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[ÀÌÀü»óÇ°¾øÀ½]    [´ÙÀ½] Á¤°æÈ­ÀÇ ¼Ò¸®

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±èÈñÇöÀÇ ¿ï¸²
 ¤ý ¾ÆƼ½ºÆ®: ±èÈñÇö
 ¤ý À½¹Ý»ç : ž¿¹¼ú±âȹ
 ¤ý À½¹Ý¹øÈ£: TOPCD-s004
 ¤ý ÆǸŰ¡°Ý : ¿ø
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TOPCD-S004
 
The Moon of Asia
±èÈñÇöÀÇ ¿ï¸²
Kim Hui-Hyun¡¯s Resonance
01 ¼¼»ó 2:15
02 ³ªµéÀÌ 3:10
03 µå·³°¡ (part-1) Àο¬ 4:13
04 µå·³°¡ (part-2) °øºÎ 1:11
05 µå·³°¡ (part-3) ½Ã·Ã°ú ±â»Ý 4:51
06 ¾Æ½Ã¾ÆÀÇ ´Þ 3:52
07 ½Å¹Ù¶÷ 2:37
08 õ¾È »ï°Å¸® 3:37
09 ±ä ¾Æ¸®¶û 2:40
10 ±¸ ¾Æ¸®¶û 2:46
11 ¶ô(äÅ) ¾Æ¸®¶û 3:33
12 ¹Ùº¸Ã³·³ 3:18
13 Àλý ±× ±æ¿¡¼­ 4:44
14 Amazing Grace (part-1) 4:02
15 Amazing Grace (part-2) 2:43
PRODUCED BY Kim Hui-hyun  (http://drumschool.co.kr)
ENGINEERED BY Jang Seong-hak & Lee Han-kyu
MIXED BY Jang Seong-hak
RECORDED AND MIXED AT yulHAUS with Music & Recording 2010~2011
MASTERED BY Jang Seong-hak at yulHAUS with Music & Recording
PHOTOS BY Yoon Studio & Lee Han-kyu
PICTURE BY Lee Byung-jin
JACKET DESIGN BY Heo Gap-gyun
[¼¼»ó]°ú [³ªµéÀÌ] °î¿¡¼­ óÀ½¿¡ ½ÃÀÛÇÏ´Â ºÏ(ŽŽ)¿¬ÁÖ´Â Çѱ¹ ³ó¾Ç¿¡ ¾²¿© Áö´Â dz¹°°¡¶ôÀ¸·Î½á, ºÏÀ» Ãļ­ ½ÅÈ£¸¦ ¿ï¸®¸é ÇÏ´ø ÀÏÀ» ¸ØÃß°í, ¿¬Èñ¸¦ À§ÇÑ ÆÇÀ» ¹ú¸®±â À§ÇØ Çѵ¥ ¸ð¿© ¿¬ÁÖ´ëÇüÀ¸·Î °®Ã߶ó´Â ¡®Á¡°í¡¯°¡¶ôÀÌ´Ù.
¿Â ¼¼»óÀ» »ó»óÇϸ鼭 Çϳª°¡ µÇ±â¸¦ ±â¿øÇÏ¿´À¸¸ç, ±¹¾Ç°ú ¾ç¾ÇÀÇ À帣¸¦ ¾î¿ì¸£´Â ÀÌ À½¾ÇÀ» ÅëÇÏ¿©, Çϴÿ¡´Â °¨»ç¿Í Âù¾çÀ» µå¸®°í, ¶¥¿¡¼­´Â ÆòÈ­¿Í ÃູÀÌ ¢¯¡±Çϱ⸦ ¨¬¡°¸ÁÇغ»´Ù.
The first two pieces of music - Sesang (The World) and Nadeuri (The Picnic) - start with the drum (tamtam). These originated from stock melodies of pungmul (lit. means ¡®things for entertaining people¡¯; farmers¡¯ music consisting of saenap, janggu, ggwaenggwari, buk, jing, sogo) that were used in Korean nongak (farmers¡¯ music). It was performed as ¡®jeomgo¡¯ garak (= melodies that four instruments enter into the beat pattern - ¡®deongddadda kungdakung¡¯ in order); when the drum beats as a signal, farmers stop working and arrange in a performing formation in order to make a space for the festival. These musics are rearranged to wish the world to be oneness whose pieces co-ordinate styles of Korean music and western one. I thank God and praise to the skies and hope peace and blessing in the world with this music.
01 [¼¼»ó]
°î : ±èÈñÇö, Æí°î : ±èÈñÇö
µå·³ : ±èÈñÇö, ¨¬¡°ÇÁ¶ó³ë : Á¤À¯¹Ì
(±×·¹°í¸®¿À ¼º°¡ Áß¿¡¼­)
°¡»ç : Agnus Dei (Çϳª¥¡®ÀÇ ¾î¸°¾ç) Gloria (¿µ±¤°ú)
        Dona nobis (¿ì¸®¿¡¡Ä¡® ÆòÈ­¸¦) pacem (ÁÖ¨¬¡°¼­)
02 [³ªµéÀÌ]
°î : À̱¤¼º, Æí°î : À̱¤¼º, ±èÈñÇö
µå·³ : ±èÈñÇö.  º£À̽º ±âŸ : ÃÖÈñö. ¨¬¡°ÇÁ¶ó³ë : Á¤À¯¹Ì.  ±âŸ : À强ÇÐ.
¹Ìµð ÇÁ·Î±×·¥ : À̱¤¼º.  ÅÂÆò¨¬¡° : õ¼º´ë. ÇØ±Ý : ¹ÚÀ¯Áø
°¡»ç : come on come on now
       we go together
       come on come on now
       we go together
       ¾Æ~
³ª´Â ¨¬¡°³â ½ÃÀý¿¡ ³²ÂÊÀÇ ÀÛÀº ¼¶¿¡¼­ ÆǨ¬¡°¸®¿Í ºÏ°ú ÀÚ¿¬À» ¹þ »ï¾Æ Àڶ󩪡®´Ù.
µå·³°ú «¡®²² »ì¾Æ¿Â ÀλýÀ»Çѱ¹ÀÇ ÀüÅë ÆǨ¬¡°¸®·Î Áø¼ÖÇÏ¡Ä¡® Ç¥ÇöÇØ º¸©¡¡°´Ù.
I was grown-up with pansori, drums and nature as my friends in a small island off the southern province during my childhood. With drums, I tried to express sincerely my life using a style of traditional pansori.  
 03 [µå·³°¡]
    (part-1) [Àο¬]
°î : Ȳ¼¼Èñ, ÀÛ»ç : ±èÈñÇö, Æí°î:±èÈñÇö, µå·³ : ±èÈñÇö. ¨¬¡°¸® : Ȳ¼¼Èñ
°¡»ç :
   ±×¶§¿© Àú ³²ÂÊ¿¡ ºÏÀ» ÁÁ¾ÆÇß´ø ÇÑ ¨¬¡°³âÀÌ ÀÖ¾ú°Î´Ù.
   ¾Æ ±× ¨¬¡°³âÀÌ µå·³ ¨¬¡°¸®¸¦ µè°í ¹«ÀÛÁ¤ »ó°æÇÏ¿©
   µå·³À» Ä¡¡Ä¡® µÈ »ç¿¬ÀÌ ÀÖ´Â µð.
   ±× »ç¿¬¿¡´Â µå·³¿¡ ´ëÇÑ
   Àç¹Ì Áø À̾߱Ⱑ ´ã¨£¡° µé¾î ÀְδÙ.
   ±×À̾߱⸦ ¨¬¡°¸®·Î ÇѹÙÅÁ ³ë·¡ Çã´Ï
   ÀÌ°ÍÀÌ ¹Ù·Î µå·³°¡·Î±¸³ª.
   º£À̽º µå·³Àº ÄôÄô ½ÉÀåÀ» ¿ï¸®°í,
   ½º³×¾î µå·³Àº ÅÁÅÁÅÁ Ÿ¸£¸£¸£¸£~ 
   ¨¬¡¯³¡ÀÇ ¼¶¼¼ÇÑ ÀüÀ², »ç¶÷ÀÇ ¸¶À½À» ¿òÁ÷ÀÌ°í,
   ŽŽÀº ¶×¶×¶× ÀÜÀÜÇÏ¡Ä¡® ÆĹ®ÀÌ ÀÏ°í,
   ½É¹ú¨¬¡°¸®´Â ìââ ¡î¡°¸£¸£¸£¸£ ¹Ù¶÷ÀÌ ºÐ´Ù.
   »çÁö°¡ ¿òÁ÷ÀÌ¾î ¸®µëÀ» ¸¸µé¾î ³»´Â µð.
   ¸Å¿ì ÃĶó.
   (µå·³¨¬¡°¸® ±¸À½~)
  
