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TOPCD-139

°ûÀ翵 °¡¾ß±Ý»êÁ¶ - ÃÖ¿Á»ï·ù <½ÇȲ>

KWAK JAE YOUNG

Solo recital for Gayageum Sanjo in the style of Choi Ok-sam


1. ´Ù½º¸§ Daseureum   02:26

Áø¿ìÁ¶ 

2. Áø¾çÁ¶ Jinyangjo     23:17

Áø¿ìÁ¶ / º¯¿ìÁ¶ / µ¹Àå(°¡°î¼º ¿ìÁ¶) / ºÀȲÁ¶(¿ìÁ¶ÀÇ º°°î) / Æò°è¸é /

º¯°è¸é / Áø°è¸é / º°°î(¼®È­Á¦) / Áø°è¸é / ´Ü°è¸é(»ý»ïû)

3. Á߸𸮠Jungmori      08:42

Æò¿ìÁ¶ / Æò°è¸é / ´Ü°è¸é / Áø°è¸é / °æµå¸§ 

4. ÁßÁ߸𸮠Jungjungmori       03:08

Æò¿ìÁ¶ / °æµå¸§ / ¼®È­Á¦(»çdz¼¼¿ì) / ´ú··Á¦ 

5. ´ÊÀºÀÚÁø¸ð¸® Neujeunjajinmori        09:56

Æò¿ìÁ¶ / Æò°è¸é / ´Ü°è¸é / º¯À½(µµ¼·,Áø°è¸é) / º°°î / º¯À½ / º»À½

6. ÀÚÁø¸ð¸® Jajinmori    07:05

Æò¿ìÁ¶ / Æò°è¸é / ´Ü°è¸é / Áø°è¸é(º°°î) / Æò¿ìÁ¶ / µµ¼·

7. Èָ𸮠Hwimori      04:14

Æò¿ìÁ¶ / Æò°è¸é / º¯°è¸é / Æò°è¸é / Æò¿ìÁ¶ / °¡°î¼º ¿ìÁ¶

TOTAL 59:03

- Àå°í : ±è»óÈÆ( KIM SANG HOON)

 

 

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°¡¾ß±Ý µ¶ÁÖȸ °³ÃÖ (4ȸ)

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MBC, KBS, WBS, ArirangTV, ±¹¾Ç¹æ¼Û µî ´Ù¼öÃ⿬

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ÃÖ¿Á»ï·ù °¡¾ß±Ý»êÁ¶´Â ÃÖ¿Á»ï(1905~1956, ÀåÈï)ÀÌ °¡¾ß±Ý»êÁ¶ÀÇ Ã¢½ÃÀÚÀÎ ±èâÁ¶(1856~1919, ¿µ¾Ï)¿¡°Ô ¹è¿ö ÇÔµ¿Á¤¿ù(1917~1994, °­Áø)¿¡°Ô ÀüÇÑ °¡¾ß±Ý»êÁ¶ÀÌ´Ù. ÀÌ »êÁ¶´Â 1980³â Á߿乫Çü¹®È­Àç Á¦ 23È£·Î ÁöÁ¤µÇ¾ú°í ÇÔµ¿Á¤¿ùÀÌ ¿¹´Éº¸À¯ÀÚ·Î ÀÎÁ¤µÇ¾ú´Ù.

