HOME   -   SITEMAP  
  ¿î¿µÀÚ°Ô½ÃÆÇ Áú¹®°Ô½ÃÆÇ(±¹¾ÇÀ½¹Ý) ¹æ¸í·Ï ±¤°í°Ô½ÃÆÇ

/

½°ÅÍ  
±¹¾ÇÀ½¹Ý-¾÷µ¥ÀÌÆ® ±âÁØ | Ãâ¹ÝÇöȲ À½¹Ý ±¸ÀÔó ¾È³» ³ªÀDZ۵é Á¤Ã¢°ü
2024³â½Åº¸ | 2023 | 2022 | 2021ÀÌÀü | ¸ðµçÀ½¹Ý
À½¹Ý °ü·ÃÁ¤º¸ ¿Ü
±¹¾ÇÀ½¹Ý | °íÀüÀ½¾Ç | º°¿¡ °üÇÑ±Û | ±âŸ
¿î¿µÀÚ¼Ò°³ | ³ª¿¡ °üÇÑ ±â»çµé
 
 

À½¹Ý¸í[ºÎÁ¦Æ÷ÇÔ] ÀÓÁø¿Á ´ë±Ý <û¼ºÀÚÁøÇÑÀÙ.¿µ»êȸ»ó>
À½¹Ý ¹øÈ£ GGC-20101 , CD 1 ¸Å
Á¦ÀÛ / ±âȹ»ç Sound Press
¹ß¸Å ¿¬µµ 202-
±¸ ºÐ ÀϹݹÝ
ºÐ ·ù ¿µ»êȸ»ó
¾÷µ¥ÀÌÆ® ÀϽà 2022-05-28
ºñ °í
* 2022³â 9¿ù 21ÀÏ ¹ÌÀÇȸµµ¼­°ü ±âÁõ. * 2023³â 2¿ù 21ÀÏ Àεð¾Æ³ª´ëÇÐ ÀüÅëÀ½¾ÇÀÚ·á°ü ±âÁõ(¹è¼Û·á °æ±â¼Ò¸®²Û ¿ÀÇö½Â ÈÄ¿ø)



 
ÀÓÁø¿Á ´ë±Ý <û¼ºÀÚÁøÇÑÀÙ.¿µ»êȸ»ó>

1. û¼ºÀÚÁøÇÑÀÙ 7:13
´ë±Ý:ÀÓÁø¿Á.

¡á ¿µ»êȸ»ó :
2. »ó·É»ê 13:52
3. Áß·É»ê 13:09
4. ¼¼·É»ê 4:34
5. °¡¶ô´úÀÌ 3:07
6. »óÇöµµµå¸® 4:56
7. ÇÏÇöµµµå¸® 3:31
8. ¿°ºÒµµµå¸® 5:19
9. Ÿ·É 3:31
10. ±º¾Ç 4:46 ÃÑ 64:03
´ë±Ý:ÀÓÁø¿Á. À屸:±èÁ¤¼ö.

* ´ë±Ý:ÀÓÁø¿Á.
 
* ¼ö¿ø´ëÇб³ ¸í¿¹±³¼öÀÎ ÀÓÁø¿Á ´ë±Ý¿¬ÁÖÀÚÀÇ Ã¹À½¹ÝÀ¸·Î ÀÓÁø¿Á ´ë±Ý <Çåõ¼ö.ÆòÁ¶È¸»ó>À½¹Ý°ú °°ÀÌ Ãâ¹ÝµÇ¾ú´Ù. Çؼ³¼­´Â ÀÚ¼¼ÇÏ¸ç ¿µ¾Æ·Î ¹ø¿ªµÇ¾î ÀÖ´Ù. Ãâ¹ÝÀº 2021³âÀÌÁö¸¸ ÃÖ±Ù¿¡ Ãâ¹ÝÇÑ À½¹ÝÀÌ´Ù.(2022.5.28)

* 1¹ø°î û¼ºÀÚÁøÇÑÀÙ :

 
* À½¹Ý ¼Ò°³ :

û¼ºÀÚÁøÇÑÀÙ

´ë±Ý µ¶ÁÖ°î [û¼ºÀÚÁøÇÑÀÙ]Àº °¡°î ÅÂÆò°¡¸¦ º¯ÁÖÇÑ °îÀÌ´Ù. û¼ºÀº ³ôÀº À½À» ¸»Çϸç ÀÚÁøÇÑÀÙÀº °¡°î ÇüÅ¿¡ ±â¹ÝÀ» µÐ °ü¾Ç°îÀÌ´Ù. ´ë±ÝÀÇ ³ôÀº À½°ú ¸¼Àº ¼Ò¸®¸¦ À¯°¨¾øÀÌ º¸¿©ÁÖ´Â °îÀ¸·Î °£´ÜÈ÷ ÁÙ¿© û¼º°îÀ̶ó°íµµ ÇÑ´Ù. À½¾ÇÀÇ ±¸Á¶´Â ÀüÅë°¡°î Çü½ÄÀ» °¡Áö°í ÀÖ°í, ÀÏÁ¤ÇÑ ¼±À²ÀÌ ÀÖÁö¸¸ ¿¬ÁÖÀÚÀÇ °³¼º¿¡ µû¶ó ¼±À²ÀÇ °¡º¯¼ºÀÌ ÀÖ´Â °îÀÌ´Ù.

¿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 :

ÀÓÁø¿ÁÀº ÇöÀç ¼ö¿ø´ëÇб³ À½¾Ç´ëÇÐ ±¹¾Ç°ú ±³¼öÀÌÀÚ ´ë±Ý¿¬ÁÖ°¡ ÀÌ´Ù. ´ë±Ý Á¤¾ÇÀº ¾Ç°îÀÌ ´À¸®°í ÇÑ°¡ÇÏ¸ç ¿©À¯°¡ ÀÖ´Â À½¾ÇÀ¸·Î, ÀÌ À½¿øÀº ±âÁ¸ÀÇ ´ë±ÝÁ¤¾Ç Áß¿¡¼­ µ¶ÁÖ°îÀ¸·Î ±¸¼ºÇÏ¿© ¿¬ÁÖÇÏ¿´´Ù.

<ÀÓÁø¿Á_1954³â»ý>
- Çö) ¼ö¿ø´ëÇб³ À½¾Ç´ëÇÐ ±¹¾Ç°ú ±³¼ö
- ±¹°¡¹«Çü¹®È­Àç Á¦20È£ ´ë±ÝÁ¤¾Ç Àü¼ö±³À°Á¶±³
- ¾çÁÖdz·ù¾Çȸ ȸ¿ø
- Çѱ¹ÀüÅ빮ȭ¿ø ÀÌ»ç
- ±¹¸³±¹¾Ç¿ø »óÀÓ ÁöÈÖÀÚ ¿ªÀÓ
- ´ëÇѹα¹ ÀÛ°î»ó
- ¼­¿ï´ëÇб³ À½¾Ç´ëÇÐ ¹× µ¿´ëÇпø Á¹¾÷
- °í·Á´ëÇб³ ¹®Çйڻç
Best viewed with MS Explorer 5 at 1024x768 * Copyright ¨Ï 2000 Changkwan Jung. All Rights Reserved.