   ±×¶§¿© ÈñÇöÀÌ´Â ÀÌ ¨¬¡°¸®¸¦ µè´õ´Ï ¸¸Àº
   µÎ´«ÀÌ ±×³É ¹ø½ Æ·¿©Áö°í
   »çÁö´Â ´ú´ú´ú´ú´ú´ú °¡½¿Àº ÄôÄçÄôÄç
   (µå·³¨¬¡°¸® ±¸À½~)
   ³ÌÀÌ ºüÁ® Á¤½ÅÀ» ¸ø Â÷¸®°í
   Áý¾ÈÀ¸·Î ¿ì·ç·ç·ç·ç~ ´Þ·Á µé¾î°¡
   ¾ÆÀÌ°í ¾î¢³¡±´Ï ³ª µå·³ ¹è¿ï¶ó¿ä.
   ÈñÇöÀÌ ¾î¢³¡±´Ï ±â°¡ ¸·Çô, ¾ÆÀÌ°í ÀÌ°ÍÀÌ ¹ºÀÏÀÌ¿©
   ¾Æ´Ï ÈñÇö¾Æ ÈñÇö¾Æ ³Ê´Â »ï´ë Á¾¨¬¡¯À¸·Î
   ¿ì¸®Áý¾È¿¡ µýµû¶ó¶ó´Ï ¹º¸»ÀÌ³Ä ¾ÈµÈ´ÙÀ×
   ¾î¢³¡±´Ï ¾î¢³¡±´Ï Çã¶ôÇØÁֽÿÀ.
   ¾Æ¹öÁö ¾Æ¹öÁö Çã¶ôÇØÁֽÿÀ.
   ¹äµµ ¾È¢³¡®°í Àáµµ ¾ÈÀÚ°í, ¿À·ÎÁö µå·³ µå·³ µå·³
   ¿À¸Å¡ò¡°¸Á µå·³»ý°¢ ÀÚ³ª ±ú³ª µå·³»ý°¢
   ¾ÉÀ¸³ª ¼­³ª µå·³»ý°¢
   Áö¼ºÀÌ¸é °¨ÃµÀ̶ó ÀÚ½ÄÀ̱â´Â ºÎ¸ð¥¡® ÀְδÀ³Ä
   ±×¸®ÇÏ¿© ÈñÇöÀÌ´Â ±×Åä·Ï ¿øÇÏ´ø
   µå·³½ºÆ½À» ¾ç¨¬¡¯¿¡ Áå´Ù.
04 [µå·³°¡]
    (part-2)[°øºÎ]
°î : Ȳ¼¼Èñ, ÀÛ»ç : ±èÈñÇö, Æí°î : ±èÈñÇö, µå·³ : ±èÈñÇö. ¨¬¡°¸® : Ȳ¼¼Èñ
°¡»ç :
   µå·³À» ¹è¿î´Ù. µå·³À» ¹è¿ì´Âµð.
   ¿À¸¥¨¬¡¯Àº RRR ¿Þ¨¬¡¯Àº LLL
   RRR LLL RRRRR LLL RLR LRL RLRLRLRLRL
   ¾ÆÀÌ°í ÀÌ°Å Çò°¥¸°´Ù.
   ³ªÀÇ ¨¬¡¯ ³ªÀÇ´Ù¸® ºÐ¸í³ªÀÇ °ÍÀ̰Ǹ¸
   ¢³¡±¸® µû·Î ¸ö µû·Î À̳ðÀÇ »çÁö°¡ ³»¸¾´ë·Î ÅëÁ¦ ¡ò¡°´É
   ¿¬½À ¿¬½À ¿¬½À ¿¬½À ¿¬½À ¿¬½ÀÇå´Ù.
   ¸ÞÆ®·Î³ð°ú ½Î¿ö°¡¸ç ³» ÀڽŰú ½Î¿ö°¡¸ç
   ¹ÚÀÚ! Á¤È®ÇÑ Å×Å©´Ð! dzºÎÇÑ Ç¥Çö´É·Â!
   ¿¬½À½Ç¿¡ Ʋ¾î¹ÚÇô µå·³°øºÎ ¸ÅÁøÇå´Ù.
05 [µå·³°¡]
    (part-3) [½Ã·Ã°ú ±â»Ý]
°î : Ȳ¼¼Èñ, ÀÛ»ç : ±èÈñÇö, Æí°î : ±èÈñÇö, µå·³ : ±èÈñÇö. ¨¬¡°¸® : Ȳ¼¼Èñ
°¡»ç :
   ÀÌ·¸¡Ä¡® ¡ò¡°Ã¶ÁÖ¾ß µå·³°øºÎ¸¦ Çæ Àû¿¡
   ¶æ¹Û¿¡ ½½·³ÇÁ¶ó´Â °ÍÀÌ Ã£¾Æ¿À¡Ä¡® µÇ¾ú´Âµð.
 
