayageum garak while making use of the flamboyant atmosphere of the song, and attempted to connect a new garak so that unbalanced elements would harmonize with each other.

Although I have regrets for attempting to express so many songs with the sori of gayageum in an insufficient preparation period, I am determined to unflaggingly pursue my studies and hope to weave out more wonderful and beautiful sori.
I am truly pleased to have this opportunity of publishing the Gyeonggi folk songs that I have cherished in my mind as gayageum solo pieces for such a long time. I would like to thank again all the people who supported the publication of this book, and keeping in heart that I am indebted to the accomplishment of all my predecessors who sung and passed on folksongs for my invaluable experience, I would like to express my gratitude with the most humble of my feelings.

                                                 October 2009        Chee Songja
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CD [ÎÃÒ´ÀÇ ³ë·¡ ÇϾ߽à ¾ÖÀÌÅ×Ã÷] ÀϺ» Å··¹ÄÚµå, KYGS-1
CD/DVD [ÇϾ߽à ¾ÖÀÌÅ×Ã÷. ÍöÍ°ÎÃôøÛÜ.] ÀϺ» Å··¹ÄÚµå, KYZC-25~28
CD [¼Ò¸® ±æÀ» ã¾Æ¼­-Áö¼ºÀÚ °¡¾ß±Ýµ¶ÁÖ¸¦ À§ÇÑ ³²µµ¹Î¿ä.Àâ°¡] Çѱ¹ ž¿¹¼ú±âȹ, TOPCD-122
CD [¼Ò¸® ±æÀ» ã¾Æ¼­-Áö¼ºÀÚ °¡¾ß±Ýµ¶ÁÖ¸¦ À§ÇÑ °æ±â¹Î¿ä.Àâ°¡] Çѱ¹ ž¿¹¼ú±âȹ, TOPCD-131
Chee Songja Biography

Gayageum player
Top successor of gayageum sanjo in the style of Song Gumyeon
Song Gumyeon Garak Association President
Lecturer at Jeonbuk University, Seoul University and Chung-ang University

Chee Songja£¨ò®à÷í­£©was born in Seoul, Korea in 1945 to mother Song Gumyeon (à÷ÐÞæé), leading performer of the gayageum sanjo, and father Chee Yeonghee (ò®çÀ煕), performer and researcher of traditional Korean music, both of whom were living national treasures of Korea. She began intensive studies of traditional Korean music from a very young age.
Following her first concert at the age of eight, Chee performed in numerous international events, including the International Festival of Folk Arts (Paris, France) as well as the European Countries Tour, both in 1961, and the Carnegie Hall Concerts, and an American Cities Tour, both in 1964.
In 1969, she visited Japan. In addition to performing, she began her efforts in cultivating younger generations of gayageum players, establishing the Chee Songja Gayageum Institute in Tokyo in 1978. In addition to teaching at the Tokyo National University of Fine Arts and Music and performing her own solo concerts, she has also performed with Japanese performers such as Eitetsu Hayashi, Midori Takada and Sayoko Yamaguchi, performing opposite to or in collaboration with contemporary Japanese artists in a myriad of contexts.
Chee¡¯s awards include the Grand Prize for performers at the KBS TV Korean Traditional Music Competition (1990, Korea); the Third Zenzeikyo Local Culture Prize (1995, Japan); and the 22nd National Competition for the Pansori Singing (1995, Korea).
Since 1990, Chee has been based in Seoul. While furthering her research in gayageum sanjo, gayageum byeongchang, and Song Gumyeon compositions, she has continued to pursue the true essence of traditional Korean music in performance, thereby influencing younger generations. As one of the fruits of this musical engagement spanning half a century, in 2008 she produced a CD and music book entitled Towards the Way of Sori – Korean Spiritual Songs (Chee Songja: Namdo Minyo and Japga for Solo Gayageum). Performances to commemorate this publication were held in both Korea and Japan, to wide acclaim.

Writings
Chee, Songja. Gayageum Textbook for Beginners. Chee Songja Gayageum Institute, Tokyo, Japan.
Chee, Songja. Gayageum Sanjo in the style of Song Gumyeon (Gayageum Music Book). Samho Music, Korea.
Chee, Songja. Towards the Way of Sori£­Korean Spiritual Songs : Chee Songja, Namdo Minyo and Japga for the Solo Gayageum)  (Gayageum Music Book). Tohyang Publishing, Korea.
Chee, Songja. Towards the Way of Sori£­Korean Spiritual Songs£ºChee Songja,¡¡Gyeonggi Minyo and Japga for the Solo Gayageum (Gayageum Music Book). Tohyang Publishing, Korea.
Discography (currently available recordings)
CD: Nostalgic Gayageum: Song Gumyeon and Chee Songja. (Ethnic Sound Series 1) (Victor, Japan – VDP1097)
CD: HARU (Distance). (King Records, Japan – KICP-577)
CD: Songs for a Light Year: Eitetsu Hayashi. (King Records, Japan – KIGS-1)
CD/DVD: First White Light to Hit the Sky: Eitetsu Hayashi. (King Records, Japan – KIZC-25~28)
CD: Towards the Way of Sori£­Korean Spiritual Songs : Chee Songja, Namdo Minyo and Japga for the Solo Gayageum (Art Planning Top, Korea – TOPCD-122)
CD: Towards the Way of Sori£­Korean Spiritual Songs : Chee Songja, Gyeonggi Minyo and Japga for the Solo Gayageum (Art Planning Top, Korea – TOPCD-131)
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