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[ÀÌÀü] ±èÈñ¿µ/±â·Ï - Á¤°¡, ¹Î¿ä TOPCD-184  2CD    [´ÙÀ½] ÔÕúÅ ¹Ú´ë¼º ¸íÀÎÀÇ ¾ÆÀï»êÁ¶. ½Ã³ªÀ§ ÀüÁý3CD TOPCD-182

»êÁ¶Å½´Ð II °æ±â°¡¾ß±Ý¾Ó»óºí 5Áý TOPCD-183
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 ¤ý À½¹Ý»ç : ž¿¹¼ú±âȹ
 ¤ý À½¹Ý¹øÈ£: TOPCD-183
 ¤ý ¹ß¸ÅÀÏ: •Manufactured by TOP ARTS/Seoul Media 10.2019.KOREA www.gugakcd.com
 ¤ý ³ìÀ½: •³ìÀ½: ÀÌÀ½½ºÆ©µð¿À, 2019.8. EumRecording Engineer / ÀÌÁ¤¸é Jeongmyeon
 ¤ý µð·ºÅÍ: Publisher / ž¿¹¼ú±âȹ ¾çÁ¤È¯ TOP ARTS (À½Á¦1442È£) / P&C Yang Jeong-hwan www.gugakcd.com
 ¤ý ºñ°í: Ȳ±Ô¿¬ Kyuyeon Hyang•Cover lllustration / ±èÈñ¼÷ Heesook Kim•Editorial Design / ¹«¼Û MUSONG
 ¤ý ÆǸŰ¡°Ý : ¿ø
 ¤ý ¼ö ·® : °³
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TOPCD-183  

»êÁ¶Å½´Ð II °æ±â°¡¾ß±Ý¾Ó»óºí ¡¤ 5Áý    

SANJO ADDICTION ¥± GYEONGGI GAYAGEUM ENSENBLE VOL. 5

 

1, À¯´ëºÀ·ù °¡¾ß±Ý»êÁ¶ Å׸¶ÀÇ ½ÉÇâ ãüú 2018 ÀÛ°î - ³ªÄ«¹«¶ó ³ë¸®ÄÚ     

on a Theme by Yu Daebong Sanjo by Nakamura Noriko (2018) 

¹ý±Ý1 - ±èÀºÁ¤ 25Çö±Ý2 - ±è¼¼¹Ì 25Çö±Ý3 - ±è±ÍÁø 25Çö±Ý4 - ³²¼öÇö   

   1 ¥°ÀÔ»ó ìýßÓ incoming phase 02:40 

   2 ¥±¹Ì¸í Ú±Ù¥ before dawn / ¥² ·Á¸í ÕóÙ¥ dawn 03:52 

   3 ¥³¹éÀÏ ÛÜìí bright sun 03:07

    

2, ÃÖ¿Á»ï·ù °¡¾ß±Ý»êÁ¶ Å׸¶ÀÇ 4´ëÀÇ °¡¾ß±ÝÀ» À§ÇÑ ¡°È²·æÀÇ ²Þ¡± 2018 ÀÛ°î - À̺¹³²    

   "Dream of a Yellow Dragon" for four Gayageums on a Theme by Choi Oksam Sanjo by Boknam Lee (2018) 

   12Çö, 25Çö1-ÀÌÇØÁ¤ 25Çö±Ý2 - Ç㳪·¡ 25Çö±Ý3 - ÀÌ°¡Èñ 25Çö±Ý4 - ±èÁÖ¸® Ÿ¾Ç±â - ³ªÇý°æ 

   4 Áø¾çdzÀ¸·Î 02:41 

   5 Á߸𸮠02:26 

   6 rubatodzÀÇ ÁßÁ߸𸮠01:28

   7 ´ÊÀºÀÚÁø¸ð¸®, Ad. Lib 04:08

   8 ÀÚÁø¸ð¸®, Èָ𸮠02:32

      

3, ±èÀ±´ö·ù °¡¾ß±Ý»êÁ¶¸¦ ¹ÙÅÁÀ¸·Î »êÁ¶ º¯Çü¿¡ °üÇÏ¿© 2018 ÀÛ°î - Å©¸®½ºÅäÆÛ ¼ÈƼ½º

    in the Kim Yundeok Sanjo Style by Christopher Shultis (2018)

    25Çö±Ý1 - ±è±ÍÁø 25Çö±Ý2 - ³²¼öÇö 25Çö±Ý3 - ±è¼¼¹Ì 25Çö±Ý4 - ÀÌ°¡Èñ

     9 Variations ¥° 01:12

     10 Variations ¥± 00:56

     11 Variations ¥² 01:16

     12 Variations ¥³ 01:15

     13 Variations ¥´ 02:07

     14 Variations ¥µ 01:18

       

4, ¾È±â¿Á·ù °¡¾ß±Ý»êÁ¶¸¦ ¹ÙÅÁÀ¸·Î ¹éµÎ»êÀÇ ¸Þ¾Æ¸® 2018 ÀÛ°î - Ç﹫Ʈ Â¥ÇÁ

     in the Ahn Kiok Sanjo Style by Helmut Zapf (2018)

    25Çö±Ý1 - ÀÌÇØÁ¤ 25Çö±Ý2 - Ç㳪·¡ 25Çö±Ý3 - Á¤ÀÎÇâ 25Çö±Ý4 - ÀÌ°¡Çö À屸 - ³ªÇý°æ

     15 ¹éµÎ»êÀÇ ¸Þ¾Æ¸® Echo vom Baekdusan 13:32

      

5, Ȳº´±â·ù °¡¾ß±Ý»êÁ¶ °¡¶ô¿¡ ÀÇÇÑ ¹°°á µû¶ó È帣´Â ¼±À²Ã³·³ 2018 ÀÛ°î - ³ªÈ¿½Å

     -4´ëÀÇ »êÁ¶°¡¾ß±Ý°ú ÇÚµåµå·³À» À§ÇÏ¿©    

      in the Hwang Byeong-gi Sanjo Style by Hyoshin Na (2018)

     12Çö±Ý1 - ±èÀºÁ¤ 12Çö±Ý2 - Á¤ÀÎÇâ 12Çö±Ý3 - ±èÁÖ¸® 12Çö±Ý4 - ÀÌ°¡Çö ÇÚµåµå·³ - ³ªÇý°æ

 

  16 ¹°°á µû¶ó È帣´Â ¼±À²Ã³·³ Melody of Wave 09:57

      

Producer / ÇÑÁø Jin Han Director ÀÌÇØÁ¤ Haejung Lee 

Recording Engineer / ÀÌÁ¤¸é Jeongmyeon LeeMixing/Mastering / ÀÌÇØÁ¤ Haejung Lee / ÀÌÁ¤¸é Jeongmyeon LeePhotography / Ȳ±Ô¿¬ Kyuyeon HyangCover lllustration / ±èÈñ¼÷ Heesook KimEditorial Design / ¹«¼Û MUSONGRecording Space / ÀÌÀ½½ºÆ©µð¿À, 2019.8., Eum StudioPublisher / ž¿¹¼ú±âȹ ¾çÁ¤È¯ TOP ARTS (À½Á¦1442È£) / P&C Yang Jeong-hwan  

www.gugakcd.com

 

TOPCD-183   

Manufactured by Seoul Media. 2019.10. Seoul, Korea       

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»êÁ¶Å½´Ð ¥±

  

°æ±â°¡¾ß±Ý¾Ó»óºí 

 

°æ±â°¡¾ß±Ý¾Ó»óºíÀº 2000³â¿¡ â´ÜµÇ¾î ¼¼°èÀÇ À½¾ÇÁ¶·ù¿ÍÀÇ ¼ÒÅëÀ» ÁöÇâÇÏ°í ÀÖ´Â °¡¾ß±Ý¾Ó»óºí ´ÜüÀÔ´Ï´Ù.   

â´Ü ÃʱâºÎÅÍ °æ±â¹Î¿ä¿¡ ´ëÇÑ Çö´ëÈ­ ÀÛ¾÷À¸·Î °³¼ºÀÌ ¶Ñ·ÇÇÑ ÀÛ°î°¡µéÀÇ À½¾ÇÀ» ÁÖ·Î ¿¬ÁÖÇÏ¿© ¿Ô°í ¹®È­¿¹¼ú°èÀÇ ±Ùº»ÀûÀÎ º¯È­ÀÇ ¼Ò¿ëµ¹ÀÌ ¼Ó¿¡¼­ ÀÌÀü°ú´Â ÀüÇô ´Ù¸¥ ¸ñÇ¥, »õ·Î¿î Ç×·ÎÀÇ Çö´ëÀ½¾ÇÀ» ½ÃµµÇÏ°í ¿¬±¸ÇÏ¸ç ¿©·¯ Çö´ëÀ½¾Ç ÀÛ°î°¡µé°ú ÇÔ²² ±¹¾Ç°è¿¡ ´Ùä·Î¿î âÀÛÀ½¾ÇÀÇ Àå¿¡ ±â¿©ÇÏ¿´°í Á» ´õ ¼¼·ÃµÇ°í Çö´ëÈ­µÈ ¾ÆÄ«µ¥¹ÍÇÑ Ã¢ÀÛÀ½¾ÇÀ» ÁÖµµÀûÀ¸·Î ¹ßÇ¥ÇÏ¿© ¿Ô½À´Ï´Ù.  

°æ±â°¡¾ß±Ý¾Ó»óºíÀº Áö±Ý±îÁö 

Á¦1Áý À½¹Ý ¡°°æ±â¹Î¿ä¿Í ÇÔ²²ÇÏ´Â ¿ì¸®¹Î¿ä¡±

 

Á¦2Áý ¡°Æ¯º°ÇÑ Ãʴ롱

 

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Á¦4Áý ¡°»êÁ¶Å½´Ð¡±

 

Á¦5Áý ¡°»êÁ¶Å½´Ð¥±¡± ¸¦ ¹ß¸ÅÇÏ¿´½À´Ï´Ù 

¡°»êÁ¶Å½´Ð¥±¡± °æ±â°¡¾ß±Ý¾Ó»óºí Á¦5Áý À½¹ÝÀº ÃÖ¿Á»ï·ù °¡¾ß±Ý»êÁ¶, À¯´ëºÀ·ù °¡¾ß±Ý»êÁ¶, Ȳº´±â·ù °¡¾ß±Ý»êÁ¶, ¾È±â¿Á·ù °¡¾ß±Ý»êÁ¶, ±èÀ±´ö·ù °¡¾ß±Ý»êÁ¶¸¦ Å׸¶·Î »õ·Î¿î Çö´ë»êÁ¶¸¦ ¼±º¸ÀÎ µÎ ¹ø° À½¹ÝÀÔ´Ï´Ù.