   ¡ò¡°±â ¾ø´Â ¿¬½À½Ç¿¡¼­ ÁÖ¸° ¹è¸¦ ¹°·Î ä¿ì°í
   ³¡¾ø´Â °íµ¶°úÀÇ ½Î¿ò, Ȧ·Î ¿Ü·ÎÀÌ ¹Ýº¹¿¬½À
   À̳» ¸ö ¼ºÇÑ °÷ÀÌ ¾ø±¸³ª.
   ¾ÆÀÌ°í ¾ÆÀÌ°í ÆÈ´Ù¸®¾ß ¾ÆÀÌ°í ¾î±ú¾ß
   ¨¬¡¯¸ñ°üÀý ¹«¸­Ç㸮 ÅüÅü º×°í ¾¥¼Å¿À³×.
   ¸öÀÌ ¾ÆÇ °ÍÀº ¨¬¡°ºÐÁö¿ä.
   °ßµô ¼ö ¾ø´Â »ç¶÷µéÀÇ ¸»µéÀÌ ³ª¸¦ ±«¢²¡±È÷´Â µð.
   ³Ê ¾ÆÁ÷µµ µå·³ Ä¡³Ä ¾Æ ¾ðÁ¦ Á¤½Å Â÷¸±·¡
   ±×°Í Ãļ­ ¹¹ «¡°·¡.
   Åö Åö Åö »ç¶÷µéÀÌ ¹«½ÉÄÚ ´øÁö´Â ¸»µé ÅÁ ÅÁ ÅÁ
   ³ªÀÇ ÀÚÁ¸½É¿¡ »óó¸¦ ³½´Ù.
   ¸ðÁø°íÅë ±¼¿å¿¡ ¸Â¼­ ³»°¡ «¡° ¼ö ÀÖ´Â ÀÏÀº
   ³¡±îÁö À½¾ÇÀ¸·Î º¸¿©ÁÖ¸®¶ó.
   Á¤Ã³ ¾øÀÌ ´ý´ýÇã¡Ä¡® ¿ï¸®´Â µå·³¨¬¡°¸®¿¡ À§·Î¸¦ ¹Þ³×.
   µå·³À» Ä¡´Â ±× ¼ø°£¸¸Å­Àº ¿Â ¼¼»óÀÌ ³» °ÍÀÌ°í,
   µå·³°ú ³ª¿Í ÀÏÄ¡Çã¿© ³» ¿µÈ¥°ú ±³°¨ Çã´Â
   Àü·ù´Â ¼ö¸¸ º¼Æ® ¿Â ¼¼»óÀÌ ¹«¾ÆÁö°æ
   ȯÈñ¿Í ±â»ÝÀº ¸»«¡° ¼ö ¾ø³×.
   ¾ó¾¾±¸³ª Àý¾¾±¸ ¾ó¾¾±¸³ª Àý¾¾±¸
   µå·³ÀÌ ÁÁÀ»¾¾±¸ µå·³ÀÌ ÁÁÀ»¾¾±¸
   ¼¼»ó¸¸¹° ¿ìÁÖÁ¶È­ ¾î¶² ³ë·¡µç
   ±× ¹«½¼ À½¾ÇÀ̵ç À̳» »çÁö·Î ¸®µëÀ» Ãij»´Ï
   ¾îÂî ¾Æ´Ï°¡ ±â»Ü¨¬¡¯°¡ ¾ó¾¾±¸ ¾ó¾¾±¸ Àý¾¾±¸
   ³»¾È¿¡ °¡µæÇÑ À½¾Ç¿­Á¤ ¹è°¡ °íÆĵµ ³ª´Â Áñ°Ì°í
   ÀáÀÌ ¸ðÀÚ¶óµµ ±×Àú ÁÁ³×. ¾ó¾¾±¸³ª Àý¾¾±¸
   ¹é¹ßÀÌ ÇüÇüÈ÷ µÇµµ·Ï µå·³ Ãĵµ ³»»ç ÁÁ³×
   ¾ó¾¾±¸³ª Àý¾¾±¸
   ¿©º¸½Ã¿À ¿©·¯ºÐµé ³ªÀÇ ÇѸ» µé¾î º¸¨¬¡°.
   À½¾ÇÀ¸·Î «¡° ¼ö ÀÖ´Â ¹«±Ã¹«ÁøÇÑ ÀÛ¾÷µéÀº
   ¿ì¸®µéÀÇ ¸òÀÏ·¯´Ï ¡Ä¡®À»¸® ¸»°í ³ë·ÂÇÏ¿©
   ¼¼°èÀûÀÎ °í¼öµéÀÌ µÇ´Â ²ÞÀ» °®°í
   ¿­½ÉÈ÷ ³ë·ÂÇϼ¼ ¾ó¾¾±¸ ¾ó¾¾±¸ Àý¾¾±¸
   ¾ó¾¾±¸³ª ¾Æ ¾ó¾¾±¸ Àý¾¾±¸ ÁöÈ­ÀÚ ÁÁ³×
   ¾ó¾¾±¸³ª µå·³ÀÌ ÁÁÀ»¾¾±¸.
[¾Æ½Ã¾ÆÀÇ ´Þ] [½Å¹Ù¶÷] [õ¾È »ï°Å¸®]´Â 1960, 70, 80³âµµ¿¡ ¼¼Æ® µå·³À» º»°ÝÀûÀ¸·Î  ½ÃÀÛÇϸ鼭 ÁַΠģ¼÷Çß´ø ½ºÀ®ÀçÁî, ·ÎÅ«·Ñ, ·Ï, ÆãÅ°¸®µëÀ» »ç¿ëÇÏ¿´´Ù.
Áö±Ý ¼¼°è´Â Çѱ¹, Áß±¹, ÀϺ»À» Áß½ÉÀ¸·Î µ¿¾Æ½Ã¾ÆÀÇ Àú·ÂÀÌ ¼¼»óÀÇ °ü½É°ú »ç¶ûÀ» ¹Þ°í ÀÖ´Ù. ¼­¾ç ¸®µë°ú Çѱ¹ ¹Î¿ä¿Í ¾Ç±â°¡ «¡®²² Á¶È­µÇ¾î, ¡®Ç»Àü¡¯À̶ó´Â »õ·Î¿î È帧¿¡ ¸ÂÃß¾î
³ª¸§´ë·Î ±¸¼ºÇØ º¸©¡¡°´Ù. 
In these three pieces, I used the rhythms of swing jazz, R&R, rock, punky that were largely familiar with me when starting with set drums regularly in the 1960s, 70s and 80s. Currently the world is interested in latent energy of East Asian countries centred on Korea, China and Japan. Considering this situation these pieces are formed as ¡®fusion¡¯ musics by co-ordinating western rhythms with a Korean folksong and its instruments that have became a common practice in music-making.
06 [¾Æ½Ã¾ÆÀÇ ´Þ]
°î : ¹ÚÁ¤Çö, Æí°î : ¹ÚÁ¤Çö, ±èÈñÇö
µå·³ : ±èÈñÇö. º£À̽º ±âŸ : ÀÌÇÑ¡¾¡®. ±âŸ : À强ÇÐ. ÅÂÆò¨¬¡° : õ¼º´ë.
¹Ìµð ÇÁ·Î±×·¥ & Å°º¸µå : Çã¼öÈÆ. ·¦ : ¼º°Ç
°¡»ç : 
   Hui hyun Hit the beat come on
   Hui hyun Hit the soul come on
   Hui hyun the asia of soul come on
   Let me feel the groove, feel the groove,
   Funky groove, yeah 
   Ah yeah Hui hyun
   Ah yeah Hui hyun  
   Sound good,
   funky groove,
   Hui hyun
   funky groove
   Hui hyun
   Hui hyun
07 [½Å¹Ù¶÷]
°î : À̱¤¼º, Æí°î : À̱¤¼º, ±èÈñÇö
µå·³ : ±èÈñÇö. º£À̽º ±âŸ : ÀÌÇÑ¡¾¡®. ÇǾƳë : ¹Î°æÀÎ. ÅÂÆò¨¬¡° : õ¼º´ë.
»ö¨¬¡°Æù : ±è¸í±â.  ¹Ìµð ÇÁ·Î±×·¥ : À̱¤¼º.   
08 [õ¾È »ï°Å¸®]
°î : ¹Î¿ä, Æí°î : ±èÇå±¹
µå·³ : ±èÈñÇö. º£À̽º ±âŸ : ±è©ª¡¯ÁØ. ¨¬¡°ÇÁ¶ó³ë : Á¤À¯¹Ì. ¹Ìµð ÇÁ·Î±×·¥ : ±èÇå±¹.
°¡»ç :
   õ¾È »ï°Å¸® Èï~
   ´É¼ö¾ß ¹öµé¾ß Èï~
  
