Reunion or a New Encounter Kim Soo-chol

JJ Magazine, Aug 2002

'Little Giant' Musician Kim Soo-chul returns with first album in 12 years

KOREAN HERALD 2002.7.31
By Bae Eun-joo staff reporter

 

Spiritual, romantic music conveys depth of Tripitaka Koreana

KOREAN HERALD 98.6.1
By Hwang Jang-jin staff reporter

In an outstanding combination of Oriental depth and Western diversity, "Palman Taejangkyong (Tripitaka Koreana)," an album recently released by Kim Soo-chol, is an exquisite balancing act. Aimed at popularizing a proud cultural heritage, the music is soulful and passionate, holy and romantic, and timeless and contemporary. Tripitaka Koreana, a Buddhist scripture carved in 81,258 woodblocks, is one of the most prominent treasures of Korean Buddhism and was placed on Unesco's World Cultural Heritage List in 1995. But the world's oldest and most comprehensive Buddhist canon is actually inaccessible to most people because it is written in Chinese, extremely expansive and fragile.
  Kim's album is part of the project by a nonprofit organization to make it more familiar to ordinary Koreans and foreigners.
The Research Institute of the Tripitaka Koreana, which has produced CD-Roms of the Buddhist canon since 1993, commissioned Kim to transform its spirit into music in 1995. Kim, 41, is a popular singer-composer who is well known for his talent in handling diverse genres and devotion to popularizing traditional Korean music. "It is the most difficult piece I have ever written," says Kim, whose credits include about 30 albums and over 35 pieces of movie and TV drama theme music.
Kim, a non-Buddhist, at first had no idea how to put into music the profound meaning of the Tripitaka Koreana.

  He tackled the problem by researching Buddhist texts and quizzing experts. To get inspiration he frequently visited Haein Temple in Hapchon, South Kyongsang Province, which houses the Tripitaka Koreana, and recorded the sounds of the temple: its bell, the chanting of sutra, running water, wind and birds singing. He even quit smoking and drinking so he could "purify his body and mind." "But the most helpful thing was talking with Rev. Chongnim "Kim says. The Buddhist monk is the director and founder of the institute who requested him to do the composition.
 One day while Kim was working on the project, the preist visited him and said that because of financial difficulty there may not be much financial reward for his work.
"I was a little disappointed. But his smile has the power to move people. Just the fact I worked with such a respectable man made me happy,"Kim says. Kim was given the minimum costs of producing the work.
 Kim has been known to be able to make four, 1/2-minute songs in just three minutes. But the music took more than two years to write. Besides musical translation, making the music appeal to a broad audience varying in age and nationality was very difficult, he said.
 "My task was to make the Tripitaka Koreana better known among ordinary people and foreigners," Kim said. "This piece is based on traditional Korean music, but to broaden its appeal, I couldn't make it either too Korean or too traditional."
 Kim drew influences from Western classical music, Korean traditional music and contemporary popular music to write the work, while trying not to compromise integrity.
 "There isn't any combination of Western and Korean music whose roots are fundamentally different. There is just a harmony between them," Kim says.
 "Palman Taejangkyong" consists of four acts which are based on "harmony" between the different musical genres. The theme centers on the history and lessons of the sutra. The Tripitaka Koreana was produced with the purpose of enlisting the power of Buddha to help fend off invading Mongol during the Koryo Dynasty(918-1392).
 The first act starts with simple and quiet melody depicting peaceful Koryo, and changes into a tense rendition of percussion instruments and synthesizers.
 In the second act depicting disastrous war scenes, musical instruments used in Korean, Chinese and Western church music weave into a haunting tapestry.
 The third act proceeds with synthesizers to represent the repentance of those who were involved in the war and their hope for Buddhist compassion to salvage the earthly world.
 The last act combines Western orchestral sounds with traditional Korean music to depict the peace and harmony which came after the completion of the Tripitaka Koreana. The hopeful melody played with Western musical instruments is repeated by solo performances by Korean bamboo flautists to conclude the 42-minute-long work.
 This album is the first in a series of Tripitaka Koreana-themed music for Kim who is planning to produce three more albums. The second and third albums will be targeted for youth and foreigners featuring diverse contemporary styles including rock, reggae and dance music. The fourth album will contain the sounds recorded around Haein Temple.
 For information about the album, call 3785-0632 at the Research Institute of the Tripitaka Koreana."

- Korean National Tour.Org

Great buddhist Sutra Reincarnated as Modern Symphony

KOREA TIME , 1998. 5.20.

