MAIN EVENTS

Lecturer/ Yi, Ji-young (Gayageum, professor)

Sanjo is the highlight of Korean traditional music, and is called a lifelong goal for Korean musicians. It is likened to a climber climbing to the top of a mountain. At the time of Sanjo's first appearance, performers created various Sanjo with their own personalities, but afterwards, the tunes were fixed to some people's styles, and now only a few famous people's styles remain. Recently, a whole new Sanjo melody has been created by some musicians, reflecting improvisation and active emotional expression, which is a feature of traditional Korean music. In this special lecture, we will have a special lecture on how to create our own Sanjo, and we will listen to Professor Lee Ji-young and Kim Yong-sung's story about Sanjo composition. Also, we are going to listen to student's Sanjo which was recently made at <class of Sanjo Creation> last semester.

Chair/ Hyelim Kim (Taegum, Ph.D.)

(https://youtu.be/J3ekty8GjxM)

This session will explore the creative dialogue between Korean traditional musicians at Seoul National University and composers at Western Sydney University. The process of music making including composition, performance as well as the final product of recording the collaborated pieces will be explained by the students and faculty who participated in this project. The discussions will tackle the intercultural communication used for musical exchanges between Korea and Australia.

Presentation and Round Table/

Yoon- Jeong Heo (Geomungo, professor SNU)

Young-Sun Kim (Sound Production, professor SNU)

Kyung -Sun Lee (Violin, professor SNU)

Anna Yates-Lu (Ethnomusicology, prof. SNU)

Mark Dresser (Bass, professor UCSD in San Diego)

Machael Dessen (Trombone, professor UCI in Irvine)

Soo-Yeon Lyuh (Haegeum player&composer, Sanfrancisco)

Telematic Performance with a history of more than 40 years, created by the meeting of music and internet technology, is a performing art in the form of sharing music and creating new genres based on the improvisation of the performer. It seems to have predicted pandemic era.

As part of a "World-Leading Project at Seoul National University College of Music", the first telematic project was performed live with Stanford University in the US and Tech University Berlin in Germany in January 2020. This year, performers from Seoul National University, UC San Diego from the US, and San Francisco will perform together on line.

The theme of this year's telematic concert is “Unlimited SenseⅠ- Warmth of Non Contact”. In the future Non Contact era, which will become more active, the most necessary thing is the warmth between people. Especially when it comes to music performances where you desperately miss breathing with the performers or the audience. Telematic concerts have expanded and evolved another kind of sense in addition to the existing senses to empathize with performers thousands of kilometers away.

In particular, the various collaborations with media art which is an attempt to find another identity for telematic concerts has a meaning to expand the infinite sense of art towards creation and imagination.

Lecturer/ Kim, kyung-ah (Piri, professor) & Anna Yates-lu ( Ethnomusicology, professor)

The study of Tori(Korean folk song's regional scale) -Gyeongtori(Seoul, Gyeonggi Province’s regional scale) and Menaritori(Eastern regional scale)

It is a study that examines the diversity of traditional Korean music based on two representative and distinctive melodies found in traditional folk songs. Choose one song which one represents the character of Gyeongtori and Menaritori and analyze it in sheet music and play with actual songs and instruments.

[Gyeongtori:A-ri-rang] [Menaritori: Han-o-baek-nyeon]

It will be very helpful to understand the melody and characteristics of Korean folk songs.

Lecturer/ Koh, Kyeong-hwa (Korean percussion, MA. student)

One day, two different words with overlapping spelling caught my eye. ‘Note’ and ‘Tone’. As I learned music, I became obsessed with playing notes and notations correctly. But I realised I was wrong as I saw these two words next to each other. Since then, I’ve been thinking about movements to make sound and sound itself. And to express this process I’ve put together a work related to tones which are difficult to notate. This work was first run in 2018 at SNU as a workshop for the Korean Traditional Music Camp. Participants came up to stage and participated in improvisational activity.

Further on, to make sounds of their own, a mission card with various sounds was given, to be used with prepared items. For example, one might have ‘ Put the screws in the iron bowl’. Mission cards were given out individually and the sequence of actions was written on notice board. Once you see your mission, then you start to freely build up your tone. The sounds are then put together as a piece.

This year due to COVID-19 it changed to another version fit for the current conditions. Individuals set up their own items at home and the workshop will proceed online.

<Chapter 1> Breath – Pulse

The focus is on originality. It repeats and flows into chapter 2.

<Chapter 2> Water ⊃ Grain

The two elements both flow. And at the same time grain needs water. The sound that’s made with two elements imitate sound of shaker.

<Chapter 3> Paper ↔ Vinyl

Two opposite materials are facing each other. Paper and vinyl interestingly

makes tension as sound amplifies.

<Chapter 4> Clay(Porcelain, Ceramic ware, Glass) > Metal

The idea of iron started from the fact that it comes from earth. Many items related to iron was included to make various tones. It was a light satire of that all of these tones comes from earth. It was expressed with delight iron tones. To create support ceramics(or pottery ware ) was used. And by intention only few were used