 

ºñ·Ï ´«¿¡ º¸ÀÌÁö ¾ÊÀ»Áö¶óµµ ¿ì¸®¿¡°Ô ¸¶À½ÀÇ ´«À» ¿­¾îÁÖ´Â Çö´ë »êÁ¶...

 

°æ±â°¡¾ß±Ý¾Ó»óºí¸¸ÀÇ ÇÒ ÀÏÀ» °¡Áö°í ÀÖ´Ù´Â ÀںνÉÀ¸·Î °¡¾ß±Ý¿¡ ´ëÇÑ ¼Ò¸Á°ú ¿­Á¤, âÀÛÀ½¾Ç°è¿¡ ¹«ÇÑÇÑ ¼ºÀå·ÂÀ¸·Î ÀÚ¸®¸Å±èÇÏ´Â ¸ð½ÀÀ» º¸¿©µå¸± ¼ö ÀÖµµ·Ï ´õ¿í´õ ¸ÅÁøÇÒ °ÍÀ̸ç, ±Þ°ÝÇÏ°Ô º¯¸ðÇÏ°í ÀÖ´Â ¹®È­¿¹¼ú°è¿¡ ¹ß¸ÂÃß¾î ÇÑ°ÉÀ½ ´õ ¾Õ¼­³ª°¡´Â °æ±â°¡¾ß±Ý¾Ó»óºíÀÌ µÇ°Ú½À´Ï´Ù.

 

SANJO ADDICTION ¥± 

GYEONGGI GAYAGUM ENSEMBLE 

Established in 2000, the Gyeonggi Gayagum Ensembles focused on creating a unique voice on the korean traditional music field by working with composers who can help ensemble modernize Gyeonggi style minyo, or folk song. As fundamental change continues to rock the world of culture and arts, the ensemble has responded with distinct tracks of contemporary music that contribute to the creation of diverse and creative Korean music by introducing modern and sophisticated works of art music by contemporary composers. These new works sit next to the ensemble¡¯s previous album,

       

1st ¡°Our Song through Gayagum¡±

 

2nd ¡°Special Invitation¡±

 

3rd ¡°A Walk Through Youth¡±

 

4th ¡°Sanjo Addiction¥°¡±

 

5th ¡°Sanjo Addiction¥±¡±

      

¡°Sanjo Addiction¥±¡±(Vol.5), is the fifth album of the Gyeonggi Gayagum Ensembles,

 

which features the new morden sanjo under the theme of Choi Ok Sam ryu Gayagum sajno, Yoo Dae Bong ryu Gayagum sajno, Hwang Byeong Gi ryu Gayagum sajno, An Gi Ok ryu Gayagum sajno, Kim Yoon Duk ryu Gayagum sajno,    

We wanted to take the solo genre of general of gayagum sanjo and create new contemporary sanjo for ensemble because, although invisible contemporary sanjo opens the eyes of our heart... 

We will strive to show you our desire for Gayagum, our passion, and our place in the creative music scene with pride that we have the work to do. It is going to be a creative music ensemble that takes a step forward in step with the rapidly transforming cultural and artistic world.

 

»êÁ¶Å½´Ð SANJO ADDICTION ¥±  

 

1, À¯´ëºÀ·ù °¡¾ß±Ý»êÁ¶ Å׸¶ÀÇ ½ÉÇâ ãüú 2018 ÀÛ°î - ³ªÄ«¹«¶ó ³ë¸®ÄÚ

 

on a Theme by Yu Daebong Sanjo by Nakamura Noriko (2018)

 

¹ý±Ý1 - ±èÀºÁ¤ 25Çö±Ý2 - ±è¼¼¹Ì 25Çö±Ý3 - ±è±ÍÁø 25Çö±Ý4 - ³²¼öÇö

 

1, À¯´ëºÀ·ù °¡¾ß±Ý»êÁ¶ Å׸¶ÀÇ ½ÉÇâ ãüú 2018 ÀÛ°î - ³ªÄ«¹«¶ó ³ë¸®ÄÚ

 

on a Theme by Yu Daebong Sanjo by Nakamura Noriko (2018)

 

¹ý±Ý1 - ±èÀºÁ¤ 25Çö±Ý2 - ±è¼¼¹Ì 25Çö±Ý3 - ±è±ÍÁø 25Çö±Ý4 - ³²¼öÇö

 

1 ¥°ÀÔ»ó ìýßÓ incoming phase 02:40

 

2 ¥±¹Ì¸í Ú±Ù¥ before dawn / ¥² ·Á¸í ÕóÙ¥ dawn 03:52

 

3 ¥³¹éÀÏ ÛÜìí bright sun 03:07

 

 

 

 

2, ÃÖ¿Á»ï·ù °¡¾ß±Ý»êÁ¶ Å׸¶ÀÇ 4´ëÀÇ °¡¾ß±ÝÀ» À§ÇÑ ¡°È²·æÀÇ ²Þ¡± 2018 ÀÛ°î - À̺¹³²

 

"Dream of a Yellow Dragon" for four Gayageums on a Theme by Choi Oksam Sanjo by Boknam Lee (2018)

 

12Çö, 25Çö1-ÀÌÇØÁ¤ 25Çö±Ý2 - Ç㳪·¡ 25Çö±Ý3 - ÀÌ°¡Èñ 25Çö±Ý4 - ±èÁÖ¸® Ÿ¾Ç±â - ³ªÇý°æ

 

4 Áø¾çdzÀ¸·Î 02:41

 

5 Á߸𸮠02:29

 

6 rubatodzÀÇ ÁßÁ߸𸮠01:28

 

7 ´ÊÀºÀÚÁø¸ð¸®, Ad. Lib 04:08

 

8 ÀÚÁø¸ð¸®, Èָ𸮠02:32

 

 

 

 

3, ±èÀ±´ö·ù °¡¾ß±Ý»êÁ¶¸¦ ¹ÙÅÁÀ¸·Î »êÁ¶ º¯Çü¿¡ °üÇÏ¿© 2018 ÀÛ°î - Å©¸®½ºÅäÆÛ ¼ÈƼ½º

 

in the Kim Yundeok Sanjo Style by Christopher Shultis (2018)

 

25Çö±Ý1 - ±è±ÍÁø 25Çö±Ý2 - ³²¼öÇö 25Çö±Ý3 - ±è¼¼¹Ì 25Çö±Ý4 - ÀÌ°¡Èñ

 

9 Variations ¥° 01:12

 

10 Variations ¥± 00:56

 

11 Variations ¥² 01:16

 

12 Variations ¥³ 01:15

 

13 Variations ¥´ 02:07

 

14 Variations ¥µ 01:18

 

 

 

 

4, ¾È±â¿Á·ù °¡¾ß±Ý»êÁ¶¸¦ ¹ÙÅÁÀ¸·Î ¹éµÎ»êÀÇ ¸Þ¾Æ¸® 2018 ÀÛ°î - Ç﹫Ʈ Â¥ÇÁ

 

in the Ahn Kiok Sanjo Style by Helmut Zapf (2018)

 

25Çö±Ý1 - ÀÌÇØÁ¤ 25Çö±Ý2 - Ç㳪·¡ 25Çö±Ý3 - Á¤ÀÎÇâ 25Çö±Ý4 - ÀÌ°¡Çö À屸 - ³ªÇý°æ

 

15 ¹éµÎ»êÀÇ ¸Þ¾Æ¸® Echo vom Baekdusan 13:32

 

 

 

 

5, Ȳº´±â·ù °¡¾ß±Ý»êÁ¶ °¡¶ô¿¡ ÀÇÇÑ ¹°°á µû¶ó È帣´Â ¼±À²Ã³·³ 2018 ÀÛ°î - ³ªÈ¿½Å

 

-4´ëÀÇ »êÁ¶°¡¾ß±Ý°ú ÇÚµåµå·³À» À§ÇÏ¿©

 

in the Hwang Byeong-gi Sanjo Style by Hyoshin Na (2018)

 

12Çö±Ý1 - ±èÀºÁ¤ 12Çö±Ý2 - Á¤ÀÎÇâ 12Çö±Ý3 - ±èÁÖ¸® 12Çö±Ý4 - ÀÌ°¡Çö ÇÚµåµå·³ - ³ªÇý°æ

 

16 ¹°°á µû¶ó È帣´Â ¼±À²Ã³·³ Melody of Wave 09:57

 

 

 

 

[°îÇؼ³ Music Commentary]

 

 

 

 

1, À¯´ëºÀ·ù °¡¾ß±Ý»êÁ¶ Å׸¶ÀÇ ½ÉÇâ ãüú 2018 ÀÛ°î - ³ªÄ«¹«¶ó ³ë¸®ÄÚ

 

on a Theme by Yu Daebong Sanjo by Nakamura Noriko (2018)

 

 

°Å¹®°í[úÜÐÖÁ¶¼± ¹Ýµµ]¼Ö·Î, ÄÚÆ®[î´ÀϺ»]µà¿À, Çö¾Ç Æ®¸®¿ÀÀÇ ¼¼ À½¾Ç.

