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K-Pop & Trot (1)

  • 2020.2.21
    release date
    Lee Chul-hee (drum), Kwon Song-hee (vocal), Jang Young-kyu (bass), Lee Na-rae (vocal), Shin Yoo-jin (vocal), Jung Joong-yeop (bass), and Ahn Yi-ho (vocal) X Ambigious Dance Company

    ♡ It is soon enthralled by repeated lyrics and sensuous grooves.

    This familiar situation in which a housewife who came ashore for a rabbit's liver meets a tiger is a part of pansori "Sugungga."

    The alternative pop band, which is made of "hip" dance music from the old song "pansori," was very popular for singing the deep mountain tiger (pansori).☆

K-Traditional Music (10)

  • 2020.11.19
    Recommended music
    This is the part where a housewife who went to the land to get the dragon king's medicine with a funny eye at the Sugungga, Jajinmori rhythm, seduced the rabbit and ordered him to catch the rabbit.
  • 2020.11.25
    Recommended music
    Sugungga tells the story that a turtle enticed a rabbit to the palace to cure the dragon king's illness, but the rabbit tricked the dragon king to come back to life.

    'Bomb coming down' is the eye line of the Sugung family (the most interesting and key point).
  • 2020.11.25
    Recommended music
    ♡ It is a scene where a housewife avoided a tiger she met on land and finally met a rabbit.

    The member of the National Changgeuk Company, Yu Taepyungyang, will sing along with his teacher, Jo Tong-dal.

K-Cultural Heritage (21)

  • 1991.11.23
    designated date
    Gayageum Byeongchang refers to singing while riding Gayageum.

    The song is sung by adding gayageum accompaniment while picking a passage from either Danga or Pansori. In Pansori, it is also called Seokhwaje. There is a theory that Kim Changjo, the master of the Gaya Geumsanjo, began to be called in the late Joseon Dynasty.

    Jinyang, Jungmori, Jungjungmori, and Jajinmori are used in Jangdan. The same melody of the gayageum and the song changes to match the principle of the gayageum, fills the space of the song with the gayageum melody, and sometimes adds to the excitement by adding the gayageum ganju.

    Some of the representative songs include Gokcho, Honam, Cheongseoknyeong Pass, Jukjangmanghye, Saranga among Chunhyangga, Jebinojeonggi among Heungbo, and Gogo riverside among Sugungga.

    Gayageum Byeongchang is a valuable cultural asset that seeks pure musical beauty among traditional music.
  • 1968.12.21
    designated date
    Sanjo refers to the playing of an instrument solo to the accompaniment of janggo (hourglass-shaped drum), moving from slow to fast rhythm, in four to six movements. Gayageum Sanjo is Korean instrumental folk music played solo with gayageum (twelve-stringed zither). Gayageum Byeongchang refers to the singing and playing of gayageum at the same time. All Sanjo start with slow rhythm and gradually changes to faster rhythm, making listeners feel tense and increasingly delighted. Gayamgeum Sanjo is made up of four to six rhythms: jinyangjo (slow), jungmori (moderate), jungjungmori (moderately fast), jajinmori (fast), and hwimori (fastest). Compared to other instrument-based Sanjo, Gayageum Sanjo masters could form diverse schools thanks to the unique characteristics of gayageum. A singer engaging in Gayageum Byeongchang sings a part of danga or pansori to the accompaniment of his/her own gayageum playing. Gayageum Byeongchang used to be sung by Gayageum Sanjo masters, but the current tendency is for the separation between players of Sanjo and Byeongchang. A song sung as Byeongchang creates its own atmosphere due to the unique melody of gayageum. The following are well-known parts of Gayageum Byeongchang: Jebinojeonggi (Route of the Swallow's Trip) of Pansori Heungboga (Song of Heungbo), Sarangga (Song of Love) of Chunhyangga (Song of Chunhyang), Gogocheonbyeon (Brightness of the Sunshine in the Sky) of Sugungga (Song of the Rabbit and the Turtle), and “Sim Cheong’s Father on His Way to Hwangseong” of Simcheongga (Song of Sim Cheong).
  • 1964.12.24
    designated date
    Pansori is a traditional Korean genre of epic musical storytelling in which a sorikkun (single performer) presents a long narrative work comprising sori (singing), aniri (lyrics), and neoreumsae (gestures) to the accompaniment of a gosu (drummer). While its exact origin is unknown, some scholars believe that pansori developed during the reign of King Sukjong of the Joseon Dynasty on the basis of Chunhyangga, which was composed by Yu Jin-han in 1754, while others trace its origin to an entertainment mentioned in a document dating back to the early days of the Joseon Dynasty. Still others argue that it dates back to Silla, where folk entertainments called pannoreum were widely performed. The musical accompaniment of Pansori consists of a variety of rhythms called jinyangjo, jungmori, jungjungmori, and hwimori. The drummer accompanying the singer breaks out into shouts of praise and encouragement, such as “Great!” and “Perfect!”, known as chuimsae, at the appropriate endings. During the reign of King Sunjo (1800-1834) of Joseon, there were eight masters of pansori, including Gwon Sam-deuk, Song Heung-rok, Mo Heung-gap, Yeom Gye-dal, Go Su-gwan, and Sin Man-yeop, each of who played a key role in the development of the musical genre into the form we know today. The current tendency is to divide Pansori into the following three schools: Dongpyeonje, which developed in the northeast area of Jeolla-do; Seopyeonje, which developed in the southwestern region of the peninsula; and Junggoje, which developed in Gyeonggi-do and Chungcheong-do. In its early stage, there were twelve great Pansori works, including Chunhyangga (Song of Chunhyang), Simcheongga (Song of Sim Cheong), Sugungga (Song of the Rabbit and the Turtle), Heungboga (Song of Heungbo), Jeokbyeokga (Song of the Red Cliff), Baebijang taryeong (Song of General Bae), Byeongangsoe taryeong (Song of Byeon Gang-soe), Jangkki taryeong (Song of the Cock-Pheasant), Onggojip taryeong (Song of the Miser Onggojip), Musugi taryeong (Song of Military Officials), and Gangneung maehwa taryeong (Song of Plum Blossoms of Gangneung), which were much shorter than the five works remaining today, namely, Chunhyangga, Simcheongga, Sugungga, Heungboga, and Jeokbyeokga. These five Pansori works have been designated as Important Intangible Cultural Heritages by the Korean government and are performed widely across Korea by various performers, including the following select group of government-acknowledged masters: Kim Yeo-ran, Kim Yeon-su and Kim So-hui (Chunhyangga); Jeong Gwon-jin (Simcheongga); Park Nok-ju (Heungboga); Jeong Yong-hun and Park Cho-wol (Sugungga); Park Dong-jin, Park Bong-sul, and Han Gap-ju (Joeokbyeokga).

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