The Tripitaka Koreana (Korean Buddhist canon), inscribed on 81,258 wooden blocks, is one of the most prominent treasures of Korean Buddhism for its exceptional textual quality and for having entirely defied the scourge of time and the elements for over 750years. As the oldest, most accurate and extensive version of the Buddhist scriptures in the world, it is used as standard reference in Buddhist studies not to mention that it was designated as a World Heritage treasure in 1995.
  The Eighty Thousand Great Scripture was compiled over a period of 15years from 1236 to 1251 during the Mongolian invasion as a result of the Korean people's wish to call for the spiritual power of Buddha and a drive out the invaders. It has been kept intact in mountain quarters of Haeinsa Temple in Kyongsang-namdo.
  Beyond promoting its historical and cultural significance, Rev. Chongnim set his ambition at bringing back the ancient scripture to today. The call prompted him to launch a crusade to make the ancient scripture more accessible to the public in this high-tech information era.
  To this end, the clergyman set up the Research institute of Tripitaka Koreana in 1993 and has been leading efforts to computerize the scriptures and transform the themes of this religious work into modern music since 1995. The work of inputting the tripitaka on CD-ROM, a process which involves transcribing, editing and proofreading over 52 million Chinese characters, takes so much time that it will require the work of some 40 staff members over five years to complete by the year 2000.
  As for the title music of the Buddhist scripture, he wished for something that could embody the compassion of Buddha toward all living creatures on the planet and the devotion of the people who actually made the gigantic treasure.
  Departing from his original idea of dedicating a piece of purely traditional music for the orchestral version of the sutra, he decided to give it a modern touch in recognition of the need to create a music universally acceptable to people from "all corners of the world."
  In choosing the person best suited for creating the music he sought, one man who occurred to Rev. Chongnim was pop singer-composer Kim Soo-chul, who was already known for his unrelenting quest to popularize traditional Korean music in a modern setting.
  Kim, now 45, was legendary guitarist and rock vocalist in the early 1980s as well as the talented composer who masterminded the theme music for the 1988 summer Olympics in Seoul and the 1994 Exposition in Taejon. The multi-talented musician, also well-versed in Western classical and Korean traditional music, has been at the forefront of a trend to fuse the two styles.
  Kim also composed the theme music of the 1992 blockbuster "Sopyonje," which was embellished with the plaintive 'Pansori' (a operatic, narrative Korean folk song) soundtrack following traditional rhythms and melodies.
  In late 1995, despite the fact that Kim is not a Buddhist, he accepted a deal that guaranteed him no financial rewards.
"I didn't have even the slightest clue as to how to express Buddha's ideas through modern music," Km confessed. "Creating a musical version of the Korean Buddhist canon was like carving each letter of the scripture in an imaginary world of the music score."
  In the hope of receiving some inspiration to carry him forward with his task, Kim resided for months at Haeinsa Temple with its resident monks and spent many a sleepless night in search of even on single note that would fit the religious message of the scriptures most. A 14-hour-work schedule was normal, and Kim received no compensation for his work other than funds for marginal production costs which were provided by a corporate sponsor, Samsung.
  Furthermore, his engagement in the monumental project brought on many significant changes in his attitude toward life. "I quit smoking and drinking on the idea that a 'polluted mind and body' would never get me to the truth buried in the treasure,"Kim noted.? Three years of devotion finally paid off when his four-act composition was completed and dedicated before Buddha in the form of a CD album.
"The ancient scriptures have finally made popular debut as a symphonic masterpiece intended to spread its guiding tenets, "said Rev. Chongnim during a dedication ceremony held at Chogyesa Temple in downtown Seoul last Friday.
  The composition features a rare blend of traditional percussion instruments and Western church music in the background while latest Western instruments are played according to Korea's five-note melodic structure.
  The themes Kim tries to depict are grounded in the period of Korean history which gave birth to the great Buddhist sutra of the 13th century. Inspired by its historical lessons, he viewed the essence of human life as a struggle filled with pain and conciliation before entrance into enlightenment was permitted.
  The first act, titled"The Gathering storm," stars on a light note but soon suggests the tension that might have prevailed before the Mongolian invasion of Korea with the continuos use of heavy percussion instruments such as the barrel drum, and squeaky synthesizer effects.
  A theme which in furthered in the second act, "The Tide of Battle," is that taking someone's life during a war is no better than taking one's own soul. The second chapter features a war scene which ensues the total destruction of humanity. Human beings are described as a greedy, ignorant and sinful creatures who pursue mundane interests as the ultimate goal of their lives. Soloist performances of the ajaeng (seven-string violin of Korea), taegum (bamboo flute) and taepyongso (corn piccolo) are alternately fused with the slow, processional orchestral backdrop before the powerful five drum dance music concludes the ruthless battle scene.
"The various instruments, each with different characteristics, represent the horror, painful outcries and sorrow of war," said the crossover composer.
  The highlight of the third act, titled "journey to Valhalla," occurs when an occult synthesizer sound, which was designed to symbolized the shame and repentance of war, is heard. "Our ancestors must have felt a sort of repentance as well as compassion for Buddha when carving the giant sutra, and their state of emotion is the theme of this act. " Kim stated.
  The title of the fourth act, "At St. Peter's Gate" is borrowed from a christian concept. It describes the peace and harmony which came into being thanks to the devotin of a people who craved the materialization of the grace of Buddha in this world. A soothing solo performance of the bamboo flute is mixed with solemn orchestral music to end the 42 minute musical saga,
"Composing this religious theme music was the most important and difficult work of my career,"
Kim admitted bashfully. "The dedication of this music will hopefully serve to further promote the recognition of the scriptures among the public, not to further my popularity." Kim is now bent of putting out other crossover editions for youth and foreigners featuring reggae, rock and dance rhythms. He also plans to record temple life in the distant mountains on CD titles by fusing the sounds of wind, flowing water, and chanting with the music of the drum and wooden gong.
  The orchestral tripitaka will be released on the Samsung Music label today. The CD record is available at any record store, but purchase through the Research institute (02-3785-0632, 797-0585) will help the costly effort to computerize the Buddhist scriptures in coming years, according to Kim Jong-hun, an official of the institute.
By Choe Yong - shik Staff Reporter