 

Áö³­ÇØ °¡À», °Å¹®°í¸¦ Àü°øÇÏ´Â Çѱ¹ ±³È¯Çлýµé°ú ³ë¸£¿þÀÌ¿¡¼­ ¿Â ÀÛ°î°ú ±³È¯ÇлýÀÌ ÀúÀÇ ¼­¾çÀ½¾Ç Àü°ø ´ëÇпø»ýÀÇ ¼ö¾÷¿¡ Âü¿©Çß´Ù. 2018³â µ¿°è¿Ã¸²ÇÈÀ» ÇâÇØ µ¿¼­ ¹Î¿äÀÇ À¶ÇÕÀ» ¿¬±¸ÇÏ´Â ±×µéÀÇ ¸ð½À¿¡ ¿µ°¨À» ¾ò¾î, ³ª´Â °Å¹®°í µ¶ÁÖ¸¦ ½è´Ù. È­¸¦ À§ÇÑ ¼Ö·Î. ÇÑÀÏ °øµ¿ ¼±¾ð Àϳ⠿©¸§, ¼­¿ï°ú °æÁÖ¿¡¼­ À½¾Ç ÀåÇÐ±Ý Áö¿øÀ¸·Î Çѱ¹ ÀüÅëÀ½¾ÇÀ» µè°í ¿µ°¨¹Þ¾Æ ³ª´Â °íÅä µà¿À¸¦ ½è´Ù. µ¶ÀÏ ÅëÀÏÈÄ °øºÎ¸¦ À§ÇØ ºê·¹¸à¿¡ ÀÖ¾ú´Ù. ³ª´Â ºñ¿ÍÄÚ È£¼ö ¿·À¸·Î µÇµ¹¾Æ °¬°í, Ä£±¸µéÀ» À§ÇØ string Æ®¸®¿À¸¦ ½è´Ù. ÀÌ Çö¾Ç Æ®¸®¿À¸¦ ¿Ã º½ ¼­¿ï¿¡¼­ À¯·´ ÁßÁÖ·Î ¿¬ÁÖÇØ ÁֽŠÇѱ¹ÀÇ Ä£±¸ ¿©·¯ºÐ²² ±íÀº °¨»ç¸¦ ¹ÙÄ£´Ù.

 

2017³â ±³Åä¿¡¼­ ¸¸³­ ÀÌÇØÁ¤ ´ëÇ¥°¡ °æ±â°¡¾ß±Ý¾Ó»óºíÀÇ °¡¾ß±Ý4ÁßÁÖÀÇ È­À½¿¡ ¸¶À½À» ½Ç¾î ÀÌ À½¿øÀÇ ±Ù¿øÀ» ¹¯´Â 27³â°£ÀÇ ¿©ÇàÀ» Áö±Ý ÇØÈÄÇÑ´Ù.

 

 

 

 

Three music on geomungo solo (2017-18) of Korean Peninsula, koto duo(1997-98) of Japan, and string trio(1990-91) of Europe.

 

Last fall, Korean student majoring hyeongeum, and Norwegian student majoring composition, they joined my research class of graduate students majoring western music. We researched together about the fusion of eastern and western music toward Pyeongchang Olympics. From the inspiration on their studies of the fusions of folk songs in the East and the West, and I wrote a hyeongeum solo for peace. In the summer-autumn of the Korean-Japan joint declaration year, from the inspiration in listening to Korean traditional music in Seoul and Gyeongju by the support of music scholarship, I wrote koto duo.

 

Right after Unification of East and West Germany, I was in Bremen for composing studies. I went back to beside Lake Biwa and I wrote a string trio for my friends players. String trio was performed in Seoul by European quartet, by the cooperation of a lot of my Korean friends in this spring. I express deep gratitude to all my friends in Korea. This long my journey of 27 years for inquiring the origin of the sound is reaching to the chords of gayageum quartet, Gyeonggi Gayageum Ensemble by representative Lee Heajeong, who performed in Kyoto, 2017.

 

 

 

 

2, ÃÖ¿Á»ï·ù °¡¾ß±Ý»êÁ¶ Å׸¶ÀÇ 4´ëÀÇ °¡¾ß±ÝÀ» À§ÇÑ ¡°È²·æÀÇ ²Þ¡± 2018 ÀÛ°î - À̺¹³²

 

"Dream of a Yellow Dragon" for four Gayageums on a Theme by Choi Oksam sanjo by Boknam Lee (2018)

 

 

 

 

¡°È²·æÀÇ ²Þ¡±Àº °æ±â°¡¾ß±Ý¾Ó»óºíÀÇ À§ÃË¿¡ ÀÇÇØ ÃÖ¿Á»ï·ù °¡¾ß±Ý»êÁ¶¸¦ ¹ÙÅÁÀ¸·Î ÀÛ°îµÈ ÀÛÇ°ÀÌ´Ù. ÃÖ¿Á»ï·ù °¡¾ß±Ý»êÁ¶ÀÇ ¸¹Àº À½¾ÇÀû ¿ä¼Ò Áß ÀÚÁø¸ð¸®ÀÇ ¸Å¿ì ´ÙÀ̳ª¹ÍÇÑ ¿¡³ÊÁö¿Í ź·ÂÀûÀÎ ¿ªµ¿°¨, ƯÈ÷ ´ÊÀº ÀÚÁø¸ð¸® Àå´Ü¿¡¼­ °è¼ÓµÇ´Â º¯¹Ú°ú º¹ÇÕ¸®µë, ¡°°¡¶ûºñ ¿À´Â °¡¶ô¡±°ú °°Àº ´Ùä·Î¿î À½ÇâµéÀº ³ª¿¡°Ô ¾ÆÁÖ ¸Å·ÂÀûÀ¸·Î ´Ù°¡¿Ô´Ù. ƯÈ÷ ÃÖ¿Á»ï·ùÀÇ ´ëÇ¥ÀûÀÎ ¡°¸» ¶Ù´Â °¡¶ô¡±Àº ¸¸ÁÖ ´ë·úÀÇ ¹úÆÇÀ» ´Þ¸®¸ç »ï±¹ ÅëÀÏÀ» ²Þ²Ù´ø °í±¸·ÁÀεéÀÇ ±â»óÀ» ¿¬»óÄÉ ÇÏ¸ç ¡°È²·æÀÇ ²Þ¡±À» ź»ý½ÃÄ×´Ù. ÃÖ¿Á»ï·ùÀÇ Àå´ÜÀ» ¸ðÅ·ΠÇÏ¿© °íÀüÀûÀÎ °¡¶ôÀÇ Â¥ÀÓ»õ¸¦ Çö´ëÀûÀÎ À½Çâ ¹× ±â¹ý°ú Á¢¸ñ½ÃÄÑ ±¸¼º¹Ì ÀÖ°Ô ¿«¾îº¸¾Ò´Ù.

 

 

 

 

¡°Dream of a Yellow Dragon" is a music based on Choi Ok-sam style Gayageum Sanjo by a request from Gyeonggi Gayageum Ensemble. Among Choi Ok-sam style Gayageum Sanjo's various musical elements, Jajinmori's dynamic and flexible energy, continuous changing beat and complex rhythm from Late Jajinmori rhythm, and multifarious tunes from "a drizzling tune" were quite fascinating to me. Especially, Choi Ok-sam style's representative "a horse running tune" reminded of vigor of people of Goguryeo who rode horses on wilderness of Manchuria and dreamed of the unification of three nations and led to creation of "Dream of a Yellow Dragon". Originating from Choi Ok-sam style's rhythm, it was composed by grafting the structure of traditional melody and the contemporary acoustics and techniques.

 

 

 

 

3, ±èÀ±´ö·ù °¡¾ß±Ý»êÁ¶¸¦ ¹ÙÅÁÀ¸·Î »êÁ¶ º¯Çü¿¡ °üÇÏ¿© 2018 ÀÛ°î - Å©¸®½ºÅäÆÛ ¼ÈƼ½º

 

in the Kim Yundeok Sanjo Style by Christopher Shultis (2018)

 

 

