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An Analytical Approach to Sujech' n by P'iri Ornamentations Since Sujech'ŏn 壽齊天, literally meaning “Long Life Everlasting as the Sky,” is the most well known orchestral piece in the hyangak 鄕樂 repertoire, the piece has been studies by such musicologists as Lee Hye-ku 李惠求 [Yi Hye-gu], Cho Chae-sŏn 趙在善, Yi Hae-sik 李海植, Ch'oe Chae-ryun 崔在倫, and Yu Kyŏng-mi 劉京美. This highly valued piece by wind ensemble is characterized by ‘aftertones’ at the ends of phrases, where the bowed strings haegŭm 奚琴 and ajaeng 牙箏 continued and decorate the final phrase pitch while the leading melodic instrument called hyangp'iri 鄕觱篥 rests. In order to find out the musical characteristic of Sujech'ŏn, this paper aims at investigating the p'iri 피리 ornamentations known as sigimsae 시김새 including such performing techniques as yosŏng 搖聲, nongŭm 弄音, chŏnsŏng 轉聲, t'oesŏng 退聲, and ch'usŏng 推聲. In viewing of examination, it is concluded that the main melody by p'iri and taegŭm 大笒 is reinforced by ‘aftertones’ performed by the haegŭm and ajaeng.


An Analytical Approach to Sujech' n by P'iri Ornamentations Since Sujech'ŏn 壽齊天, literally meaning “Long Life Everlasting as the Sky,” is the most well known orchestral piece in the hyangak 鄕樂 repertoire, the piece has been studies by such musicologists as Lee Hye-ku 李惠求 [Yi Hye-gu], Cho Chae-sŏn 趙在善, Yi Hae-sik 李海植, Ch'oe Chae-ryun 崔在倫, and Yu Kyŏng-mi 劉京美. This highly valued piece by wind ensemble is characterized by ‘aftertones’ at the ends of phrases, where the bowed strings haegŭm 奚琴 and ajaeng 牙箏 continued and decorate the final phrase pitch while the leading melodic instrument called hyangp'iri 鄕觱篥 rests. In order to find out the musical characteristic of Sujech'ŏn, this paper aims at investigating the p'iri 피리 ornamentations known as sigimsae 시김새 including such performing techniques as yosŏng 搖聲, nongŭm 弄音, chŏnsŏng 轉聲, t'oesŏng 退聲, and ch'usŏng 推聲. In viewing of examination, it is concluded that the main melody by p'iri and taegŭm 大笒 is reinforced by ‘aftertones’ performed by the haegŭm and ajaeng.