 

'Little Big Man' Kim su-chul lost in sounds of
traditional Korean Music

FRIDAY / AUGUST 18, 1995
By Sohn Tae-soo Staff reporter

Former pop singer tries to bring ethnic music closer to everyday life

  More than a decade has passed since singer Kim Suchol gave up singing.
  Though his popularity is not so high as it was in, the 1970s, on the very few occasions that he dose perform he can still command 5 to 6 million won for an outdoor concert.
  Since the early 1990s, the 38-year-old singer has been devoting his time and energy to experimentation with the sounds of various traditional Korean musical instruments.
  Making Korean music popular around the world is his foremost concern. "To bring traditional Korean instrumental music closer to everyday life and to the world's pop music scene is my life-long task. "Kim told The Korea Herald.
 "I hope that the audience of the global village can gain a better understanding of the beauty and depth of Korean music through my work," he said.
  Kim writes music for both Western and traditional Korean instruments. He sometimes combines the two and reforms instruments.
  For composing he uses such instruments as synthesizers, electronic guitars, taegum (transverse flute), kayagum (12-stringed zither) and taepyongso (Korean-style oboe with a conical, metal bell and a wooden pipe).
  Versatile in everything from pop and jazz to ballads and children's songs, Kim said his experimentation with these instruments is part of his continuing search for better music, regardless of genre, time and space.
  Of his own music, he prefers to describe it as "harmonization" of traditional Korean and contemporary Western music rather than an "encounter"or "mixture."
  Kim has poured out some 1.5 billion won into buying musical instruments and releasing albums since the early 1990s. This is quite a sum, considering that the entire government budget for the Year of Music last year was 1 billion won (some $1.3million).
 "Korean music is still regarded as a genre that can be played and enjoyed by only a selected few. Though he is not an expert in Korean music, Kim Su-chol is surely one of a few young artists who have broken this prejudice, " said Park Bum-hoon, music professor at Chungang University and conductor of the National Orchestra of Korea.

Singer, composer

 Kim enjoyed popularity as a singer from the late 1970s to mid-1980s with fans among all age groups. This career began in 1977 when he organized a group "Guitar and the Song" as a freshman at Kwangwoon University.
 He formed the "Little Big Man" group the next year and went onto stardom with song "Seven Colored Rainbow."
 Since then, he has had more than a dozen hit songs and released 25 albums (including 11 solos).
 Kim's career as a composer is no less impressive. He has written music for 15 television dramas and 19 movies including "Sopyonje" and "Berlin Report." He even writes music for dance.
 He worked as a composer for the opening shows of the 1986 Asian Games in Seoul and the 1988 Seoul Olympics. He was the music director for the '93 Taejon Expo.
 Kim has been awarded with various prizes including the Grand Prize at the annual KBS Song Contest in 1984. In 1989, he became the first pop singer to receive the top prize in the composition division of the annual Korean Dance Festival.
 Kim's versatility as an artist dose not stop there. He has played a leading role in two movies--"Whale Hunting" in 1986 and "Kumhong, My Love" in 1995.