ÇÑ »ç¶÷°ú ÀÛ°î°¡·Î¼­ Çѱ¹ À½¾Ç°ú ¹®È­¿¡ÀÇ ³ëÃâÀº ÀλýÀ» º¯È­½ÃÅ°´Â °æÇèÀ̾ú´Ù. óÀ½ »êÁ¶¸¦ µé¾úÀ» ¶§, ´À¸®°Ô ½ÃÀ۵Ǵ ¼Ò¸®, Áï ¼Ò¸®·Î µé·ÁÁö´Â À½¾ÇÀÇ °ø°£¿¡ ³î¶ú´Ù. ÀÌ´Â À½¾Ç¿¡¼­ ³»°¡ µè°í ¸¸µå´Â °Í°ú À¯»çÇßÀ¸¸ç óÀ½À¸·Î »êÁ¶ÀÇ °ø¿¬À» µè´Â °ÍÀº ³ª¿¡°Ô °è½Ã°¡ µÇ¾ú´Ù. ³ª´Â Ç×»ó ÀÚÀ¯·Ó°Ô ±×¸®°í ¹Ì¸® Á¤ÇØÁø Á¶°Ç¾øÀÌ ÀÛ°îÇÏ¿´´Ù. ±×·¯³ª ÀÌ Ä¿¹Ì¼ÇÀº ¼¼ °¡Áö ¸Å¿ì ƯÁ¤ÇÑ Á¶°ÇÀ» °¡Áö°í ÀÖ¾ú´Ù. ¸ÕÀú »êÁ¶¿¡ ±â¹ÝÀ» µÎ¾î¾ß Çß´Ù. µÎ ¹ø°·Î ¿ø·¡ÀÇ Æ©´×À¸·Î °¡¾ß±ÝÀ» »ç¿ëÇØ¾ß Çß´Ù. (±èÈñ¼÷ÀÇ ºñµð¿À¿Í ÇÔ²² ¸¸µç ÄÝ¶óº¸ ÀÎ "Circlings"¿¡¼­ ¸ðµç Æ©´×À» ¹Ù²ã¾ß Çߴµ¥ ÀÌ´Â 2010³â¿¡ Çѱ¹ À½¾Ç Æ佺Ƽ¹ú¿¡¼­ °æ±â°¡¾ß±Ý¾Ó»óºíÀÌ Ã³À½À¸·Î Haverford ´ëÇп¡¼­ ±è±³¼ö°¡ ÁÖÃÖÇÑ Çѱ¹À½¾Ç°ú ¹Ì¼úÀ̶ó´Â Æ佺Ƽ¹ú¿¡¼­ ¿¬ÁֵǾú´Ù) ¼Â°, ºñµð¿Àµµ ÀüÀÚÀ½¾Çµµ »ç¿ëÇÒ ¼ö ¾ø¾ú´Ù (µÑ ´Ù Circlings¿¡¼­ »ç¿ëµÊ). ³ªÀÇ ¿ø·¡ °èȹÀº ±× ¸ðµç °ÍÀ» »ç¿ëÇÏ´Â °ÍÀ̾ú´Ù. ±×·±µ¥ °æ±â°¡¾ß±Ý¾Ó»óºíÀÌ º¸³½ »êÁ¶ÀÇ ³ìÀ½À» µè°í´Â ±×Àú Çѱ¹ÀÎó·³ ±× ¸¹Àº ¼¼¿ùµ¿¾È µè°í Áñ±â´Â °Í¸¸ÀÌ ¿Ïº®ÇÒ °Í °°¾Ò´Ù. ³»°¡ ¹» ÇÒ ¼ö ÀÖÀ»±î? ³î¶ø°Ôµµ, ³ª´Â Çѱ¹À½¾Ç¿¡ ´ëÇØ °ÅÀÇ ¾ËÁö ¸øÇßÀ» ¶§ CirclingsÀ» ÀÛ°îÇÑ ´ë·Î Çß´Ù. ±× °î¿¡¼­ ³ª´Â °¡¾ß±ÝÀ» Àç·á·Î »ç¿ëÇß´Ù. óÀ½À¸·Î ³»°¡ ¸ðµâÈ­ µÈ ÀÛ°î¹ýÀ» »ç¿ëÇÏ¿© ³»°¡ µé¾ú´ø ºÎºÐÀ» Àû¾î¼­ ¸¶Áö¸·¿¡ ´Ù½Ã ¸ÂÃá °ÍÀÌ´Ù. Sanjo º¯ÁÖ°îÀÇ °æ¿ì, Sanjo¸¦ Àç·á·Î »ç¿ëÇÏ¿© Çѱ¹ÀÎ °ü°´¿¡°Ô´Â ³Ê¹«µµ ÀÚ¿¬½º·¯¿î »êÁ¶ À½¾ÇÀ¸·Î ¸¸µé¾ú´Ù. ±×¸®°ï °°Àº ¹æ¹ýÀ¸·Î µéÀº °ÍÀ» Àû¾î ³ª°¬´Ù.

 

ÀÌ ¸ðµç °ÍÀÌ ³»°¡ Ç×»ó ¿µ°¨À» ¹ÞÀº Àå¼ÒÀÎ Old Haverford Friends Meeting¿¡¼­ ÀÌ·ç¾îÁ³´Ù. ³»°¡ ¿ÏÀüÇÑ Ä§¹¬À¸·Î µéÀ» ¼ö ÀÖ´Â Quaker ¹ÌÆà ÇϿ콺. ħ¹¬Àº ¾ðÁ¦³ª ÀÛ°î°¡·Î¼­ ³»°¡ µéÀ» ÇÊ¿ä°¡ ÀÖ´Â °ÍÀ» ¹ß°ßÇÏ°Ô ÇÑ´Ù. ÀÌ ¼¼±×¸ÕÆ®µéÀº Áö³­ ¿©¸§¿¡ ÇÁ¶û½º ½Ã°ñ¿¡¼­ °È´Â µ¿¾È ¹ß°ßÇÑ ¼ýÀÚ Ã¼°è¸¦ »ç¿ëÇÏ¿© Çü½ÄÀûÀ¸·Î ÇÕÃÄÁ³´Ù. ÀÌ À§ÃËÀ» À§ÇØ °æ±â°¡¾ß±Ý¾Ó»óºí¿¡ °¨»çµå¸®¸ç óÀ½ ¸¸³µÀ» ¶§ºÎÅÍ ÇöÀç±îÁö ³ªÀÇ À½¾ÇÀ» ¿­·ÄÈ÷ ¹Þ¾ÆµéÀÎ °Í¿¡ ´ëÇØ °¨»çµå¸°´Ù. ±×·¯³ª ³ª´Â ¶ÇÇÑ ¸ðµç °ÍÀ» Çѱ¹ ƯÈ÷ Çѱ¹ÀÇ ¹Î¼ÓÀ½¾Ç¿¡ ±í°í ¿µ¿øÇÑ °¨»ç¸¦ Ç¥ÇÑ´Ù. Çѱ¹Á¤ºÎ·ÎºÎÅÍ ³ª¿¡°Ô ¼ö ¹é °ÇÀÇ À½¹ÝÀÌ º¸³»Á³°í, ¼­¿ï¿¡¼­ ¿­¸° ±¹Á¦ ±¹¾Ç ¿öÅ©¼ó¿¡ Âü°¡ÇÏ¿© ´Ü¼Ò, Ç÷çÆ®, À屸, °¡¾ß±Ý µîÀÇ °­ÀǸ¦ µè°í ¸¹Àº °­¿¬ÀÚµé°ú ÇÔ²² °­¿¬À» Çß´Ù. Àü¼³ÀûÀΠȲº´±â¸¦ ºñ·ÔÇÑ Çѱ¹ ¹Î¼ÓÀ½¾Ç¿¡ ´ëÇÑ ±ÇÀ§Àڵ鿡°Ô ³ª´Â Çѱ¹ÀεéÀÌ ±¹¾ÇÀ̶ó°í ºÎ¸£´Â °ÍÀ» ¸¹ÀÌ ¹è¿ï ¼öÀִ Ư±ÇÀ» ´©·È´Ù. ±× ÀÌÈÄ·Î ÀÛ°îÇÑ ¸ðµç À½¾ÇÀº ³»°¡ ÀÌ À§´ëÇÑ À½¾Ç ¹®È­¿¡¼­ ¹è¿î °Í¿¡ ¿µÇâÀ» ¹ÞÀº °ÍÀ̸ç Áö±Ýµµ °è¼Ó ¹è¿ì°í ÀÖ´Ù. ³» Sanjo º¯ÁÖ°îÀº ÀÌ ¸ðµç °Í¿¡ ´ëÇÑ ³» °¨»çÀåÀ¸·Î µé·ÁÁÖ¸é ÁÁ°Ú´Ù.

 

 

 

 

As a person and composer, my exposure to Korean music and culture has been a life changing experience. When I first heard Sanjo, those slow opening tones, the framing of musical space with sound, I was astonished. For this is similar to how I listen and create in my own music, and hearing Sanjo in concert for the first time was a revelation to me. I always write freely and with no predetermined conditions, that's how I work as a composer. But this commission had three very specific conditions: first, it must be based on Sanjo, which certainly doesn't need anything I might add; second, it had to use the gayageum in its original tunings (I had changed all the tunings in Circlings, a collaboration with video by Heesook Kim and the first piece I wrote for the Gyeonggi Gayageum Ensemble, premiered in 2010 during a festival on Korean music and art at Haverford College that Professor Kim organized); third, it could use no video and no electronics (both used in Circlings). I had originally intended to do all those things I was told I couldn't do, and as I listened to a Sanjo recording the ensemble sent me, it's very perfection seemed to need nothing other than me listening to and enjoying it like Korean audiences have been doing for many, many years. So what could I do? Surprisingly, I did what I did in Circlings, written when I knew very little about Korean music. In that piece I used the Gayageum as material, the first time I used my modular method of composing where I write down what I hear in segments and put them together at the end. For my Sanjo Variations I used the Sanjo as material, in ways I'm sure for a Korean audience will be quite obvious. Then using that same method of modular form, I wrote down what I heard, in my current place of listening inspiration, Old Haverford Friends Meeting, a Quaker meeting house where I can listen in complete silence. Silence is where I always find what, as a composer, I need to hear. Those segments were put together formally, using a numeric system I discovered while walking in the French countryside this past summer. I would like to thank the Gyeonggi Gayageum Ensemble for this commission and also for their enthusiastic embrace of my music from when we first met until the present day. But I would also like toexpress my deep an dabiding appreciation for all things Koreanand, specifically, Korean folkmusic. Thanks to hundred so frecording ssenttome by the Korean government, an daninvitation top articipatein the International Gugak Workshop in Seoul, where I was able to take lessons in Dan so flute, Janggu, and Gayageum, aswell asattending lectures by many leading authorities on Korean folkmusic, including the legendary Hwang Byungki, I have been privileged to learnmuchabout what Koreans call Gugak. Notonesing lepiece of music I've written since hasn't been in fluenced by what I've learned, and continue to learn, from thisg reat musical culture. My Sanjo Variations should be heardas my way of saying thanks.

