김도균 - guitar 산조 (散調 : sanjo)- 자진모리

⌘ 김 도균은 우리의 전통 음악을 서양 음계의 형식으로 풀어내려 애쓰는 사람들 가운데 한 명으로, 김수철이 1980년대에 처음 시도한 기타 산조의 명맥을 이어가고 있다.

Steve dokyoon Kim is a Korean guitarist among those of many musicians who are hipped on learning to play Korean traditonal music, such as sanjo, an ancient version of jazz.

⌘ steve dokyoon kim
http://www.rock777.net/index-k.htm

⌘ 김도균 그룹 1집 ..... 靜中動 정중동 / MOVEMENT ON SILENE
http://www.maniadb.com/album.asp?a=107484

⌘ Arirang - guitar
http://blog.daum.net/jongjin0310/14026616

⌘ 김수철 ..... 기타산조 Guitar Sanjo : Featuring 2002 KOREA/JAPAN WORLD CUP MUSIC
http://www.maniadb.com/album.asp?a=107476

⌘ Music of Korea
http://en.wikipedia.org/wiki/Korean_music#Sanjo
Sanjo
Sanjo is played w/o a pause in faster tempos. The tempos increases in each movement. The general style of the sanjo is marked by slides in slow movements and rhythmic complexity in faster movements

⌘ KOREA SESSIONS
http://www.aasianst.org/absts/2002abst/Korea/sessions.htm

Samul nori and the Boundaries of Tradition in Late Twentieth-Century South Korea
Nathan Hesselink, Illinois State University
The formation and rise to international acclaim of the South Korean percussion quartet known as samul nori, literally "four things at play," is well-documented in both the Korean and English languages. To briefly summarize, in early 1978 a group of drum virtuosos under the leadership of Kim Tôksu and Kim Yongbae formed an ensemble of two drums and two gongs to perform at the Space Theater, a popular venue located in downtown Seoul. The event marked a radical break from prevailing musical trends of the time: while at one level the group could be seen as "traditional," borrowing its instrumentation and core rhythmic foundations from the rural folk performance art known as p'ungmul/nongak, a drumming and dancing tradition rooted in religious and agricultural practices, other aspects of the performance suggested the genesis of something vastly new and innovative.
The quartet had essentially extracted an integral component of village life and packaged and re-presented it for an urban concert hall audience. An activity that had once largely encouraged communal and societal integration through joint participation now highlighted and exaggerated the oppositional dichotomies of performer/passive observer, professional/non-specialist.
This paper is an attempt to address the following frequently raised concerns in a challenging new way: To what extent had samul nori practitioners maintained an authentic link to a distinctively Korean past? In their attempt to popularize and ultimately commodify a product for the twentieth-century global marketplace, had boundaries been crossed beyond which return to tradition was impossible?

Category:

Music

Tags:

• 김도균
• guitar
• 산조
• 散調
• sanjo
• 자진모리

[phantom1412]

후.... 저런게 기타로 가능하단 말인가....

[robotom]

it's so cool how sanjo really transforms an instrument - not playing harmony, but playing complex variations on rythm... it's really a crowning achievement of korean art

[gFace007]

original and beautiful...simply amazing!!

[F92pluto]

허우 .... 슬라이드 기타 ....식으로 .. 일렉을. . .치셧어 ......... 오메 ...

[jejugaza]

역시 김도균 급만이 할 수 있는,,,

[kimyonsama]

amazing  !!!!

백두산의 김도균과는 또 다른 모습이네 ⓑ

어휴! 저건 웬만큼 기타 친다는 사람도 진짜 힘들텐데...

특히 기타로 저런 소리를 낸다는게 .......

[ahj4513]

헉... 기타로 저거하게 되게 힘든데

[wunshiin]

nice slide work!!

[ayanuhito]

what makes you behave so rude?

jealous or just because you're such a kiddie..??

[watermelonzenana]

awesome