Encounter with Korean music

 His interest in Korean music dates back to 1980 when he was a senior at Kwangwoon University. He formed a cinema group to produce a film on young Koreans "The Mask," which advanced into the final competition of a youth film festival in France.
 "While I was writing music for the movie, I felt the limits in my ability to handle Korean music," he said. "I was very ashamed and suffered from a kind of guilt."
 So he decided to learn Korean music properly. His first teacher was Prof. Park Bum-hoon who taught him how to play the piri, Korean flute.
 "It took two or three years for me to get a grasp of Korean music," Kim said, not easy or interesting but boring, difficult and sometimes "irritating." But his knowledge of other music helped him to gain a deeper understanding.

Reforming instruments

 Over the past 10 years, Kim has undertaken an experiment to reform traditional Korean instruments.
 The first target was the changgo, an hourglass-shaped Korean drum. He made holes on one side of the drum to compare the sound with that of an untouched one. He found that the sound changes according to the size of the hole.
 He produced five types of changgo with holes of different sizes. The smallest hole is 10cm in diameter and the largest leaves the side uncovered.
 The same experiments were made on all six different sizes of the changgo and therefore, he now has 30 different varieties.
 It proved to be a costly endeavor as hundreds of changgo were broken in the process.
 These new instruments were introduced in a performance during the 80 minute opening ceremony of the '93Taejon Expo.
 Kim's experiments continued with the ajaeng, an eight-stringed wooden zither. He challenged the conventional perception that the instrument is only played with a bow.
  "I found that it can also be played by tapping or striking the strings with a stick," he said. So two players are needed to play the ajaeng:one can saw a tune with the bow and the other, by striking the strings with a stick.
 The ajaeng as a percussion instrument was introduced on an album released last year "The Road to Hades."

Reascent activities

 Kim has given lectures on musial sounds at such universities as Seoul National, Chungang, Korea and Ajou for the past two years.
 His latest concern is comparative musicology.
 "I am interested in the history of sound in Asian countries," Kim said. Understanding the culture of a certain country is prerequisite to understanding its music, he said.

  Kim plans to visit India in September to meet traditional Indian dance master Birju Maharaj and will soon start his study of Indian music. He has acquired some rare tapes from India and Nepal featuring music of the Indian string instrument "Sitar" or the percussion instrument "Tabla."
 He said he would also visit China, Japan and Africa.
 Kim is also interested in keeping nature in music. "I hope I can create music which even foreigners can naturally understand and listen to without any difficulty. That music must not sound mechanical but closer to the character of nature."
 Kim is currently working on his new CD album, this time on the subject of environmental protection.
 "The problem of human alienation was one of the most urgent issues earlier this century but destruction of nature has emerged as the new problem of today," he said.

 

University of Hawai'i at Manoa
Center for Korean Studies
1881 East-West Road / Honolulu, Hawai'i 96822
Telephone:(808)956-7041 / Facsimile:(808)956-2213
March 18, 1996

Mr. Soo Chul Kim
Mapo-ku
Seoul

Dear Mr. Kim:

 On behalf of the members of the Center for Korean Studies at the University of Hawai'i and the Korean scholarly community in the United States, I would like to thank you for your participation in "Korean Culture: New Identities" to be held on Friday, April 12, 1996 at the Imin Center, Jefferson Hall, on the University of Hawai'i campus. This cultural event is organized in conjunction with the annual meeting of the Association of Asian Studies, the largest international gathering of scholars studying Asian societies, to be held in Honolulu from April 11-14, 1996.

 We are excited to invite eight of the finest artists like you to introduce Korean music and dance to thousands of international scholars who will attend this academic convention in April. This will be an excellent forum to present the creative art of Korean culture, via the melding of traditional and modern forms, to the learned community of scholars who are largely unfamiliar with Korean arts.

 I am deeply grateful for you willingness to help us stage this important cultural event. It is a rare opportunity to have as many eight world-class Korean artists in a single performance presented in a university setting. I can assure you that this will be one of the premiere Korean cultural events to be held in the United States in recent memory. Thank you very much.

Sincerely,
Chung H.Lee
Director

Seoul,20 October 1995

DER BOTSCHAFTER
DER BUNDESREPUBLIK DEUTSCHLAND
THE AMBASSADOR
OF THE FEDERAL REPUBLIC OF GERMANY
 

Mr. Soo Chul Kim
Mapo-ku
Seoul

 

Dear Mr. Kim,

  It is my pleasure to hereby confirm that the Government of the Federal Republic of Germany invites you for a visit from November 18 to December 4, 1995.

