[Sori Me 6th Regular Concert]

Ilseungwolhang is a song of the late Joseon Dynasty's annual music.

Performance: Park Yong-ho, Jeon Myung-shin and Sorime members

"Cheongseong Jajin Leaf" is a solo piece played only by wind instruments such as daegeum and salt, also known as "Yocheonsun Iljigok."

It is also called "Cheongseonggok" because of its clear, beautiful, long, and clear sound.

There are also symbolic titles such as "Yocheon-sun Ilgok" and "Hwe-pal-seon" that are extremely peaceful and reflective.

It is a variation of a song that increases the melody of "Taejim" by 2 degrees and then raises it back to the octave to add a pimple or a certain note longer.

Jongmyo Jerye is a festive ritual in which the king wishes the nation and the people to be peaceful with the help of heaven and earth, and Jongmyo Jeryeak refers to instrumental music, songs and dances performed to hold a solemn ceremony for Jongmyo Jerye.

Jongmyo Jerye and Jongmyo Jeryeak were designated as Important Intangible Cultural Properties No. 56 and No. 1, and were preserved and handed down as UNESCO Intangible Cultural Heritage of Humanity on May 18, 2001.

The musical instrument, commonly known as the instrument used to play music, has been used in traditional music since the Three Kingdoms Period, and about 60 types of musical instruments have been introduced, including unique instruments from Korea, and foreign instruments imported from China, the West, and other regions. As Korea was adjacent to the northern continent, Chinese and Western music was already introduced during the Three Kingdoms Period. Especially after Silla unified the three kingdoms, Tang Dynasty music was imported.

By the Goryeo Dynasty, Song Dynasty folk music and aak were imported, and by the time of King Yejong's reign, Ahak was introduced, and it still came in large quantities. These instruments were classified according to the main ingredients needed to make musical instruments in "Jeungbo Munheongo," and in particular, the musical instruments used for the unique traditional music, as well as the instruments used for Ahak and Dangak.

By the Japanese invasion, national sovereignty was lost and court musicians became free men. Of course, unlike the heads of government-affiliated musical instruments who made Jeongak-centered instruments, Sanjo-centered instruments were being produced in the private sector. This sanjo instrument can be said to be for individual performance, making it more cheerful and easier to transport than a group-oriented Jeongak instrument. During the Japanese Colonial Period, Kim Myeong-chil was named in Jeonju, and Kim Boong-gi (Kim Hak-gi) was named in Jeongeup.

After Korea's liberation from Japan's colonial rule, Kim Myeong-chil's technique was followed by his son Kim Gwang-ju, who became the No. 42 instrument master in 1971. He moved to Seoul to teach Choi Tae-gwi, Go Heung-gon, and Lee Young-soo before passing away in April 1984. Originally, Yi Yeongsu was designated as a cultural asset of Jeollabuk-do with the functions of Kim Bungi in Jeongeup, but he also received the functions of Kim Gwang-ju.

The musical instrument director originally thought he would make all instruments, but now he is divided into a drum, a jango, a gong, a gong, a jing, a salted fish, a flute, a gayageum, a geomungo, and a haegeum.

Jeongak (literally “elegant orthodox music”) refers to music played at the Royal Palace, government offices, and local places where people of refined tastes gathered together. As one of the three bamboo instruments developed during the Silla Period (57 BC - 935 AD), i.e., daegeum (large-sized bamboo flute), junggeum (medium-sized bamboo flute), and sogeum (small-sized bamboo flute), Daegeum is the longest among the traditional transverse flutes of the country. It has the emboucher hole at the right end, a buzzing membrane made of inner skin of reed that gives it a special timber, and six holes. Since it makes a wider range of sound than other instruments, it is used as a leading solo instrument. Daegeum-played Jeongak covers all kinds of formal ceremonial music, which are all ensembles. It is not known when they started to be played solo. The titles of the pieces of music played by daegeum include Cheongseong Jajinhanip, Pyeongjo Hoesang, and Jajinhanip. Melodies made by Daegeum Jeongak sound delicate but not light, soft but not feeble, and fragile but not shallow.

Jeongak refers to music played in a court, government office, or a windmill where local windmills gathered to enjoy music.

Daepungryu means a performance of wind instruments focused on appreciation for fun, and it refers to music centered on wind instruments such as incense flute and Jeongak daegeum for court music.

The basic pungmul is composed of Hyangpiri 2, Daegeum, Haegeum, Janggu, and Buk. The main musical pieces include eight songs including Yeongyeongsan, Jungyeongsan, Seyeongsan, Seyeongsan, Garaktori, Samhyeondodry, Yeombuldodry, Taryeong, and Gunak, but Samhyeondodry, Yeombuldodry, and Taryeong are used as dance music.

Although Daepungryu is valuable as traditional music with a strong and lively feel, such small-scale performances are now disappearing because music is produced on a wide stage. Jin Cheol-ho, the art holder, has learned from the late Kim Jung-sik about the economy of Seoul and the traditional Korean music of Incheon, which is different from the economy of Incheon.