 

Christopher Shultis

 

27 October, 2018

 

Ardmore, PA

 

 

 

 

4, ¾È±â¿Á·ù °¡¾ß±Ý»êÁ¶¸¦ ¹ÙÅÁÀ¸·Î ¹éµÎ»êÀÇ ¸Þ¾Æ¸® 2018 ÀÛ°î - Ç﹫Ʈ Â¥ÇÁ

 

in the Ahn Kiok Sanjo Style by Helmut Zapf (2018)

 

 

¶¥ÀÇ ±í¼÷ÇÑ °è°îÀ¸·Î ¿ï·Á ÆÛÁö´Â »ê¸Þ¾Æ¸®´Â °ß°íÇÏ°í Àå´ëÇϸç, °­ÇÑ ÀÚÃ븦 ³²±ä´Ù. ¸Þ¾Æ¸®µéÀº Àΰ£µéÀÇ »î, ±×µéÀÇ °ø»ý, ±×¸®°í ±×µéÀÇ ÀÏȸ¼º¿¡ ´ëÇÑ ±â¾ïÀ¸·Î ³²´Â´Ù. ¸Þ¾Æ¸®µéÀº °øÅëÀûÀÎ À½ÇâÀ¸·Î, ¸Õ »êµéÀÇ °è°îµéÀ» ¿¬°áÇØ ÁÖ¸ç, ±× °÷µéÀ» »ê ¾Æ·¡·Î µ¹¾Æ¿À°Ô ÇÑ´Ù. ¹éµÎ»êÀº Ã游ÇÑ ¿¡³ÊÁö¿Í µû¶æÇÔ, ±×¸®°í ÈûÀ» Áö´Ñ, È°·ÂÀÖ´Â È­»êÀ̱⵵ ÇÏ´Ù. ¸¶Ä¡ ÇÑ ¹ÎÁ·°øµ¿Ã¼ÀÇ ÀüÅë, ¹®È­, ±×¸®°í À½¾Ç°úµµ °°´Ù. ³ªÀÇ À½¾ÇÀû Àç·á´Â Çѱ¹ÀÇ ¾Æ¸§´Ù¿î ¾Æ¸®¶û¿¡¼­ Ãâ¹ßÇÑ´Ù. ¾Æ¸®¶ûÀÇ ¼±À²°ú °¡»ç´Â ¸î ¹é³â µ¿¾È Áö¼ÓÀûÀ¸·Î ¹ßÀüÇØ ¿Â ÇѹÎÁ·ÀÇ È£ÈíÀÌ´Ù. ³ª´Â ÀÌ°ÍÀ» ÀÛÀº µ¿±â¸¸À¸·Î ½ÃÀÛÇؼ­ ³ªÀÇ °íÀ¯ÇÑ À½Çâ¼¼°è·Î ¹ßÀü½ÃÄ×´Ù. Ÿ¾Ç±âÀÇ ¸®µëÀº »êÀ» ºÎ¸£´Â ½ÅÈ£·Î ¸Þ¾Æ¸®ÀÇ ¿øõÀ» »ó¡Çϸç, °¡¾ß±ÝµéÀº ´Ù¾çÇÏ°Ô ¿ï·Á ÆÛÁö´Â ¸Þ¾Æ¸®µéÀ» »ó¡ÇÑ´Ù.

 

 

 

 

Die Echos von einem Berg, hinab in die Täler, ins Land, sie bringen einen Abdruck von der Stärke, von der Festigkeit und Grö©¬e eines Berges. Die Echos bringen den Menschen eine Erinnerung an das Leben, an ihre Gemeinsamkeit an ihre Einmaligkeit. Echos haben eine gemeinsame akustische Quelle und überbrücken gro©¬e Entfernungen in den Tälern eines Berges, sie verbinden sie zu einer Gemeinschaft am Fu©¬e des Berges.

 

Der Berg Baekdusan ist auch ein Vulkan, ein aktiver Vulkan, voller Energie und Wärme und Kraft, wie die Menschen eines Volkes und ihre Traditionen, Kultur und Musik.

 

Als musikalisches Ausgangsmaterial benutze ich die wunderschöne Melodie des koreanischen Liedes "Arirang". Das Lied ist mit seiner alten Melodie und seinen Texten und seiner stätigen Weiterentwicklung durch alle Jahrhunderte hindurch der Atem des koreanischen Volkes. Ich benutze zu Beginn meiner Komposition nur kleine Motive als Material zur Entwicklung meiner eigenen Klangwelt und das Schlagzeug mit seinen vielfältigen Rhythmen symobolisiert den Ruf in den Bergen, der Schallquelle der Echos wird, die Gayageums sind Vielfalt der Echos...

 

Echoes from Baekdusan echoes from mountain Baekdu

 

5, Ȳº´±â·ù °¡¾ß±Ý»êÁ¶ °¡¶ô¿¡ ÀÇÇÑ ¹°°á µû¶ó È帣´Â ¼±À²Ã³·³ 2018 ÀÛ°î - ³ªÈ¿½Å

 

-4´ëÀÇ »êÁ¶°¡¾ß±Ý°ú ÇÚµåµå·³À» À§ÇÏ¿©

 

in the Hwang Byeong-gi Sanjo Style by Hyoshin Na (2018)

 

 

 

 

2017³â ¿©¸§¿¡ °æ±â°¡¾ß±Ý¾Ó»óºíÀº ³»°Ô 4´ëÀÇ °¡¾ß±Ý°ú 1ÀÎÀÇ Å¸¾Ç±â ÁÖÀÚ¸¦ À§ÇÑ ÀÛÇ°À» ÀÇ·ÚÇߴµ¥, ±×µéÀº ÀÌ ÀÛÇ°ÀÌ È²º´±â °¡¾ß±Ý»êÁ¶¿¡ ¹ÙÅÁÀ» µÑ °ÍÀ» ¿ä±¸Çß´Ù.

 

Ȳº´±â ¼±»ý´Ô²²¼­´Â ½º½ÂÀ̴̼ø ±èÀ±´ö ¼±»ý´ÔÀÇ ¸»¾¸À» ÀοëÇÏ¿© 'ÀÌ »êÁ¶´Â ²Éó·³ È­»çÇÏÁö ¾Ê°í, ¸»ÇÏÀÚ¸é ÀÙ»ç±Íº¸´Ù °¡Áö, °¡Áöº¸´Ù ÁÙ±â, Áٱ⺸´Ù »Ñ¸®°¡ ½ÇÇÑ »êÁ¶'¶ó°í Çϼ̴Ù. ³ªÀÇ ÀÛÇ° '¹°°á µû¶ó È帣´Â ¼±À²Ã³·³'ÀÇ Á¦¸ñ°ú ¼º°ÝÀº Ȳ ¼±»ý´Ô »êÁ¶ÀÇ ¹Ù·Î ÀÌ·± ¼º°ÝÀ¸·ÎºÎÅÍ ¿µÇâÀ» ¹Þ¾Ò´Ù.

 

'¹°°á µû¶ó È帣´Â ¼±À²Ã³·³'Àº ¶ÇÇÑ °¡¾ß±Ý»êÁ¶ÀÇ ´Ù¸¥ Ư¡µé°úµµ ¹ÐÁ¢ÇÑ °ü°è°¡ ÀÖ´Ù. »êÁ¶Ã³·³ ÀÌ ÀÛÇ°Àº ¸Å¿ì õõÈ÷ ½ÃÀÛÇؼ­ Á¡Á¡ »¡¶óÁö°í, Ÿ¾Ç±â ÁÖÀÚÀÇ ¸®µë ÆÐÅÏÀ» Áß½ÉÀ¸·Î ±¸¼ºµÇ¾î ÀÖ´Ù. »êÁ¶ÀÇ ¶æÀº 'Èð¾îÁø °¡¶ô'Àε¥, ³ª´Â ÀÌ ÀÛÇ°¿¡¼­ ÀÌ·¯ÇÑ ¼º°ÝÀ» ±Ø´ëÈ­½ÃÄ×´Ù.

 

 

 

 

In the summer of 2017, I was asked by the Gyeonggi Gayageum Ensemble to compose a piece for 4 Gayageums and 1 percussionist. They requested that the piece be based on the Hwang Byung-ki Sanjo.

 

Hwang Byeong-gi quoted his teacher Kim Yundeok about this particular Sanjo: "This sanjo is not luxuriant like a flower, but is more like a tree in which the branches are stronger than the leaves, and the roots stronger than the trunk". The title and character of my piece "Melody of Wave" came from this character of Hwang's sanjo.

 

"Melody of Wave" is also closely related to elements of the traditional Korean Gayageum sanjo. Sanjo typically begins slowly, then accelerates throughout the piece and is organized rhythmically around patterns played by the drummer. Sanjo literally means "scattered melody" and I've tried to emphasize this quality in "Melody of Wave". 

 

[ÀÛ°î°¡ ÇÁ·ÎÇÊ Composer Profile]

  

1, ³ªÄ«¹«¶ó ³ë¸®ÄÚ Nakamura Noriko 

ºñ¿ÍÄÚ È£¼ý°¡ Ãâ»ý. ºñ¿ÍÄÚ È£¼ö´Â ¼¼°è¿¡¼­ ¼¼ ¹ø°·Î ¿À·¡µÈ ÀϺ»¿¡¼­ °¡Àå Å« È£¼ö[¾Ç±â ºñÆÄ ¸ð¾ç]. ³ëÆ®¸£´ã ¿©Çпø°íµîÇб³, ±³Åä½Ã¸³¿¹¼ú´ëÇÐ À½¾ÇÇкθ¦ °ÅÃÄ µ¿ ´ëÇпø À½¾Ç¿¬±¸°ú ÀÛ°îÀü°ø ¼ö¼® ¼ö·á. ÀçÇÐÁßÀÎ ºê·¹¸à ¿¹¼ú´ëÇÐ Çбâ ÆÄ°ß À¯ÇÐ. È÷·Î¼¼ ·áÇìÀÌ, ÝÁðÐ ¹ÌÄ¡¿À, ÈÄÁö½Ã¸¶ ¸¶»çÈ÷ »ç, ´Ù Áö¸¶ ¿ÍŸ·ç, H.J.Kauffmann, Gilbert Amy µî »ç»ç. ÀϺ», Çѱ¹, Áß±¹, ´ë¸¸, µ¶ÀÏ, ÇÁ¶û½º, ​​¿µ±¹, ½ºÀ§½º, È£ÁÖ, ½ºÆäÀÎ, ³ë¸£¿þÀÌ, ½º¿þµ§, ¹Ì±¹, ¸ß½ÃÄÚ, À̽º¶ó¿¤, ·¯½Ã¾Æ, ¸®Åõ¾Æ´Ï¾Æ 17°³±¹ °¢ÁöÀÇ À½¾ÇÁ¦, ¿ÀÆä¶ó ±ØÀå, ¹æ¼Û±¹, À½¾Ç¿ø, ´ëÇп¡¼­ °­¿¬ ¡¤ ÀÛÇ° »ó¿¬. ensemble clumusica °øµ¿ ÁÖÀç.