   Á¦ ¸Ú¿¡ °Ü¿ö~¼­
   ÈÖ ´Ã¾îÁ³±¸³ª Èï~
  
   ¿¡·çÈ­ ¿¡·çÈ­ ¿¡·çÈ­ Èï~
  
   õ¾È »ï°Å¸® Èï~
   ´É¼ö¾ß ¹öµé¾ß Èï~
  
   Á¦ ¸Ú¿¡ °Ü¿ö~¼­
   ÈÖ ´Ã¾îÁ³±¸³ª Èï~
  
   ¿¡·çÈ­ ¿¡·çÈ­ ¿¡·çÈ­ Èï~
  
   ¾Æ~
[±ä ¾Æ¸®¶û] [±¸ ¾Æ¸®¶û]Àº Çѱ¹ÀüÅë¾Ç±âÀÎ À屸°¡¶ô°ú ¸ðµëºÏ°¡¶ôÀ» »ý°¢Çϸ鼭 ¿¬ÁÖÇÏ¿´´Ù.
These two different versions of Arirang fit into the melodies of the janggu (Korean essential rhythmic instrument) and modeum drums.
09 [±ä ¾Æ¸®¶û]
°î:¹Î¿ä, Æí°î:±è¹Ù·Î, ±èÈñÇö
µå·³ : ±èÈñÇö. º£À̽º ±âŸ : ÃÖÈñö. ¨¬¡°¸® : Àü¿µ¶û.
´ë±Ý : ÀÌ¿µ¼·. ±âŸ : À强ÇÐ. Å°º¸µå : À嵿¼ö.
°¡»ç :
   ¸¸°æâÆÄ °Å±â µ¡¯µ¡¯ ¶á ¹è 
   ¡Ä¡® Àá±ñ ´é ÁÖ¾î¶ó. ¸» ¹°¾îº¸ÀÚ.
   ¾Æ¸®¶û ¾Æ¸®¶û ¾Æ¶ó¸®·Î ±¸·á. 
   ¾Æ¸®¶û ¾Æ¸®¾ó¾¥ ¾Æ¶ó¸®·Î ±¸·á.

10 [±¸ ¾Æ¸®¶û]
°î:¹Î¿ä, Æí°î:±è¹Ù·Î, ±èÈñÇö
µå·³ : ±èÈñÇö. º£À̽º ±âŸ : ÃÖÈñö. ¨¬¡°¸® : Àü¿µ¶û. ´ë±Ý : ÀÌ¿µ¼·.
±âŸ : À强ÇÐ. Å°º¸µå : À嵿¼ö. ¾ÆÀï : ¹Ú¾Æ¸§.
°¡»ç :
   ¾Æ¸®¶û ¾Æ¸®¶û ¾Æ¶ó¸®¿ä ¾Æ¸®¶û °í°³·Î ³Ñ¾î°£´Ù.
   ³ª¸¦ ¹ö¸®°í °¡½Ã´Â ¥¡®Àº ½Ê¸®µµ ¸ø°¡¼­ ¹ßº´³­´Ù.
  
   ¾Æ¸®¶û ¾Æ¸®¶û ¾Æ¶ó¸®¿ä ¾Æ¸®¶û °í°³·Î ³Ñ¾î°£´Ù.
   ûõ Çϴÿ¡ Àܺ°µµ ¸¹°í ¿ì¸®³× °¡½¿¿¡ Èñ¸Á ¸¹´Ù.
   ¾Æ¸®¶û ¾Æ¸®¶û ¾Æ¶ó¸®¿ä ¾Æ¸®¶û °í°³·Î ³Ñ¾î°£´Ù.
   (±¸À½) ¾Æ~ Èå~À¸ ~ ¾î~ ³ÊÀÌ¿ä ³ª³­ ³Ê ¾îÇã~.
[äÅ ¾Æ¸®¶û]Àº ¿©·¯ À帣ÀÇ À½¾ÇÀ» ³Ñ³ªµå´Â ©ª¡¯¼ºÇÑ ¿¬ÁÖÈ°µ¿À» Çϸ鼭, ½¢ÇÑ ÀλýÀÇ ±¼°î ¨¬¡±¿¡¼­ °Þ¾î©ª¡®´ø Èñ·Î¾Ö¶ô(ýìÒÁäîäÅ)À» ¡®¾Æ¸®¶û¡¯À̶ó´Â ÀüÅë ¹Î¿ä¸¦ ÅëÇÏ¿© ÇÑ(ùÏ)À¸·Î ´ã¾Æº¸©¡¡°´Ù.
This music contains ¡®han (lit. means ¡®grudge¡¯ and it may include complexity of feelings such as longing for, sorrow, resentment, etc.)¡¯ that is possessed in the traditional folk song - Arirang - in order to express my feelings that my entire life played many different genres of music.
11 [äÅ ¾Æ¸®¶û]
°î : ¹Î¿ä, Æí°î : ÀÌÇö¼ö, ±èÈñÇö
µå·³ : ±èÈñÇö. ÆÛÄ¿¼Ç : ±èÈñÇö. º£À̽º ±âŸ : ±è©ª¡¯ÁØ. ³ë·¡ : ÀÌÁ¤·Ä.
±âŸ : À强ÇÐ. ¹Ìµð ÇÁ·Î±×·¥ : ÀÌÇö¼ö
°¡»ç:
   ¾Æ¸®¶û ¾Æ¸®¶û ¾Æ¶ó¸®¿ä ¾Æ¸®¶û °í°³·Î ³Ñ¾î°£´Ù.
   ³ª¸¦ ¹ö¸®°í °¡½Ã´Â ¥¡®Àº ½Ê¸®µµ ¸ø°¡¼­ ¹ßº´³­´Ù.
   ¾Æ¸®¶û ¾Æ¸®¶û ¾Æ¶ó¸®¿ä ¾Æ¸®¶û °í°³·Î ³Ñ¾î°£´Ù.
   ³ª¸¦ ¹ö¸®°í °¡½Ã´Â ¥¡®Àº ½Ê¸®µµ ¸ø°¡¼­ ¹ßº´³­´Ù.
   ¾Æ¸®¶û ¾Æ¸®¶û ¾Æ¶ó¸®¿ä ¾Æ¸®¶û °í°³·Î ³Ñ¾î°£´Ù.
   ³ª¸¦ ¹ö¸®°í °¡½Ã´Â ¥¡®Àº ½Ê¸®µµ ¸ø°¡¼­ ¹ßº´³­´Ù.
   ³ª¸¦ ¹ö¸®°í °¡½Ã´Â ¥¡®Àº ½Ê¸®µµ ¸ø°¡¼­ ¹ßº´³­´Ù.
   ¹ßº´³­´Ù. ¹ßº´³­´Ù. ¹ßº´³­´Ù. ¹ßº´³­´Ù. ¿¹
¸¹Àº ´ëÁß°¡¼öÀÇ ¼¼¼Ç°ú ¼ö õ°îÀÇ À½¹Ý³ìÀ½¼¼¼ÇÀ» ÇØ¿À¸é¼­ Á¤ÀÛ, ³ªÀÇ À½¹ÝÀº Çϳªµµ ¾ø¾ú´Ù.
¹Ù»Ú´Ù´Â Çΰè·Î ¹Ì·ç¾î¿Â À½¹ÝÀÛ¾÷À» ½ÃÀÛÇϸ鼭 [¹Ùº¸Ã³·³]Àº ¹ß¶öÇÏ°í
»ê¶æÇÑ ¹Ù¿î½º ÆãÅ°¸®µë¿¡, µÎ±ÙµÎ±Ù ¶Ù´Â ù À½¹ÝÀÇ Åº»ýÀ» ¸¶À½À¸·Î ´ã¾Æº¸©¡¡°´Ù.
I have been joining in many sessions with popular singers and making lots of recordings with them. But I have not yet produced any albums for my own until this one came out in public. In this CD I celebrate the birth of my first album bringing my heart-beat into the lively and neatly bouncing punky rhythms like a fool.
12 [¹Ùº¸Ã³·³]
ÀÛ°î, ÀÛ»ç : Çã°Ç¿õ, Æí°î : ÀÌÇö¼ö, ±èÈñÇö
µå·³ : ±èÈñÇö. º£À̽º ±âŸ : ÃÖÈñö. ³ë·¡ : Á¤À»¸². ±âŸ : À强ÇÐ.
»ö¨¬¡°Æù : ±è¸í±â. ¹Ìµð ÇÁ·Î±×·¥ : ÀÌÇö¼ö. ÄÚ·¯½º : Á¤À»¸².
°¡»ç :
   ¹» ±×¸® »ý°¢ÇÏ´Ï Áö±Ý
   ¹«½¼ °í¹Î ÀÖ´Â °Å´Ï
   ÀÌÁ¨ ³»¡Ä¡® ¸»ÇØ Á¦¹ß
   ¸» ¸ø«¡° ¹¹°¡ ÀÖ´Â °Å´Ï
   ³Í ³ªÀÇ ¿µ¿øÇÑ Ä£±¸
   ¹» Çصµ ÅëÇÏ´Â »çÀÌ
   ±×·¡¼­ Ä£±¸°¡ ÁÁ¾Æ
   ¾î·Æ°í Èûµç ¼¼»ó ºñ¿ì°í »ì¾Æ¾ßÁö
   ¸¶À½¿¡ ´ã¾ÆµÎ¸é °ÆÁ¤¸¸ Ä¿Á®
   Äð ÇÏ¡Ä¡® »ç´Â °Å¾ß ³ªÃ³·³ ¹Ùº¸Ã³·³
  
