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2. »ó·É»ê 13:52
3. Áß·É»ê 13:09
4. ¼¼·É»ê 4:34
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9. Ÿ·É 3:31
10. ±º¾Ç 4:46 ÃÑ 64:03
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¿µ»êȸ»ó

[¿µ»êȸ»ó]Àº ¿À´Ã³¯ Àü½ÂµÇ´Â dz·ùÀ½¾ÇÀÇ ´ëÇ¥ÀûÀÎ ±â¾Ç°îÀÌ´Ù. [¿µ»êȸ»ó]ÀÌ ¾ðÁ¦ºÎÅÍ ¿¬ÁֵǾú´ÂÁö Á¤È®È÷ ¾Ë¼ö´Â ¾øÀ¸³ª AD1500³â´ë¿¡´Â ¼º¾Ç°îÀ¸·Î ¿¬ÁֵǾú°í AD1680³â¿¡´Â ±â¾Ç°îÀ¸·Î ¿¬ÁֵDZ⠽ÃÀÛÇÏ¿´´Ù. ÀÌ¿Í °°Àº [¿µ»êȸ»ó]ÀÇ ±â¾ÇÈ­´Â ±ÃÁß¿¡¼­ ¹Î°£À¸·Î [¿µ»êȸ»ó]ÀÇ ÇâÀ¯°ø°£ÀÌ È®´ëµÇ¸é¼­ »ý°Ü³­ º¯È­·Î º¼ ¼ö ÀÖ´Ù. ±â¾ÇÈ­ µÈ ÀÌ·¡ [¿µ»êȸ»ó]ÀÇ À½¾ÇÀû ¹ßÀüÀº °¡¼ÓÈ­µÇ¾ú´Âµ¥ [»ó·É»ê]¿¡¼­ ¿©·¯ ÆÄ»ý°îµéÀÌ ÃâÇöÇÏ°Ô µÈ´Ù.

[¿µ»êȸ»ó]Àº [»ó·É»ê], [Áß·É»ê], [¼¼·É»ê], [°¡¶ô´úÀÌ], [»óÇöµµµå¸®], [ÇÏÇöµµµå¸®], [¿°ºÒµµµå¸®], [Ÿ·É], [±º¾Ç] µî ¾ÆÈ© °îÀÇ ¸ðÀ½°îÀÌ µÇ¾ú´Ù. [¿µ»êȸ»ó]Àº ¾î¶² ÇÑ »ç¶÷ÀÌ ÀÛ°îÇÑ °ÍÀÌ ¾Æ´Ï¶ó ¿©·¯ ¿¬ÁÖÀÚµéÀÇ ¿À·£ ±â°£µ¿¾È ¿¬ÁÖÈ°µ¿ÀÇ °á°ú¹°°ú °°Àº ¿¬ÁÖÀÚµéÀÇ À½¾ÇÀ̶ó°í »ý°¢ÇÑ´Ù. À½¾ÇÀÇ ¼Óµµ´Â óÀ½¿¡´Â ´À¸®°Ô ½ÃÀÛÇÏ¿© Á¶±Ý¾¿ »¡¶óÁö´Â À̸¥¹Ù [´À¸²-º¸Åë-ºü¸§]ÀÇ ±¸Á¶¸¦ °¡Áö°í ÀÖ´Ù. [¿µ»êȸ»ó]ÀÇ ÀüüÀû ¾Ç»óÀº ÀýÁ¦ÀÇ Ç¥Çö·ÂÀ̶ó°í »ý°¢ÇÑ´Ù.

Cheongseongjajinhanip

Cheongseongjajinhanip for daegeum solo is a variation of the song ¡°Taepyeongga¡± from gagok, the long lyric song cycle. Cheongseongjajinhanip can be abbreviated as Cheongseonggok. ¡°Cheongseong¡± refers to notes in a high pitch range while ¡°jajinhanip¡± indicates a piece for wind instruments derived from the long lyric song cycle. It is a piece that beautifully demonstrates the high tone and clear sound of the daegeum. The structure of the music follows that of the original song, and has a certain melodic line; however, the melody could be varied according to the individuality of each performer.

Yeongsanhoesang

Yeongsanhoesang is a representative instrumental piece of pungnyu music (aristocrats¡¯ music) handed down today. It is not known exactly when Yeongsanhoesang was first performed, but it was played as a vocal piece in the 1500s and started to be performed as an instrumental piece in 1680. The instrumentalization of Yeongsanhoesang can be seen as a change brought about with the expansion of musical spaces from the court to the private sector. Since becoming an instrumental piece, the musical development of Yeongsanhoesang accelerated, and several pieces derived from ¡°Sangnyeongsan¡± appeared. Yeongsanhoesang became a suite of 9 pieces consisting of ¡°Sangnyeongsan,¡± ¡°Jungnyeongsan,¡± ¡°Seryeongsan,¡± ¡°Garakdeori,¡± ¡°Sanghyeondodeuri,¡± ¡°Hahyeondodeuri,¡± ¡°Yeombuldodeuri,¡± ¡°Taryeong,¡± and ¡°Gunak.¡± I believe that Yeongsanhoesang was not composed by any particular person. Rather, it is the music of performers, the result of many players¡¯ long-term performing activities. The tempo of the music has a so-called ¡°slow-moderate-fast¡± structure that starts slowly and gradually increases. The overall musical mood of the piece could be described as restrained-expressiveness.

* ÀÓÁø¿Á :

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