 

±¹Á¦ Çö´ë À½¾ÇÁ¦ <¾Æ½Ã¾Æ °üÇö ÇöÀç> <¾Æ½Ã¾Æ ¼Ò¸® ÃãÀÇ ÇöÀç> <¿À¾Ö ÀÎÅͳ»¼Å³Î ¾óÅͳÊƼºê Æ佺Ƽ¹ú> ÇØÈÄ>¿¬¼Ó °³ÃÖ. 2008 - 17³â ±³Å俹¼ú¼¾ÅÍ ¿î¿µÀ§¿ø. ÀϺ»Çö´ëÀ½¾Ç Çùȸ, ÀϺ»ÀÛ°î°¡ÇùÀÇȸ, µ¿¾çÀ½¾ÇÇÐȸ, ±¹Á¦ÀüÅëÀ½¾ÇÇÐȸ ȸ¿ø. clumusica Çùµ¿ ÁÖÀç. ÇöÀç ±³Åä½Ã¸³¿¹¼ú´ëÇÐ À½¾ÇÇкΠ¡¤ µ¿ ´ëÇпø À½¾Ç¿¬±¸°ú ÁØ ±³¼ö. 

Noriko Nakamura was born on the shores of Lake Biwa. Lake Biwa is the third oldest lake in the world and the largest lake in Japan. It has the shape of a musical instrument Bipa. She graduated from Notre Dame High School, and Kyoto City University of Arts. She received a master degree of composition from Graduate School, KCUA, summa cum laude.Her works have been performed at various place as like festivals, halls, opera house, conservatories, universities, broadcasting stations in the following countries: Japan, Korea, China, Taiwan, Germany, France, Swiss, Spain, Italy, Norway, Sweden, Austria, U.S.A., Mexico, Russia, Lithuania and Israel. She has been held International Contemporary Music Festival "Present of Orchestral Asia", "Music & Dance,Present in Asia", "OE international alternative festival", "series encounter" with clumusica members in Nakamura lab, KCUA. She was a driving committee of Kyoto Art Center during 2008-2017. Currently, she is an associate professor of Kyoto City Unversity of Arts & Graduate School, KCUA.

      

2, À̺¹³² Boknam Lee 

ÀÛ°î°¡ À̺¹³²Àº ¼­¿ï´ëÇб³ À½¾Ç´ëÇÐ ÀÛ°î°ú( B.A.) ¹× µ¿´ëÇпøÀ» Á¹¾÷( M.A.)ÇÏ°í ¹Ì±¹ ·µ°Å½º ´ëÇп¡¼­ ÀÛ°îÀ¸·Î ¹Ú»çÇÐÀ§(Ph.D)¸¦ ÃëµæÇÏ¿´´Ù. ¹Ì±¹ University of North Texas(2007)¿Í UC Davis(2015)¿¡¼­ research scholar¸¦ ¿ªÀÓÇÏ¿´´Ù. 4ȸ¿¡ °ÉÄ£ ÀÛ°î¹ßǥȸ¸¦ ºñ·ÔÇÏ¿© ¼­¿ï ½ÉÆ÷´Ï ¿ÀÄɽºÆ®¶ó ¿¬ÁÖȸ(2000, Çѱ¹¹®¿¹ÁøÈï¿ø ÈÄ¿øÀÛ), ÈæÇØ¿©¸§ÃàÁ¦(Black Sea Summer Festival: Concert Sinfonic in Rumania 2000), Á¦9ȸ Clumusica Concert:¾Æ½Ã¾Æ °üÇöÀÇ ÇöÀç(±³Åä, 2013)¿¡¼­ °üÇö¾Ç°îÀÌ ¿¬ÁֵǾúÀ¸¸ç, Áß±¹¡¤ÀϺ»¡¤·¯½Ã¾Æ¡¤ÀÌŸ®¡¤¿µ±¹¡¤´ºÁú·£µå¡¤¹Ì±¹ µî ±¹³»¡¤¿ÜÀÇ ¿©·¯ À½¾ÇÁ¦¿¡¼­ ÀÛÇ°ÀÌ ÃÊû ¿¬ÁֵǾú´Ù 

ÃÖ±Ù µé¾î ¼­¾ç Çö´ë¾î¹ý°ú ´õºÒ¾î ´Ù¾çÇÑ Çѱ¹À½¾ÇÀÇ ¿øÇü - Çѱ¹ ÀüÅëÀ½¾Ç Àå´Ü, ¹Î¿ä, ÆǼҸ®, Á¤°¡, »êÁ¶, Çѽà µî - µéÀ» ¼ÒÀç·Î ÇÏ¿© ½Ã´ë¼ºÀ» ¹Ý¿µÇÑ ÀÛÇ°À¸·Î ´ëÁß°ú ¼ÒÅëÇÏ´Â ÀÛ¾÷À» °è¼ÓÇØ¿À°í ÀÖ´Ù.  

ÇöÀç, ¸íÁö´ëÇб³ ±³¼ö, (»ç)Çѱ¹ÀÛ°î°¡Çùȸ ÀÌ»çÀå, µ¿¼­¾Çȸ ȸÀåÀ¸·Î È°µ¿ÇÏ°í ÀÖ´Ù

Boknam Lee earned both the bachelor(1987) and master of arts(1989) degree in music composition from the Seoul National University. She continued her education in the United States, ultimately earning a Ph.D. at Rutgers University(1997). In 2007 and 2015, She served as a research scholar at University of North Texas and UC Davis. Aside from four recitals of her compositions, many of her compositions have been performed at various festivals including Seoul Symphony Orchestra concert, the Black Sea Summer Festival in Rumania(2000), the 9th Clumusica concert, and several other foreign festivals in China, Japan, Russia, Italy, England, New Zealand, and the United States. 

Lately, she has been producing number of pieces based on such numerous Korean traditional form of music as rhythm, Folk song, Pansori, Jeong-ga, Sanjo, and Hansi along with Western contemporary music. She is endeavoring to communicate and make connections with the public through her music reflecting contemporary characteristics.  

At present, she is a professor of the Myongji Univ. in Korea, a chairman of Korean Composers Association and The Society for East-West Music.

    

3, Å©¸®½ºÅäÆÛ ¼ÈƼ½º Christopher Shultis 

Å©¸®½ºÅäÆÛ ¼ÈƼ½º(Christopher Shultis)´Â Ÿ¾Ç±â, ÀÛ°î ¹× À½¾ÇÇÐÀ» °¡¸£Ä£ ´º¸ß½ÃÄÚ´ëÇÐÀÇ ¸í¿¹ ±³¼öÀÌ´Ù. 1990³â´ë µ¶ÀÏ¿¡¼­ µÎ¹øÀÇ Ç® ºê¶óÀÌÆ® (Fulbrights)¸¦ ¼ö»óÇßÀ¸¸ç, ¸®ÀüÆ® (Regents)ÀÇ À½¾Ç ±³¼ö·Î ÀçÁ÷ÇßÀ¸¸ç 2010³â¿¡´Â 55¹ø° ¿¬·Ê ¿¬±¸ °­ÁÂÀÎ "UNMÀÌ ±³¼öÁø¿¡°Ô ¼ö¿©ÇÏ´Â ÃÖ°í»ó"À» ¼ö»óÇß´Ù. Shultis´Â ÇöÀç ÀÛ°î°ú Çй®¿¡ Àü³äÇÏ°í ÀÖÀ¸¸ç John Cage¿¡ ´ëÇÑ ÇмúÀû ¿¬±¸´Â ±¹Á¦ÀûÀ¸·ÎÀÎÁ¤ ¹Þ°í ÀÖ´Ù. ±×ÀÇ CDÀÎ Devisadero : New Mexico Wilderness (Navona Records)ÀÇ À½¾ÇÀº 1995³âºÎÅÍ 2007³â±îÁö ¾²¿©Áø À½¾ÇÀÌ¸ç °¡Àå ÃÖ±ÙÀÇ CDÀÎ Illusion of Desire : Experimental Music (Christopher Shultis 1988-1992)ÀÌ Neuma Records¸¦ ÅëÇØ Á¦°øµÈ´Ù. ±×´Â ½Ã°¢¿¹¼ú°¡ ±èÈñ¼÷ (Hee Sook Kim)°ú ÀÚÁÖ ÄÝ¶óº¸ ÀÛ¾÷À» Çϸç, ±×µéÀÇ ¸¹Àº ÀÛ¾÷À» YouTube¿¡¼­ º¼ ¼ö ÀÖ´Ù. Wandelweiser ÀÛ°î°¡ÀÎ Craig Shepard¿Í ¦À» ÀÌ·é ±×ÀÇ Ã¢ÀÛ¹°¿¡ °üÇÑ ´ÙÅ¥¸àÅ͸® ´Â ÃÖ±Ù Cinalfama Lisbon International Film Awards Festival¿¡¼­ ƯÁý ¿µÈ­·Î ¼±Á¤µÇ¾ú´Ù. Shultis´Â Neuma ·¹ÄÚµù ¾ÆƼ½ºÆ®À̸ç, 2010³â ÀÌ ÈÄAmerican Composers Alliance¿¡¼­ ÀÚ½ÅÀÇ À½¾ÇÀ» ÃâÆÇÇÑ´Ù

Christopher Shultis is Distinguished Professor Emeritus at the University of New Mexico where he taught percussion, composition and musicology. Awarded two Fulbrights to Germany in the 1990s, he also served as Regents' Professor of Music and in 2010 gave the 55th Annual Research Lecture: "the highest award UNM bestows upon its faculty members." Shultis now divides his time between composition and writing and his scholarly work on John Cage is internationally recognized. His CD, Devisadero: Music from the New Mexico Wilderness (Navona Records) features music written from 1995-2007 and his most recent CD, An Illusion of Desire: Experimental Music by Christopher Shultis 1988-1992, is available through Neuma Records. He collaborates frequently with visual artist Heesook Kim and much of their work can be found on YouTube. Un/sounding the Self (2018), a documentary about his creative work, paired with Wandelweiser composer Craig Shepard, was recently nominated for Best Medium or Feature Film by the Cinalfama Lisbon International Film Awards Festival. Shultis is a Neuma recording artist and, since joining in 2010, his music is published by the American Composers Alliance.

       

4, Ç﹫Ʈ ¹ÇÁ Helmut Zapf  

Helmut Zapf°¡ 1956³â 3¿ù 4ÀÏ Æ¢¸µ°Õ¿¡¼­ ž´Ù.  