   Åö Åö Åö Åоî¹ö·Á Åö Åö Åö ´Ù Åоî¹ö·Á
   ¾Æ¹«·± ¹Ì·Ã ¾øÀÌ Åö Åö Åö Åоî¹ö·Á
   Åö Åö Åö ´Ù Åоî¹ö·Á ±ú²ýÀÌ Àؾî¹ö·Á
   »õ¢²¡±¡Ä¡® Ãâ¹ßÀ» ÇغÁ ±âȸ´Â ¿À´Â °Å¾ß
   ¼¼»óÀº µîÁöÁö ¾Ê¾Æ
   ¾î·Æ°í Èûµç ¼¼»ó ºñ¿ì°í »ì¾Æ¾ßÁö
   ¸¶À½¿¡ ´ã¾ÆµÎ¸é °ÆÁ¤¸¸ Ä¿Á®
   Äð ÇÏ¡Ä¡® »ç´Â °Å¾ß ³ªÃ³·³ ¹Ùº¸Ã³·³
   Åö Åö Åö Åоî¹ö·Á Åö Åö Åö ´Ù Åоî¹ö·Á
   ±ú²ýÀÌ Àؾî¹ö·Á
   »õ¢²¡±¡Ä¡® Ãâ¹ßÀ» ÇغÁ ±âȸ´Â ¿À´Â °Å¾ß
   ¼¼»óÀº µîÁöÁö ¾Ê¾Æ
   ¾î·Æ°í Èûµç ¼¼»ó ºñ¿ì°í »ì¾Æ¾ßÁö
   ¸¶À½¿¡ ´ã¾ÆµÎ¸é °ÆÁ¤¸¸ Ä¿Á®
   Äð ÇÏ¡Ä¡® »ç´Â °Å¾ß ³ªÃ³·³ ¹Ùº¸Ã³·³
   Äð ÇÏ¡Ä¡® »ç´Â °Å¾ß ³ªÃ³·³ ¹Ùº¸Ã³·³
   ¿À ¹Ùº¸Ã³·³ À½ ¿À ¹Ùº¸Ã³·³ ¿¹
[Àλý ±× ±æ¿¡¼­]´Â µ¶Æ¯ÇÑ °æ±â¹Î¿äÀÇ ¡®½Ã±è»õ¡¯ â¹ýÀ¸·Î ³ë·¡ÀÇ ¸Ú°ú ¸ÀÀ» ÇÑÃþ ´õ
ÇÏ¿´À¸¸ç, ½ºÃÄ Áö³ª´Â ¨¬¡°ÁßÇÑ Ãß¾ïµéÀ» ȸ»óÇϸ鼭 Èûµç ³¯µéµµ ÀÖ¾úÁö¸¸ À½¾ÇÀÌ À־
ÇູÇß°í ¶Ç »ç¶ûÀÇ ²ÞÀ» ÇâÇØ ¿À´Ãµµ ¿¬ÁÖ«¡° ¼ö À־ ÇູÇÏ´Ù.
I have added more taste and flavour with a unique ¡®sigimsae (ornamentation)¡¯ vocal technique of Gyeonggi folk song to this piece of music. I was happy with this music that reminded me of a precious memory of the past. I now feel happy to be able to play music towards the dream of love.
13 [Àλý ±× ±æ¿¡¼­]
ÀÛ°î, ÀÛ»ç : Çã°Ç¿õ, Æí°î : À̱¤¼º, ±èÈñÇö
µå·³ : ±èÈñÇö. º£À̽º ±âŸ : ÃÖÈñö. ¨¬¡°¸® : Àü¿µ¶û. ±âŸ : À强ÇÐ. ¹Ìµð ÇÁ·Î±×·¥ : À̱¤¼º.
°¡»ç :
   ¿ì¸®´Â »ì¾Æ°¡¸é¼­ ´©±¸³ª »ç¶ûÀ» ÇÏ°í
   ´©±¸³ª ²ÞÀ» °¡Áö°í ÀλýÀÇ ±æÀ» °£´Ù.
   ³ª ¿ª½Ã ³»°¡ ¼±ÅÃÇÑ ÀÌ ±æÀ» »ç¶ûÇ߱⿡
   ¿À´Ãµµ À̱æ À§¿¡¼­ ³» ¿µÈ¥ ¡ò¡°À» Å¿î´Ù.
   Àú ÇÏ´ÃÀÇ ±¸¸§Ã³·³ Èê·¯°¡´Â ¿ì¸® Àλý±æ
   °íÅë ¾øÀÌ °¥¼ö ¾ø°í »ç¶û ¾øÀÌ °¥¼ö ¾ø´Â ±æ
   ±×±æ ¿¡¼­ ±×±æ ¿¡¼­ ¿ì¸®´Â ¿ï°í ¿ôÁö¸¸
   ¾ÆÁ÷µµ ¸ø ´ÙÇÑ »ç¶û ¾ÆÁ÷µµ ¸ø ´ÙÇÑ ²Þµé
   ¿À´Ãµµ À̱æ À§¿¡¼­ ³» ¿µÈ¥ ¡ò¡°À» ¹àÈù´Ù.
   Àú Çϴÿ¡ ±¸¸§Ã³·³ Èê·¯°¡´Â ¿ì¸®Àλý±æ
   °íÅë ¾øÀÌ °¥¼ö ¾ø°í »ç¶û ¾øÀÌ °¥¼ö ¾ø´Â ±æ
   ±×±æ ¿¡¼­ ±×±æ ¿¡¼­ ¿ì¸®´Â ¿ï°í ¿ôÁö¸¸
   ¾ÆÁ÷µµ ¸ø´Ù ÇÑ »ç¶û ¾ÆÁ÷µµ ¸ø´Ù ÇÑ ²Þµé
   ¿À´Ãµµ ±×±æ À§¿¡¼­ ³» ¿µÈ¥ ¡ò¡°À» ¹àÈù´Ù.
   ¿À´Ãµµ ±×±æ À§¿¡¼­ ³» ¿µÈ¥ ¡ò¡°À» ¹àÈù´Ù.
   ³» ¿µÈ¥ ¡ò¡°À» ¹àÈù´Ù.
µå·³À» ¿¬ÁÖÇÏ°í, À½¾ÇÀ» Çؼ­ ¾ÆÁ÷ »ì¾Æ°¡°í ÀÖ´Â Çö½ÇÀ» »ý°¢«¡° ¶§¸¶´Ù,
¸¶À½ ±íÀº °÷¿¡´Â Ç×»ó Çϴÿ¡ °¨»ç«¡®À» ´À²¸©ª¡®´Ù.
¿©·¯ ¹öÀüÀÇ [¾î¸ÞÀÌ¡ ±×·¹À̽º]°¡ ÀÖÁö¸¸ Çѱ¹ÀÇ ÆǨ¬¡°¸® â¹ý°ú, ¨¬¡°¸®ºÏÀÇ ±â¹ýÀ»
¿°µÎ¿¡ µÎ¾î¼­ ¹ÚÀ» ³»¹Ð°í, ´Þ°í, ¸Î°í, Ç®¾î, ¼­¾ç¾Ç±âÀÎ ¼¼Æ®µå·³À¸·Î
 ¸®µëÀÌ Àß ¾î¿ï·¯ Áö´Âµ¥ ÁýÁßÇÏ¿´´Ù.  
I always feel gratitude to the skies from my deepest heart whenever thinking of the reality that I have been making a living with music. Beside many versions of recordings of Amazing Grace, I have focused on co-ordination of rhythms with western set drums and put the techniques of a pansori vocal sound and the barrel drum into the beats of the principle of ¡®tension and relaxation¡¯.
14 [¾î¸ÞÀÌ¡ ±×·¹À̽º] (part-1)
°î : Âù¼Û°¡ Æí°î:¹Î°æÀÎ, ±èÈñÇö
µå·³ : ±èÈñÇö. ÄÜÆ®¶ó º£À̽º : ÀåÀÀ¡¾¡®. ¨¬¡°¸® : ¼Û±æÈ­. ±âŸ : À强ÇÐ.
ÇǾƳë : ¹Î°æÀÎ. ¹Ìµð ÇÁ·Î±×·¥ : ¹Î°æÀÎ. ÄÚ·¯½º : °­Å¿ì. ÇØ±Ý : ¹ÚÀ¯Áø
°¡»ç :
   ³ª °°Àº ÁËÀÎ »ì¸®½Å ÁÖ ÀºÇý ³î¶ó¿Í
   ¢¯¡°¾ú´ø »ý¸í ã©¡¡°°í ±¤¸íÀ» ¾ò¾ú³×.
   ÀÌÁ¦²¯ ³»°¡ »ê °Íµµ ÁÖ¥¡®ÀÇ ÀºÇý¶ó.
   ¶Ç ³ª¸¦ ÀåÂ÷ º»Çâ¿¡ ÀεµÇØ Áֽø®.
   °Å±â¼­ ¿ì¸® ¿µ¿øÈ÷ ÁÖ¥¡®ÀÇ ÀºÇý·Î
   ÇØó·³ ¹à¡Ä¡® »ì¸é¼­ ÁÖ Âù¾çÇϸ®¶ó.

