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1 National Gugak Center 2013 Vol.134 BIMONTHLY MAGAZINE GUGAKNURI November+December 2013 Vol / 12 November+December

2 National Gugak Center 2013 Vol.134 CONTENTS COVERSTORY SPECIAL 11 / 12 NOVEMBER+DECEMBER NEWS SERIES

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13 24 25 NOVEMBER+DECEMBER 2013 Gugak Artists in Hollywood Joo Hee Yun Haegeum performe Translation Hyunyoung Jung On September 22nd 2013, young gugak performers and producers active in various fields gathered at Incheon International Airport. The group, consisting of 16 members, had been selected by the Korean Traditional Performing Arts Foundation to attend a 2-week overseas residency program at Musicians Institute (MI) in Los Angeles. During my college years at Kyung Hee University s Department of Postmodern Music, most of my classmates were jazz or audio engineering majors. As many of them left for the U.S. after graduation to study at schools including Berklee College of Music, NYU, and MI, I had heard a lot about such overseas schools curricula and classes. Hearing about them, a part of me had always wanted to experience it myself. This was why I was all the more excited to visit MI and take classes from the current faculty, and have the chance to explore fields outside of music performance, such as music business, marketing, or mixing and mastering. Upon our arrival, we took a quick group picture and were given MI student IDs. Classes were scheduled for eight hours from 9 to 5. In the morning, performers and producers took classes together about music business, and were divided into two groups in the afternoon to take classes more specific to our professions. Lectures were given in English by a total of 11 instructors of various nationalities, and interpretation was provided in each class to help our understanding of even the most detailed content. Many international students study abroad today, and I had heard that some had difficulty in class following details due to language barriers. Fortunately, the program was well prepared for this, making it much easy for our group to get the most out of each class despite the technical terminology. The morning classes that performers and producers took as a group mostly dealt with the capital strength and producing power of today s music industry, and the success stories of artists that had made it in Hollywood which provided tips for those of us with plans to enter the global market. I was especially impressed with instructor Mr. Dan Kimpel; his big smile, enthusiasm, and the contagious positive energy were enlightening to all of us who have to create music through constant communication and cooperation with others. While the morning classes were mostly theoretical, the performer group took performanceoriented classes in the afternoon. We learned about the basics of camera filming and lighting methods in the film/sound class on the first and second days of the program, which we put to use when shooting individual road movies in the streets of Hollywood. We also became models for one day and shot photos holding each of our instruments, and recorded Amazing Grace and Arirang with traditional Korean instruments, Pansori elements, and instructor Michael as the vocalist. One of the instructors was so inspired that he shed tears while recording one of the songs. In the music editing, mixing and mastering class in which we learned how to use the computer software that are used in today s recording studios, I ran into an old college friend who was now teaching at the institute. The program was very helpful and meaningful to the performer group as it gave us a chance to learn about the functions of the equipment and software programs that we had seen many times in recording studios. In the ensemble classes that were held three days a week, we had a chance to learn and perform new pieces with the bass, drum, and piano instructors, as well as study harmonics and other theories that could be put to use right away. We also applied traditional Korean instruments to perform on different motifs, such as the blues, in various ensembles. A particularly memorable experience was sharing each other s culture and music with the instructors, teaching them the traditional Korean rhythm and scale, as well as perform a song called The Tale of the Rabbit an arranged piece based on the Sugungga, one of the traditional Pansori pieces. Though it seemed difficult at first, as we carefully listened to each other s rhythm or jangdan (the fundamental rhythmic pattern of Gugak), the different scales, and tori (distinct regional characteristics of Gugak), we once again realized that music is indeed the language of the heart. When the 2-week program was over, everything felt as if it was just a dream; the white bus that greeted us every day at the same spot, instructor Rachel, who was busy making sure we had everything that we needed, and the MI building standing in the streets of Hollywood. I will never forget the two weeks we spent there in LA. I hope to revisit someday, as a more mature performer. Though it seemed difficult at first, as we carefully listened to each other s rhythm or jangdan, the different scales, and tori, we once again realized that music is indeed the language of the heart.

The group, consisting of 16 members, had been selected by the Korean Traditional Performing Arts Foundation to attend a 2-week overseas residency program at Musicians Institute (MI) in Los Angeles.

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31 60 61 NOVEMBER+DECEMBER 2013 PREVIEW P E R F O R M A N C E P R E V I E W

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35 CULTURE CALENDAR 11 NOVEMBER2013 SUN MON TUE WED THU FRI SAT

36 12 DECEMBER2013 CULTURE CALENDAR SUN 1 MON TUE WED THU FRI SAT

레이아웃 1

레이아웃 1 National Gugak Center 11-1370132-000057-06 ISSN 1739-9599 Profile 2011 CONTENTS 04 05 06 08 10 12 32 22 36 12 15 18 20 22 24 26 28 32 34 36 40 42 46 50 52 54 55 56 58 N a t i o n a l G u g a k C e n t