1974 Church Music Study in Eisenach¿¡¼­ 1982 Georg Katzer ±³¼ö¿Í ÇÔ²² GDR ´ëÇпø¿¡¼­ ¼®»çÇÐÀ§¸¦ ¹Þ¾ÒÀ¸¸ç, 1993 ³âºÎÅÍ ºê¶õµ§ºÎ¸£Å©¿¡¼­ "Jugend komponiert" µð·ºÅ͸¦ Áö³Â´Ù. 1992³â¿¡ µÈ dfestspiele Zepernick¿¡¼­ ´ÙÀ½°ú °°ÀÌ »ó, ÀåÇÐ±Ý ¹× ÀÎÁ¤À» ¹Þ¾Ò´Ù 

1987³â¿¡´Â ¶óµð¿À GDRÀÇ Hanns-Eisler °¡°Ý°ú ·Î¸¶½ÃÀÇ Valentini Bucchi »óÀ» ¹Þ¾Ò´Ù

1997³â 98 Cite des Arts (Æĸ®) ¹× Konrad Adenauer Foundation¿¡¼­ ÀåÇлýÀ¸·Î ¼±¹ßµÇ¾ú´Ù

2004³â 6¿ù ÀÌÅ»¸®¾ÆÀÇ Villa Serpentara¿Í Olevano RomanoÀÇ Casa Baldi¿¡¼­ ±Ù¹«ÇÏ¿´°í 2009³â 11¿ù, ·¯½Ã¾Æ / µ¶ÀÏ Çö´ë À½¾Ç À½¾Ç ½ÃÀýÀÇ Áö¸à½º ¼® À½¾Ç °­´ç¿¡¼­ °­¿¬ÇÏ¿´´Ù

´ë±¸¹ÂÁ÷Æ佺Ƽ¹ú (Çѱ¹) ±â°£ Áß 2010 ÀÛ°î°¡·Î °ÅÁÖ. 2011³â ICT Ã븮È÷ ÄÄÇ»ÅÍ ¹× À½Çâ±â¼ú¿¬±¸¼Ò¿¡¼­ Á¦Á÷ÇÏ¿´´Ù

2012 ´ë±¸Çö´ë¾Ó»óºí°ú ÀÛ°îÀ» À§ÇÑ MARK BrandenburgÀÇ InterstipÀ» ÇÏ¿´°í, ±«Å× - ÀνºÆ¼ÅõÆ® Å°¿¹ÇÁ, ¾Ó»óºí nostris tempori (ENT) Å°¿¹ÇÁ¿Í °øµ¿ÀÛ¾÷À¸·Î 2013³â ÀÛ°î°¡¿´´Ù 

Helmut Zapf´Â 2015 ³âºÎÅÍ Akademie der Künste BerlinÀÇ È¸¿øÀÌ´Ù. 2017 MCME ¸ð½ºÅ©¹ÙÀÇ ±¸¼º "Heimat" °³¹ßÀ» À§ÇÑ MWFK BrandenburgÀÇ ½ºÅÜÀ¸·Î È°¾àÁßÀÌ´Ù

Helmut Zapf born. 1956 on 4 March in Rauschengesees (Thuringia) / 1974Church Music Study in Eisenach u. Halle.1982 Master student at the Academy of Arts of the GDR with Prof. Georg Katzer until 1986th Since 1993 director of "Jugend komponiert" in Brandenburg.Foundation of the Randfestspiele Zepernick 1992. He received prizes, scholarships and recognitions, for example: 1987 the Hanns-Eisler price of Radio GDR and the Valentini Bucchi Prize of the city of Rome.

 

1994 he was guest of honor of the villa Massimo Rom.

 

1997 u. 98 Scholarship holder at the Cite des Arts (Paris) and the Konrad Adenauer Foundation.

 

2004 - 06 working stays in Italy at Villa Serpentara and atthe Casa Baldi in Olevano Romano.

 

2009 November, lectureships in Russia duringof the Russian / German Contemporary Music Window of the Siemensstiftung

 

2010 Composer in residence during the Daegu Music Festival (South Korea).

 

2011 Working scholarship in the ICST Zurich (Institute for Computer and Sound Technology).

 

2012 Interstip of the MWFK Brandenburg for the development of a composition with the Ensmeble Daegu Modern.

 

2013 Composer in residence at Goethe Institute Kiev, collaboration withthe ensemble nostris tempori (ENT) Kiev.

 

Helmut Zapf is a member of the Akademie der Künste Berlin since 2015.

 

2017 Interstip of the MWFK Brandenburg for the development of the composition "Heimat" for the MCME Moscow

 

 

 

 

5, ³ªÈ¿½Å Hyoshin Na

 

 

 

 

* ´ëÇѹα¹ÀÛ°î»ó(1994³â, ¾ç¾ÇºÎ¹®)/´ëÇѹα¹ÀÛ°î»ó(2003³â, ±¹¾ÇºÎ¹®)

 

* ÀÌÈ­¿©ÀÚ´ëÇб³ ÀÛ°î°ú Á¹¾÷(1982³â, Çлç)/¸ÇÇÏźÀ½´ë ÀÛ°î°ú Á¹¾÷(1985³â, ¼®»ç)/Äݷζ󵵴ëÇб³(º¸¿ï´õ) ÀÛ°î ¹× À½¾ÇÀÌ·Ð Àü°ø Á¹¾÷(1988³â, ¹Ú»ç)

 

* ÇϹöµå´ëÇб³ ÇÁ·ÒÀç´Ü, ¾Ï½ºÅ׸£´ãÀÇ ¹ÙÆ°¿öÅ©¼¥, Äí¼¼ºñÃ÷Å°Àç´Ü, Å©·Î³ë½º Çö¾Ç»çÁßÁÖ, »êÈ£¼¼Ã¨¹ö¿ÀÄɽºÆ®¶ó µî ¼¼°è ¿©·¯ ³ª¶óÀÇ ¸¹Àº ´Üüµé°ú À½¾Ç°¡µé·ÎºÎÅÍ À§ÃË¹Þ¾Æ È°µ¿

 

* 'Ȳº´±â¿ÍÀÇ ´ëÈ­'(µµ¼­ÃâÆÇ Ç®ºû)ÀÇ ÀúÀÚ

 

* ¾Çº¸Áý ´Ù¼ö ÃâÆÇ(·£Æ®·Î ¹ÂÁ÷)/À½¹Ý ´Ù¼ö(Çѱ¹ÀÇ Å¾¿¹¼ú±âȹ/¹Ì±¹ÀÇ ´º ¿ùµå ·¹ÄÚÁî µî...)

 

* 1994 Korean Composers' Prize (Western Music Category); 2003 Korean Composers' Prize (Korean Music Category)

 

* BA - Ewha Women's University; MMA - Manhattan School of Music; DMA - University of Colorado at Boulder

 

* Commissions from Fromm Foundation at Harvard University, Barton Workshop in Amsterdam, Koussevitzky Foundation, Kronos Quartet, San Jose Chamber Orchestra among many others

 

* Author of "Conversations with Kayageum Master Byeong-gi Hwang" (published by Pulbit)

 

* Many works published by Lantro Music (Belgium)/CDs by Top Arts, New World Records among others

     

°æ±â°¡¾ß±Ý¾Ó»óºí  

°í¹® / ÇÑ Áø Jin Han, Adviser 

±¹°¡¹«Çü¹®È­Àç Á¦1È£ Á¾¹¦Á¦·Ê¾Ç À̼öÀÚ 

±¹¾Ç±³À°ÇÐȸ À̻砠

Çѱ¹ÀüÅ빮ȭ¿ø À̻砠

ûÁֽø³±¹¾Ç´Ü »óÀÓÁöÈÖÀÚ ¿ªÀÓ 

¿ëÀδëÇб³ ±¹¾Ç°ú ±³¼ö  

¡¤Director of the Korean Music Education Society  

¡¤Director of the Korean Traditional Culture Center  

¡¤Former Director of the Cheongju Korean Music Orchestra 

¡¤Professor, Department of Korean Traditional Music, Yongin University 

      

´ëÇ¥ / ÀÌÇØÁ¤ Haejung Lee, Director  

°æ±â°¡¾ß±Ý¾Ó»óºí ´ëÇ¥ 

¿ëÀδëÇб³ ¿¹¼ú´ëÇпø ±¹¾ÇÇаú Á¹¾÷ 

Á¦23È£ Á߿乫Çü¹®È­Àç °¡¾ß±Ýº´Ã¢ ¹× »êÁ¶ Àü¼öÀÚ  

¿ëÀδëÇб³ ¿¹¼ú´ëÇÐ ±¹¾Ç°ú °­»ç ¿ªÀÓ  

µ¿¼­¾Çȸ »ç¹«ÃÑÀå 

Çѱ¹±¹¾ÇÇùȸ ȸ¿ø, Çѱ¹À½¾ÇÇùȸ ȸ¿ø 

¡¤Leader of Gyeonggi Gayageum Ensemble 

¡¤M.A. Department of Korean Music, Graduate School of Arts and Culture, Yongin University 

¡¤Important Intangible Cultural Heritage No.23;Gayagum Byeongchang and Sanjo 

¡¤Director of Planning and Member of East West Music Korea 

¡¤Member of Korean Music Association 

¡¤Member of Korean Traditional Music Association

      

³²¼öÇö Suhyun Nam, Manager of General Affairs   

°æ±â°¡¾ß±Ý¾Ó»óºí Ãѹ«  

¡¤B.A. Department of Korean Traditional Music, Yongin University

      

±èÀºÁ¤ Eunjung Kim, Deputy Director 

°æ±â°¡¾ß±Ý¾Ó»óºí ºÎ´ëÇ¥, ÇѾç´ëÇб³ ´ëÇпø Á¹¾÷ 

¡¤M.A. Graduate School of Hanyang University

      

±è°æÈñ Gyeonghee Lee  

¼­¿ï´ëÇб³ ±¹¾Ç°ú °­»ç, ¾ç±Ý¿¬±¸È¸, ¾ÆÀ½È¸ µ¿ÀΠ  

Member of society for Yanggeum research member of Aeumhoe 

 