ÃÖ¿Á»ï·ù °¡¾ß±Ý»êÁ¶´Â ´Ù½º¸§, Áø¾çÁ¶, Á߸ð¸®, ÁßÁ߸ð¸®, ´ÊÀº ÀÚÁø¸ð¸®, ÀÚÁø¸ð¸®, Èָ𸮷Π±¸¼ºµÇ¾î ÀÖ´Ù. ³ôÀº µ¶Ã¢¼º°ú ¿¹¼ú¼ºÀ» Áö´Ï¸é¼­ °¡¶ôÀÇ Â¥ÀÓ»õ°¡ ÁÁ°í Ä¡¹ÐÇÏ¿© ±¸¼º¹Ì°¡ µ¸º¸À̸ç, Á¤È®ÇÑ ¼ºÀ½À» ±¸»çÇÏ´Â °ÍÀÌ Æ¯Â¡ÀÌ´Ù. ¼±À²Àº ÆǼҸ®¿Í ³²µµÇ³ÀÇ °¡¶ôÀ» ¸ðÅ·ΠÇÏ°í, ±äÀå(¸Î°í)°ú ÀÌ¿Ï(Ǫ´Â)ÀÇ ´ëºñ°¡ ¶Ñ·ÇÇÏ¿© À½¾ç°ú ¹®´äÀÇ °ü°è¸¦ °®°í ÀÖÀ¸¸ç, °¡¶ô°£ÀÇ °ü°è°¡ ºÐ¸íÇÏ¿© ¼²ºÒ¸® °ÝÇÑ °¨Á¤À» µå·¯³»Áö ¾Ê°í °¨Á¤À» ÀýÁ¦Çϸç, ¹«°Ô ÀÖ°í ±íÀº ¸ÀÀÌ ³­´Ù. ƯÈ÷ Áø¾çÁ¶´Â °¡¶ôÀÇ º¯È­°¡ ´Ù¾çÇÏ¿© ÀÌ »êÁ¶¿¡ »ç¿ëµÈ ¸ðµç ±â¹ýÀÌ Ç¥ÃâµÇ°í ÀÖ´Ù. ¶ÇÇÑ ÇϳªÀÇ Á¶°¡ ³¡³ª°í ´Ù¸¥ Á¶·Î ³Ñ¾î°¥ ¶§´Â °ÅÀÇ ¸¶Áö¸· ÇѵΠÀå´Ü Àü¿¡ ´ÙÀ½ Á¶ÀÇ ÃâÇöÀ» ¿¹½ÃÇÏ°í ÀÖ´Ù.


Áø¾çÁ¶ÀÇ ºÀȲÁ¶´Â ´Ù¸¥ »êÁ¶ÀÇ ÆòÁ¶¿Í °°À¸³ª, ÇÔµ¿Á¤¿ùÀº À̸¦ ÆòÁ¶¶ó ÇÏÁö ¾Ê°í »ó¡ÀûÀÎ Àǹ̿¡¼­ ºÀȲ»õÀÇ ´ÙÁ¤ÇÑ ÀÚŸ¦ ¹¦»çÇÑ °¡¶ôÀ̶õ ¶æ¿¡¼­ ºÀȲÁ¶¶ó ÇÏ¿´´Ù. ¶ÇÇÑ Áø¾çÁ¶ÀÇ Áø¿ìÁ¶¿¡¼­´Â ÆÈ ÀÚü¸¦ ÀÌ¿ëÇÏ¿© ±íÀÌ ÀÖ°Ô Ç®¾î ²ª¾î ÁÖ´Â À½»ö, °¡°î¼º ¿ìÁ¶¿¡¼­´Â ¼Õ¸ñÀ» Ç®¾î ²ª´Â À½»ö, Á߸ð¸®ÀÇ °æµå¸§¿¡¼­´Â ¼Õ°¡¶ô ¸¶µð¸¦ Ç®¾î ²ª¾îÁÜÀ¸·Î½á ²ª¾îÁö´Â µíÇÑ À½»öÀ» ¸¸µé¾î ³½´Ù.

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ÃÖ¿Á»ï·ù °¡¾ß±Ý»êÁ¶ÀÇ ³óÇöÀº ¹«°Ì°í ÀýÁ¦µÊÀ» ¿äÇϸç, ÀüüÀûÀ¸·Î ÈûÀÌ ÀÖ°í ³²¼ºÀûÀ̶ó ÇÒ ¼ö ÀÖ´Ù. ƯÈ÷ ´ÊÀº ÀÚÁø¸ð¸®¿Í ÀÚÁø¸ð¸®¿¡ ¾ÇÀý°ú ¾ÇÀý »çÀ̸¦ À̾îÁÖ´Â Àå°í¹ÝÁÖ´Â ÀÌ »êÁ¶¿¡¼­ ÀÏÇ°À̶ó°í ÇÒ ¼ö ÀÖ´Ù.