15 [¾î¸ÞÀÌ¡ ±×·¹À̽º] (part-2)
°î : Âù¼Û°¡, Æí°î : ¹Î°æÀÎ, ±èÈñÇö.
µå·³ : ±èÈñÇö. º£À̽º ±âŸ : ÀåÀÀ¡¾¡®. ¨¬¡°¸® : ¼Û±æÈ­. ±âŸ : À强ÇÐ. ÇǾƳë : ¹Î°æÀÎ.
¹Ìµð ÇÁ·Î±×·¥ : ¹Î°æÀÎ. ÄÚ·¯½º : °­Å¿ì, ¾ÈÂù¼·, ±è¼±¹Ì, ±è»ûº°.  ÆÛÄ¿¼Ç : ±èÈñÇö
°¡»ç :
   How sweet ¾Æ~ How sweet How ~ ~ ~
   How sweet ¾Æ~ How sweet How sweet ¾îÇã How
   Amazing ¾Æ~ Amazing grace Amazing ¾Æ~
   Amazing grace
  
   (±¸À½) ³Ê ³ªÀÌ ³Ê Èå~ ³ª~ ¾î~ Èå~
   Amazing grace Amazing grace
   Amazing grace Amazing grace
   ¢¯¡°¾ú´ø »ý¸í ã©¡¡°°í ±¤¸íÀ» ¾ò¾ú³×.
   Amazing grace Amazing grace
   Amazing grace Amazing grace
   Amazing grace Amazing grace
   Amazing grace Amazing
 ¨¬¡°¸®-Ȳ¼¼Èñ ¨¬¡°¸®-Àü¿µ¶û ³ë·¡-ÀÌÁ¤·Ä º¸ÄÃ-Á¤À»¸² ¨¬¡°¸®-¼Û±æÈ­ ±âŸ-À强ÇР  º£À̽º ±âŸ-ÀåÀÀ¡¾¡® º£À̽º ±âŸ-ÃÖÈñö º£À̽º ±âŸ-ÀÌÇÑ¡¾¡® º£À̽º ±âŸ-±è©ª¡¯ÁØ ÇǾƳë-¹Î°æÀΠŰº¸µå-ÀÌÇö¼ö   Å°º¸µå-Çã¼öÈÆ ´ë±Ý-ÀÌ¿µ¼· ÅÂÆò¨¬¡°-õ¼º´ë ÇرÝ-¹ÚÀ¯Áø »ö¨¬¡°Æù-±è¸í±â ÄÚ·¯½º-°­Å¿젠 ÄÚ·¯½º-¾ÈÂù¼· ÄÚ·¯½º-±è»ûº° ÄÚ·¯½º-±è¼±¹Ì ÀÛ Æí°î-À̱¤¼º ÀÛ Æí°î-¹ÚÁ¤Çö ÀÛ Æí°î-±èÇå±¹   Æí°î-±è¹Ù·Î ÀÛ»ç ÀÛ°î-Çã°Ç¿õ ±×¸²-À̺´Áø Æò·Ð°¡-±èÁø¹¬ ±â¼ú°¨µ¶-À强ÇР·¦-¼º  °Ç
±èÈñÇö ÇÁ·ÎÇÊ