±è±ÍÁø Gueejin, Kim 

¿ëÀδëÇб³ ±³À°´ëÇпø Á¹¾÷, Çѱ¹¹®È­¿¹¼ú±³À°ÁøÈï¿ø ¿¹¼ú°­»ç 

¡¤M.A. Graduate School of Education, Yongin Yongin  

¡¤Arts and Culture Education Instructor at the Korea Arts & Culture Education Service

      

±è¼¼¹Ì Semi Kim  

¿ëÀδëÇб³ ±¹¾Ç°ú Á¹¾÷  

¡¤B.A. Department of Korean Traditional Music, Yongin University

      

ÀÌÀÎÁ¤ Injeong Lee 

(»ç)Çѱ¹±¹¾ÇÇùȸ ¼­¿ïƯº°½ÃÁöȸ ¼ÛÆı¸ÁöºÎ ȸ¿ø 

¡¤Gyeonggi Gayageum Ensemble Members

      

Á¤ÀÎÇâ Inhyang Jeong  

Á¦23ȸ Àü±¹Åº±Ý´ë°¡¾ß±Ý´ëȸ ÃÖ¿ì¼ö»ó, ·ù±¹¾Ç¿ø ¼ö¿øÁö»ç ¿øÀå  

¡¤Grand Prize Winner of the 23rd Korean Tangeumdae Gayagum Competition  

¡¤Representative of the Ryu Gukak Institute, Suwon Branch

       

±èÁÖ¸® Juri Kim 

¿ëÀδëÇб³ ¿¹¼ú´ëÇпø ¼ö·á, Àå¸í±Ý ±¹¾Ç ºÎ´ëÇ¥ 

¡¤Course Completion at the Graduate School of Arts ans Culture, Yongin University 

¡¤Representative of Jang Myoung Geum

       

Ç㳪·¡ Narae Heo 

¼÷¸í¿©´ë ÀüÅ빮ȭ¿¹¼ú´ëÇпø ¹®È­¿¹¼úÇÐ ¼®»ç 

¡¤Master degree of Traditional culture and art at Sookmyung Univ.

      

ÀÌ°¡Èñ Gahee Lee 

¿ëÀδëÇб³ ±¹¾Ç°ú Á¹¾÷, ½Å»ç, Àå°î ÃʵîÇб³ °­»ç 

¡¤B.A. Department of Korean Traditional Music, Yongin University 

¡¤Instructor at the Shinsa Elementary School and Janggok Elementary School  

      

ÀÌ°¡Çö Gahyeon Lee  

¿ëÀδëÇб³ ¿¹¼ú´ëÇпø ¼ö·á 

¡¤Enrolled in the Graduate School of Arts and Culture, Yongin University

       

°´¿ø ³ªÇý°æ / Ÿ¾Ç Guest member(Percussion)  

¿ëÀδëÇб³ °´¿ø±³¼ö 

À½¾Ç±×·ì ³ªºñ¾ß ´ëÇ¥ 

ÃæºÏ¹Î¿¹ÃÑ ¹®È­µ¿¹ÝÀÚ»ç¾÷ À½¾Ç°¨µ¶±¹¾Ç°üÇö¾Ç´Ü ´õºÒ¾î½£ ¿¬ÃâÀÚ  

ûÁֽø³±¹¾Ç´Ü ¼ö¼®´Ü¿ø 

¿ëÀδëÇб³¡¤µ¿´ëÇпø ±¹¾Ç°ú Á¹¾÷ 

¡¤Director, Music ground NABIYA 

¡¤Director, Culture partnership Initiative Music, Chungbuk People`s Art Federation 

¡¤Director, Korea Traditional Music Orchestra ¡®DEOBULESUP¡¯ 

¡¤Cheongju City Korea Traditional Music Orchestra First Unit 

¡¤M.A. Department of Korean Traditional Music, Yongin University

      

Credit  

Producer / ÇÑÁø Jin Han 

Director ÀÌÇØÁ¤ Haejung Lee 

Recording Engineer / ÀÌÁ¤¸é Jeongmyeon Lee 

Mixing/Mastering / ÀÌÇØÁ¤ Haejung Lee / ÀÌÁ¤¸é Jeongmyeon Lee 

Photography / Ȳ±Ô¿¬ Kyuyeon Hwang 

Cover lllustration / ±èÈñ¼÷ Heesook Kim 

Editorial Design / ¹«¼Û MUSONG 

Recording Space / ÀÌÀ½½ºÆ©µð¿À, 2019.8., Eum Studio 

Publisher / ž¿¹¼ú±âȹ ¾çÁ¤È¯ TOPCD Junghwan Yang

   

±èÈñ¼÷ / Cover lllustration, Heesook Kim  

±èÈñ¼÷Àº ÇöÀç Çʶóµ¨ÇÇ¾Æ ÇϹöÆÛµå ´ëÇÐ(Haverford College)¿¡¼­ ÇаúÀåÀ¸·Î ÀçÁ÷ÁßÀÌ°í ¼­¿ï ¹Ì¼ú´ëÇÐ Çлç¿Í ¼®»çÇÐÀ§¸¦ ¹Þ°í ´º¿å ´ëÇп¡¼­ ¼®»çÇÐÀ§¸¦ ¹Þ¾Ò´Ù. Æú¶ô ±×·¡À̽º³Ê (Pollock-Krasner) ±â±Ý, ¸®¿þÀÌ (Leeway Foundation) ±â±Ý, ÇÏ¿ÍÀÌÀÇ ¹®È­½ëÅÍ, ÇöÁ¸ÀÛ°¡ »çÀü¿¡¼­ÀÇ Æ¯º°¸à¼Ç, Áß¾Ó Ææ½Çº£´Ï¾Æ Æ佺Ƽ¹ú µî¿¡¼­ÀÇ ¼ö»ó °æ·ÂÀÌ ÀÖÀ¸¸ç ½ºÀ§½ºÀÇ ¾Æ½ºÄÚ³ª, ·Î½º¿£Á©·¹½º, ´º¸ß½ÃÄÚ, Çʶóµ¨ÇǾÆ, Ķ¸®Æ÷´Ï¾Æ, ´º¿å, ¹ú¸ÕÆ® µîÁöÀÇ ¹Ì¼ú±â°üÀÇ ÃÊûÀ» ¹Þ¾Æ ÀÛÇ°À» Á¦ÀÛÇßÀ¸¸ç, ÀϺ»¿¡¼­´Â ¿À»çÄ« ½Ã¸³ ¹Ì¼ú°ü, ÈÄÄí¿ÀÄ« ¹Ì¼ú°ü, µµÀ¯»ç È­¶û µî¿¡¼­ Àü½ÃÇÑ °æ·ÂÀÌ ÀÖ´Ù. ¶ÇÇÑ ´º¿åÀÇ µå·ÎÀ× ½ëÅÍ, ¾Æ½Ã¾Æ ¹Ì¼ú ½ëÅÍ, ºê·Õ½º ¹Ì¼ú°ü, ÄýÁî ¹Ì¼ú°ü, ¸µÄÁ ½ëŸ, ³î½º ij·Ñ¶óÀ̳ªÀÇ ÀÚ¿¬ ¹Ú¹°°ü µîÁö¿¡¼­ ÃÊ´ëÀüÀ» °¡Á³À¸¸ç, ŸÀ̿ϱ¹¸³¹Ì¼ú°ü, ¼­¿ï±¹¸³¹Ì¼ú°ü, ½ºÆÐÀÎÇö´ë¹Ì¼ú¼¾ÅÍ, µ¶ÀÏÀÇ Àú¸íÇÑ ¼öµµ¿ø¿¡¼­µµ ÀÛÇ°ÀÌ Àü½ÃµÇ¾ú´Ù. ÀÛ°¡ÀÇ ÀÛÇ°Àº ¹Ì±¹, Çѱ¹, ÀϺ» µîÁö¿¡¼­ ¼öÁýµÇ°í ÀÖ°í ÇöÀç Art Mora Gallery (Seoul, NewJersey) ¿Í Kyo Gallery (¿ö½ÌÅÏ) ¿¡¼­ ´ëÇ¥µÇ´Â ÀÛ°¡ÀÌ´Ù 

Heesook Kim is a visual artist who has won numerous grants and awards in USA, Europe, and Asia including Pollock-Krasner and Leeway Foundations (New York), Fleisher Art Memorial Wind Challenge and Leeway Foundation (Philadelphia), Center for Contemporary Printmaking (CT), Ascona Centro IncontriUmani (Switzerland), Helene Wurlitzer Foundation (New Mexico), Brandywine Workshop in Philadelphia, Millay Colony, Vermont Studio Center. Her work is shown nationally and internationally in solo and group exhibitions atBronx Museum, Queens Museum, Drawing Center, Asian American Art Center, Bronx River Art Center (New York), Korean Cultural Center (Washington DC), New Mexico Art Museum, Lincoln Center (Fort Collings, CO), Phillips Museum of Art (PA), NC Museum of Natural Science (Raleigh, NC), National Museum of Modern Art, Youngeun Museum, Artside Gallery (Seoul, Korea), Taipei City Museum of Art, Osaka City Museum, and Le Centre d'Estudisd' Art Centemporari (Barcelona, Spain).

 

¿¬ÁÖÀÚ  

ÇÑÁø (°í¹®) Jin Han ÀÌÇØÁ¤ (´ëÇ¥) Heajung Lee  

³²¼öÇö(Ãѹ«) Suhyun Nam ±èÀºÁ¤ Eunjung Kim  

±è±ÍÁø Gueejin Kim ±è¼¼¹Ì Semi Kim      

Á¤ÀÎÇâ Inhyang Jeong ±èÁÖ¸® Juri Kim  

Ç㳪·¡ Narae Heo ÀÌ°¡Èñ Gahee Lee,      

ÀÌ°¡Çö Gahyeon Lee °´¿ø ³ªÇý°æ / Ÿ¾Ç Hyekyoung Na


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