                                  - à÷äñâ÷ óõÜÏ ¡ºõËè¬ß²×µ-Ê¡å¦ÐÖߤðà¡»¿¡¼­ ¹ßÃé -

 

PERFORMER 

Àå°í  ±è»óÈÆ( KIM SANG HOON, ÑÑßÓý³)

1973³â ±¤ÁÖ Ãâ»ý

Àü³²´ëÇб³ ¿¹¼ú´ëÇÐ ±¹¾Ç°ú Á¹¾÷

Çѱ¹¿¹¼úÁ¾ÇÕÇб³ Àü¹®»ç Á¹¾÷

ÇöÀç ¼­¿ï½Ã±¹¾Ç°üÇö¾Ç´Ü ¾ÆÀï ¼ö¼®

         ¸ñ¿ø´ëÇб³ °âÀÓ±³¼ö

         ¶ôÀ½±¹¾Ç´Ü »ç¹«±¹Àå

         ¼­¿ï´ëÇб³, Çѱ¹¿¹¼úÁ¾ÇÕÇб³ Ãâ°­

     

THANKS TO

°¡¾ß±Ý : °íÈï°ï±¹¾Ç±â¿¬±¸¿ø

È­Àå ¹× ÀÇ»ó : ²Þin

»çÁø : Photojong

Àå¼Ò : Àº´ö¹®È­¿ø


STAFF

³ìÀ½ : 2010.5.17. µ¶ÁÖȸ ½ÇȲ 

³ìÀ½ ÆíÁý ¸¶½ºÅ͸µ : ¾çÁ¤È¯

µðÀÚÀÎ : ¹«¼Û


KWAK JAE YOUNG

Solo recital for Gayageum Sanjo in the style of Choi Ok-sam

- from Live Performance -

 

PROGRAMME

THE CHOI OK-SAM RYU GAYAGEUM SANJO - the complete cycle

1  Daseureum

2  Jinyangjo

3  Jungmori

4  Jungjungmori

5  Neujeunjajinmori

6  Jajinmori

7  Hwimori 

 

STAFF

Recording: on May 17th 2010, from Live performance

Editing & mastering of recording: Yang Jeong-hwan

Design: MUSONG

 

THANKS TO

Gayageum: The Go Heung-gon Gugakgi Yeonguwon

Make-up & costume: Ggum in

Photograph: Photojong

Venue: The Eun Deok Culture Center

 

THE CHOI OK-SAM RYU GAYAGEUM SANJO

 

The Choi Ok-sam Ryu Gayageum Sanjo was recreated by Choi Ok-sam (1905-1956), born in Jangheung. He learned gayageum sanjo from Kim Chang-jo (1856-1919), born in Yeongam, Jeolla province and a creator of the genre of sanjo, on the gayageum, and then Choi transmitted it to Ham Dongjeongwol (1917-1994, born in Gangjin, Jeolla province. This sanjo was designated for Jungyomuhyeongmunajae (Important Intangible Cultural Asset) no. 23 in 1980, and Ham Dongjeongwol obtained its arts holder.

 

The Choi Ok-sam Ryu Gayageum Sanjo consists of Daseureum, Jinyangjo, Jungmori, Jungjungmori, Neujeunjajinmori, Jajinmori and Hwimori. It is regarded as a work with originality and highly artistic flavour. It has a number of characteristics: its melodic structure is solid and elaborate, and its seongeum (= ¡®voice¡¯ or ¡®sound¡¯) is accurate. Its stock melodies are based on those of pansori (¡®epic chant¡¯ and ¡®musical storytelling¡¯ defined by UNESCO in 2004) and namdo (southern areas of Korea) styles. The contrast of tension (¡®closing¡¯) and relaxation (¡®releasing¡¯) is distinctive that shows a dual relationship of the negative and positive, and the question and answer. It shows clearly the controls on emotion that does not come out an intense mood in advance, so its music carries weight and has a profound taste. Jinyangjo, in particular, has a variety of melodic changes displayed by all the techniques used in the performance of sanjo. In transitions of modes, the emergence of an ensuing mode anticipates before the last one or two jangdan (rhythmic cycles).

 

¡®Bonghwangjo (¡®jo¡¯ means a mode)¡¯ in Jinyangjo has the same function with pyeongjo (equivalent to western major scale) in other sanjo musics, but  Ham Dongjeongwol used the term as a symbolic meaning which denotes ¡®a melody that portraits the affectionate appearance of a bonghwang (a phoenix).¡¯

In Jinyangjo, it produces three different timbres executed by the player¡¯s bodily movements:

 

(i) The timbre in Jinwujo is produced by bending after releasing deeply the player¡¯s arm.