1956 ÆǨ¬¡°¸® ¡®¨¬¡°¸® ºÏ¡¯  
1966 ~  °í±³ ¹êµåºÎ ½º³×¾î µå·³
1974 ~ 77 À°±ºº»ºÎ ±º¾Ç´ë (Ÿ¾Ç±â) 
1977 ~ 79 ¿ë»ê¡¯¹Ì±ºUN¡¯Å¬·´ È°µ¿µå·³
1979 ~ 85 MBC (¹®È­¹æ¼Û±¹) °üÇö¾Ç´Ü 
 ¼­¿ï±¹Á¦°¡¿äÁ¦ 1~8ȸ 
 ´ëÇа¡¿äÁ¦ 2ȸ~8ȸ 
1980 ~ 85 Çѱ¹1¼¼´ë ÀçÁî ¡®¾ß´©½º¡¯Å¬·´Ã⿬
1985 ~ 95 ¡®Á¶¿ëÇÊ°ú À§´ëÇÑ Åº»ý¡¯ È°µ¿ 
 ¹Ì±¹ ¡®Ä«³×±âȦ¡¯ °ø¿¬ µå·³ ¿¬ÁÖ*
1985~Çö 
±¹³» À¯¸í°¡¼ö (¼­ÅÂÁö, ±è°Ç¸ð, ÀμøÀÌ, À̹ÌÀÚ, ÆÐƼ±è, ³²Áø, ³ªÈƾÆ,
½Å½ÂÈÆ, À̽Âö~µî 400~500¸í À½¹Ý&°ø¿¬
1986 ¾Æ½Ã¾Æ ÀçÁî Æ佺Ƽ¹ú Ã⿬ 
1988 ¼­¿ï ¿Ã¸²ÇÈ Àü¾ßÁ¦ Âü°¡ 
1991 »ç¹°³îÀÌ (ÃÖÁ¾½Ç, À̱¤¼ö, ±è´ö¼ö ~ ) ¼¼Á¾¹®È­È¸°ü Çù¿¬ 
1995 ¿ìÁŰ½ºÅº ±¹±³ Ä£¼±°ø¿¬ 
1996 ¡®±èÈñÇö¡¯µå·³¾¤, ³íÇöµ¿ »ïÀ;ÆƮȦ 
1996~2007 KBS ¡®Çѱ¹¹æ¼Û°ø»ç¡¯ °üÇö¾Ç´Ü ¢¯¡®»ç 
 ¡®¿­¸° À½¾Çȸ¡¯ 100ȸ~600ȸ °íÁ¤Ã⿬  
 ¿À½ºÆ®¸®¾Æ ¡®ºó¡¯ °ø¿¬ 
 ¡®±è´ëÁß¡¯´ëÅë·É ³ëº§ÆòÈ­»ó ¼ö»ó±â³ä ¡®ÆòÈ­ À½¾Çȸ¡¯ 
 6.15 ³²ºÏ °øµ¿¼±¾ð ±â³ä ±Ý°­»ê °ø¿¬ 
 ÇÏ¿ÍÀÌ ÀÌÁÖ 100ÁÖ³â±â³ä °ø¿¬ 
 KBS ±³Çâ¾Ç´Ü Çù¿¬ 
 KBS ±¹¾Ç°üÇö¾Ç´Ü Çù¿¬ 
 ÇÑÀÎÀÌÁÖ 140ÁÖ³â±â³ä ¸ð½ºÅ©¹Ù ¡®Å©·¹¹É¸° ´ë±ØÀ塯 °ø¿¬ 
1998~Çö ¡®±èÈñÇö¡¯ µå·³½ºÄð °³¿ø 
2001 ¡®¹ÙÈå ¼­°Å 250Áֳ⡯ ¿©Àǵµ ¾ÆÆ®¼¾ÅÍ °ø¿¬ 
2002 [µµÄì] ÇÑÀÏ ¿ùµåÄÅ ¼º°ø±â¿ø À½¾Çȸ 
2003 ´ëÇѹα¹ ¿¬¿¹´ë»ó ¿¬ÁÖ»ó 
2006 ÀüÁÖ ¼¼°è¨¬¡°¸®ÃàÁ¦ ¡®À¯°ü¼ø¿­»ç°¡¡¯ °ø¿¬ 
2007 »çõ ¼¼°èŸ¾ÇÃàÁ¦ ¡®ÃµÁö¿ï¸²¡¯ 
2008 Á¦17´ë ¡®À̸í¹Ú¡¯´ëÅë·É Ã뢯¡±½Ä ±¹È¸ÀÇ»ç´ç ÃàÇÏ°ø¿¬ 
2009 ±¤ÁÖ ¹®¿¹È¸°ü ¡®¾Æ½Ã¾Æ ¿¹¼úÁ¦¡¯ ±èÈñÇö°ú ¾Æ¿ì¸§ °ø¿¬ 
 À̸í¹Ú´ëÅë·É Ã뢯¡± 1Áֳ⠱â³ä ¿¹¼úÀÇÀü´ç ¡®µ¿ºÏ¾ÆÆòÈ­Äܼ­Æ®¡¯ 
 ¼¼Á¾¹®È­È¸°ü ¡®µöÆÛÇá¯ÀÇ ¡®Á¸·Îµå¡¯¿Í Çù¿¬ 
 ¼­¿ï½Ã¸³ ¡®±¹¾Ç°üÇö¾Ç´Ü¡¯ Á¤±â¿¬ÁÖȸ
 
