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Daegeum musician Lee Na-rae is practitioner(Isuja), the learner who completed training Seoul Intangible Cultural Property No. 44 Samhyeonyukgak, and currently working in Seoul Metropolitan Gugak Orchestra as the assistant principle musician. Mingan Gwanakyeongsanhoesang is an important repertory in Samhyeonyukgak with its musical profundity and highly artistic value. Lee Na-rae, who trained daegeum under the art holder of Samhyeonyukgak Lee Chul-joo, planned this album in order to record the process and steps she went through in transmitting her teacher¡¯s music.
The music is arranged for daegeum duet and janggu accompaniment with a single melodic part, and thus the musicians concentrate on the tone color, breath, and the breathing in detail that was unavailable in ensemble music albums.

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Mingan Gwanakyeongsanhoesang in Samhyeonyukgak, the Seoul Intangible Cultural Property No. 44

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The Gwanakyeongsanhoesang transmitted through National Gugak Center is a suit comprising of eight pieces that are Sangnyeongsan, Jungnyeongsan, Seryeongsan, Garakdeori, Samhyeondodeuri, Yeombuldodeuri, taryeong, and Gunak. On the other hand, Mingan Gwanakyeongsanhoesang excludes Garakdeori and thus consists of only seven pieces that are Daeyeongsan, Jungnyeongsan, Jatyeongsan, Samhyeondodeuri, Yeombuldoldodeuri, Samhyeon taryeong, and Byeolgok taryeong. Samhyeondodeuri and the rest of the pieces following it could hand down as they had been often played in practical use. However, the first two piece Daeyeongsan and Jungnyeongsan could have been lost as rarely performed due to its high level musical and technical requirements in slow tempo. Master Choi Gyeong-man restored the music based on Ji Yeong-hui¡¯s Collection of Folk Music Study and presented on the stage in 2006 Folk Music Troupe Regular Concert held in the National Gugak Center. Ever since the music was designated to Seoul Intangible Cultural Property No. 44 in 2014, the art holders, including piri master Choi Gyeong-man, daegeum master Lee Chul-joo, and haegeum master Kim Mu-gyeong, transmit the legacy.

Mingan Gwanakyeongsanhoesang and the other Gwanakyeongsanhoesang transmitted by the National Gugak Center have similar melody and rhythmic patterns, but each of them has distinct features. The 20 beat rhythmic cycle of Sangnyeongsan and Jungnyeongsan in National Gugak Center Gwanakyeongsanhoesang is divided into 6.4.4.6, while on the other hand, the one in Mingan Gwanakyeongsanhoesang is 10 beat cycle divided into 3.2.2.3. It is assumed that the melodies had varied in the process of folk musicians taking tunes of court derived music, such as Yeombulpungnyu or Chwitapungnyu, to Mingan Gwanakyeongsanhoesang. The same piece of music can generate another music with different features depending on who performs the music in what kind of performance format.

Å©·¹µ÷ Credit
Produced by À̳ª·¡ Lee Na-rae
Recording Engineer ¿À¿µÈÆ Oh Young-hoon
Mixing & Mastering Engineer ¿À¿µÈÆ Oh Young-hoon
Recording assistant ÀÌÁö¾Ö Lee Ji-ae
Recording Space ½ºÆ©µð¿À ÆÄÁÖ Studio Paju
Photographed by ³ª½Â¿­ Nah Seung-yull
Translation ÀåÀ±Èñ Chang Yoon-hee
Designed by È«´Ü HONGDAN
Distributed by »ç¿îµåÇÁ·¹½º Sound Press
Promoted by ºñ¿ÂµÚ BEONDI
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