|
Abstract
Chim Hyang Moo, is a modern creative solo of a Korean traditional instrument, Gayageum. It was composed by a Korean gayageum performer as well as a celebrated composer, Hwang, Byung -Ki, (1936~), in 1974. Nowadays, it has become a required piece for many gayageum performers and one of the representative musical compositions of gayageum. The birth of Chim Hyang Moo opens up the performing world of gayageum. In order to depart from Korean traditional music system and his old performing style, Hwang innovates the organization of Chim Hyang Moo,to be three movements. Besides, he imagines Sinla people from the ancient times commission him to compose a dance music for them. The humane background of Sinla before Joseon Dynasty is an important foundation of Chim Hyang Moo. The small kingdom, Sinla(57~935 BC), which had existed on Korean peninsula, was deeply influenced by Buddhist culture from China Xiyu and the Silk Road. Chim Hyang Moo inherits the blending cultural elements from China and Korea. Its adaptation for a Chinese instrument, Pipa, is another originality.
Chim Hyang Moo was originally a gayageum solo. Therefore, under discussion of its adaptation, the playing techniques of the two instruments (Gayageum and Chinese Pipa) is the focus. The interpretation report will analyze the playing techniques of gayageum in the original work so as to analyze transformation and choices on the techniques of pipa in its adaptation. In addition, the Changdan rhythm in Korean traditional music is also a key factor on analyzing the work. It plays an important role in Chim Hyang Moo, where the playing techniques of the Gayageum and the use of Changdan rhythm have a close connection with right and left hand’s techniques of the Pipa. The section is also the focus of the interpretation report.
Music has no borders. Learning to use the particular language of the pipa to interpret the Korean traditional gayageum piece, Chim Hyang Moo, expands the interpreting field of the Pipa, showing its developing performing features, and even breaking through its limit of performance and interpretation.
|