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 Ç»Àü±¹¾Ç ¡®±èÈñÇö°ú¾Æ¿ì¸§¡¯ ¿¹¼ú´Ü ´ÜÀå  
 ½´¾î À̾îÆù & ¸¶ÀÌÅ© ¿£µµÀú
 (»ç)Çѱ¹ÀçÁîÇùȸ »ó¢¯¡±ÀÌ»ç
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 ±è Áø ¹¬(À½¾ÇÆò·Ð°¡)
Autobiographic Music Essay by Kim Hui-Hyun
¡®The way that cannot go without pain and love¡±
Kim Jin-muk (music critics)
This album is an ¡®autobiographic essay that is listening to music¡¯. It embodies a life and music world of Kim Hui-Hyun who has almost been playing drums for 60 years. He has helped his musician friends record their music endlessly, and at last he has made his own album.
The entire repertories in this CD are constituted with the organic unity as these reflect his musical life. As the phrasing ¡°In the beginning ... words...¡± exists, a sound of the drum is heard. The drum sound is transposed into the ¡®jeomgo garak¡¯ that strike in order to open the pan (space for entertainment) in pungmul. Unexpectedly Agnus Dei (¡®A Young Lamb of God¡¯) and Dona Novis Pacem (¡®Peace to Us¡¯), Gregorian Chant, appears in a clear soprano as if it worships religious services to the skies, soon the splendid joyful sound (¡®Rak Sound¡¯) bursts out. Then a haegeum (2-stringed spike fiddle) spurs away followed by the electric guitar, and the taepyeongso (= saenap; the conical oboe) wails. How extraordinary it is!
The ensuing pansori (narrative song performed by one vocalist accompanied with a drum) is telling the story of the fatal encounter with the performer and his drums and of the processes of his life throughout the drums. This is achieved by the way of being put sounds that the drums cry, not by the conversation between the sori buk (barrel drum) and the professional vocalist. Nevertheless no damage was made to the character of pansori. This is the moment of re-creation for pansori that has been transmitted for 300 years appeared in the Sukjong (reigned 1674-1720) era of Joseon dynasty (1392-1910). This piece was recreated in a new version called changjak pansori (newly composed pansori based on original one), and it was entitled as Drumga (¡®Song of a Drum¡¯). Its performing duration lasts more than 10 minutes. This title can be a similar fashion with such names of the great pansori repertoire as Heungboga, Jeokbyeokga, Sugungga.
The following pieces - Asiaui Dal, Sinbaram, Cheonan Samgeori, Arirangs, Babocheoreom - contain a variety of styles that Kim has so far been performing. For instance, styles of swing, twist, R&R, rock, punky, rap, and so on, appear naturally and then disappear. Importantly all these foreign elements are well co-ordinated.
Insaeng Geu Gileseo (MR) that includes in the second part of the album is relieved and extremely melancholy in its savvy. This new piece of music is based on the sigimsae of Gyeonggi folk song.
The popular hymn Amazing Grace - the last pieces - is most loved, but it must have undervalued due to its frequent performances. Not by a song, but its instrumental sound stirs up our hearts and transforms into a spiritual gospel sound. At the end, the initial piece - Gregorian Chant - is revealed its hidden secret.
Kim Hui-Hyun has been playing the drums throughout his life. To create rhythms from the drums makes many people excited and often soothing, but to find out the way in the sound of the drums would be much more important for a performer. Such thing is not achieved only in the drums, it can be applied to any kinds of jobs and aspects.
I would like to quote the words - ¡®yujeongyuil êîïñêîì顯 which refers to ¡°devout one¡¯s efforts on only one thing¡±, and this suits Kim¡¯s life. ¡®Jeongil ïñì顯, contraction of yujeongyuil, denotes ¡®to concentrate one¡¯s whole mind upon the right way¡¯, and this fits the subtitle in this CD that ¡°one walks the way that cannot go without pain and love in silence.¡± It would not be easy for anyone to find out the way, but once one has found it s/he can be so thankful for getting older, said a wise man. This reminds me of the saying by Katsushika Hokusai (1760-1849): ¡°I had started with drawing nature since 6 years old. At the age of 73 I gripped the skeletons of winged animals and wild ones, insects and fish, and then understood how plants grew. If we keep making efforts, we are able to master the core of nature at the age of 90.¡± He greatly influenced the stream of the Impressionist movements in the West and stirred the root of European arts. He was famous for The Great Wave Off Kanagaw.
Comparisons between the situations of music-making in our time and the heroin of the short novel, The Great Stone Face, written by Nathaniel Hawthorne (1804-1864) can be made: there is a scene that the boy, Ernest, turns away his step from the crowd who were going crazy over the appearance of the great stone face. The face they were searching for was not really the face that the boy sought. By the same token Korean fusion music to which we were listening was not really fusion music. Nonetheless it would be necessary that we should go forward to seek such kind of music. I do not deny all the trials that many musicians achieved with traditional music. I mean by this that resultant products are premature, and we need a quality of its completed product finding out the right direction. The way towards developing Korean traditional music should have been proceeded step by step, and it seems to be rather destroying traditional music material itself. It reminds me of the proverb that ¡°it happens to be caught on fire over a small cottage.¡± But how can we stop the general current of music making!
With a great deal of anxiety with this issue by myself, Kim Hui-Hyun visited me with this album in the New Year. When he gave it to me with carefulness, I viewed his album ended the experimental era of Korean traditional music that was called ¡®the trial of Korean fusion music¡¯ for last 30 years, as Hawthorne¡¯s novel concluded that the boy became the ¡®great stone face¡¯.
We accompany the way of music that he walked with listening to this album. Having started with the barrel drum at the age of 3 and then changed to the drums with drum sticks, he spent his time on music-making for 60 years. We are to meet all his musical styles emerged in a winding way that we are not able to go without pain and love, and Korean traditional music penetrates the centre of the way. I realised that the very way that he reached at the end was the way of his faith rendered in the last piece of this album.
Eventually the secret of Gregorian chant in the beginning of the programme was unravelled!
THE MOON OF ASIA: ¡®Resonance¡¯ by Kim Hui-Hyun¡®
¡®The way that cannot go without pain and love¡±
THE PROGRAMME
01 Sesang (The World)
02 Nadeuri (The Picnic)
03 Drumga (Song for a Drum) (part-1) ¡®Inyeon (The Destiny)¡¯
04 Drumga (Song for a Drum) (part-2) ¡®Gongbu (The Study)¡¯
05 Drumga (Song for a Drum) (part-3) ¡®Siryeongwa Gibbeum(Suffering and Ecstasy)¡¯
06 Asiaui Dal (The Moon of Asia)
07 Sinbaram (Enjoyment & Pleasure)
08 Cheonan Samgeori
09 Gin Arirang (Long Arirang)
10 Gu Arirang (Old Arirang)
11 Rak Arirang (Joyful Arirang)
12 Babocheoreom (Like a Fool)
13 Insaeng Geu Gileseo (Life, on the Way)
14 Amazing Grace (part-1)
15 Amazing Grace (part-2)

PRODUCED BY Kim Hui-hyun
http://drumschool.co.kr

¿ÃÇØ 91¼¼ÀÇ ¿¬¼¼¿¡µµ ¡ò¡°±¸ÇÏ°í Áö±Ýµµ ¨¬¡°¸® ºÏÀ» Áñ±â½Ã´Â Á¸°æÇÏ´Â ¾Æ¹öÁö²² °¨»çµå¸®¸ç,
¾ÆÁ÷µµ ³ª¸¦ Å°¿öÁÖ½Ã°í ¸ÅÀÏ »õº®±âµµ¸¦ ÇØÁֽŠ¾î¢³¡±´Ï²²µµ °¨»çµå¸®°í,
¾ðÁ¦³ª µçµçÇÑ ÈÄ¿øÀ» ¾Æ³¢Áö ¾ÊÀº ¾Æ³»¿Í °¡Á·°ú ¿­Á¤ÀûÀ¸·Î ÃÖ¼±À» ´ÙÇؼ­ À½¹ÝÀÛ¾÷À» µµ¿ÍÁֽŠ¼±ÈĹè, µ¿·áµé¿¡¡Ä¡® ¶ß°Å¿î °¨»ç¸¦ µå¸³´Ï´Ù.
±×¸®°í ÀÌ À½¾ÇÀ» µé¾îÁֽŠ¿©·¯ºÐµµ ´Ã ÇູÇϽðí, Ç×»ó Áñ°Å¿ì½Ã±æ ¹Ù¶ø´Ï´Ù.
»ç¶û«¡¯´Ï´Ù.
I would like to give my respect to my father who has become 91 years old and still enjoys listening to the barrel drum, and to my mother who always prays for me. I would like to thank my wife and family who always support me greatly and my senior, junior and fellow musicians who have helped me in producing this album with enthusiasm. Finally, I wish all the audiences happy and healthy.

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