(ii) The timbre in Gagogseongwujo  is produced by bending and releasing the player¡¯s wrist.

(iii) The timbre in Gyeongdeureum in Jungmori is produced by bending after releasing and bending a finger¡¯s joints of the player.

 

Regarding modes pyeongwujo in Jungjungmori proceeds consistently that provides a serene and graceful feeling, and even mysterious to its mood, whereas Jungjungmori in other sanjo styles is mainly consisted of gyemyeonjo. More jangdans that also indicate movements or sections beside rhythms in a sanjo music or sections are added in the Choi Ok-sam Ryu Gayageum Sanjo, and this makes this gayageum sanjo diverse in moods. For instance, Neujeunjajinmori has a characteristic scene that depicts ¡°a young widow is walking gloomily on a mountain alone.¡± Jajinmori has a few expressive scenes in the melodies of ¡°drizzling¡±, ¡°horses¡¯ galloping¡± and ¡°returning home while the horses are scattering each other.¡±

 

Nonghyeon (various kinds of hand movements or vibrations) in the Choi Ok-sam

Ryu Gayageum Sanjo require a heavy and controlled execution. Its resultant sound is regarded as strong and masculine as a totality. It particularly renders an excellence in when the janggo accompaniment links between phrasings both in Neujeunjajinmori and Jajinmori.

 

Notes excerpted from The Choi Ok-sam Ryu Gayageum Sanjo transcribed by Seong Ai-soon

 

PROFILE OF THE PERFORMERS

 

KWAK JAE YOUNG

 

Born in 1977 in Changwon, she graduated from Busan Arts of High School. Then she gained both the B.A. and M.A. in Korean Traditional Music at Hanyang University. She recently took a PhD course at the same College. She had taught music at Jeonnam University. In 2007 she was awarded the Grand Prix for the Seoul Gayageum Contest. She had the gayageum recitals four times, and took part in the Seoul Metropolitan Traditional Music  Orchestra and Rageum Orchestra for the 19th times.

 

She has been actively engaged in performances: She frequently appeared in many broadcasting stations such as MBC, KBS, SBS, Arirang TV and Gugak Broadcasting. Beside more than 230th domestic performances, she toured overseas and performed as a guest musician in the U.S.A., Japan, Russia, Australia, Taiwan, etc. She joined in a jazz pianist entitled ¡®Bob James¡¯ concert.

 

She made a number of albums: recorded a TV drama ¡®Damo (= ÒþÙ½ ¡®tea¡¯ &¡¯mother¡¯)¡¯ OST - ¡°Daeum Sesange Wuri¡±; released more than 15 CDs including ¡®The Seong Ai-soon 25-String Gayageum Solo Album¡¯ and ¡®Hanyang Dongmun Gayageum Ensemble¡¯. She also composed and arranged more than 27 pieces such as ¡®Children¡¯s musical - Simcheong¡¯, ¡®Little stories¡¯.

 

¤¤She studied the gayageum with Seong Ai-soon, Lee Jae-sook, Yang Yeon-seop, Min Mi-ran, Kim Gwi-ja, Song Eun-sook, Park Yeong-mi, Jang Hye-sook and Kim Yeon-ok.

 

She wrote her thesis on The Analysis of the ¡®Hoho-gut¡¯ for Four Gayageums composed by Kim Dae-seong in 2004.

 

She is currently a vice-leader in the gayageum part of the Seoul Metropolitan Traditional Music Orchestra. She has been actively involved as a member in such ensemble teams: The Preservation for the Choi Ok-sam Ryu Gayageum Sanjo (Corp.), Hanyang Gayageum Ensemble and Rageum Orchestra.

  

Janggo: KIM SANG HOON 

 

Kim Sang Hoon was born in 1973 in Gwangju. He graduated from Arts College at Jeonnam University and obtained a diploma at the Korea National University of Arts. He is currently a leader of the ajaeng at the Seoul Metropolitan Traditional Music Orchestra and an Adjunct Professor of Mokwon University.


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