 The programme for this journey will be arranged by the Federal Press and Information Office, all costs of travel, accommodation and transport will be met by the German side.

 The Embassy will provide you with a programme of the visit as soon as the final arrangements have been made. Meanwhile the Embassy submits additional information which might assist you to prepare your visit to Germany.

 I hope that you will have a pleasant trip and a successful stay, and I am most confident that this visit will further contribute to the good relations existing between our countries.

Yours sincerely,
Claus Vollers


1992/12/25 The HanYang Journal
Interview with Kim Soo-chul

Attachment to Traditional Sound
Turn 'Little Giant' into 'Big' Giant

By Choi Yong-jun Reporter

When Kim Soo-chul was known as a popular singer, he was nicknamed the "Little Giant." Now that he is no longer a "pop" singer, he is trying to bring Korean traditional sound of music to the world. He is trying to harmonize foreign music with Kugak, (Korean classical music). To this end, he is working to strengthen and invigorate indigenous music so that it will not be overwhelmed by foreign popular music. The Hanyang Journal interviewed Kim Soo-Chul on his music and his purpose of his harmonized music.--Ed

Q: What is your motive in using Korean classical music?
A: In 1980, my friends and I formed a movie club to study each other's field. I took charge of the music field in the club. We planned to produce a movie, in which the theme was 'Tal' (Korean traditional mask). The movie was to be exhibited in the Junior Film Festival which was held in France. We needed the Korean traditional sound to learned Korean classical music and I perform it because I recognize its difference. I modernized the Korean classical music's technique and I create its sound through my original idea. For example, when I play Kayakum (Korean harp) with a guitar, then I must know the compositional technique of Kayakeum. My method is to introduce this harmonized music.

Q: When did you begin to harmonize Korean traditional music with your music?
A: I began to try it step by step from 1983. I participated in the composition of music and its adaptation such as in the movies, dancing, plays, dramas and so on. If the music fit then I used it.

Q: How many areas did the harmonized music occupy in your music after you studied Korean classical music?
A: According to the character of the event or theme of the music, it was decided according to its importance. For example, when I took charge in the '88 Olympic and '86 Asian Game's festival music. The Olympic and Asian Games are international events, excessive Korean traditional sound is not suitable. These events needed a harmony of sound. So it was necessary to harmonize both western and oriental sound. When foreigners heard the music, they accepted our traditional sound without difficulty. In the case of the EXPO event, which will be held in 1993, the event will be an up-to-date, exhibition. So, its music must be up-to-date, too. Above all, it is the most important thing that our traditional sound becomes the heart of its event.

Q: How did you use Korean classical music or study your musical composition?
A: To use Korean classical music, I try to arrange the sound with a modern composition technique. Generally, such a method is called an introduction. People think that such a sound is played by electronic music. This is not a good idea. It is never resolved through the simple introduction. That is to say, Korean classical music is in a class of its own. Western music has its own class. That is why I learned Korean classical music and I perform it because I recognize its difference. I modernized the Korean classical music's technique and I create its sound through my original idea. For example, when I play Kayakum (Korean harp) with a guitar, then I must know the compositional technique of Kayakeum. My method is to introduce this harmonized music.

Q: What do you think about others who criticize you on your efforts? Some students who major in Korean classical music has done this.
A: Music can be used in many ways. Of course, every nation has its own music. Also they make an effort to develop their own traditional music. I think that the purpose of music is to use it correctly when one creates a new composition. Also its purpose is to improve one's culture. So such a criticism is not important to me. Music is not the only way to do this. If one professor taught traditional music to three students then among them, one will preserve its theory, another will play the music and the third will introduce it widely and try to transform and create it vigorously, all of this important. Of course, this is a simple example. But, I choose the third way and I have my own way to use Korean music in an effective way.

Q: Have you ever suffered from any discouragement in the study of Korean classical music?
A: It is difficult to express the problems. Anyone will have a hard time in what he is doing. Above all, time and consistent efforts are important.

Q: I think that your musical genre was hard rock in your youth. How can you explain your musical genre now?
A: Of course, I began my music career with hard rock. Mostly, these efforts were during my youth in the group,'Little Giant' But, genre does not mean everything to me. After studying the Korean classical music, my music changed with a new concept of sound. I think that sound exists in everything. The concepts of sound are very wide and complex. So much sounds exist in this world such as the sound of civilization, continental sound, sound of an island, sound of a peninsula, and so on. I want to know all the sounds worldwide through our traditional sound. And through these sounds I want to play our traditional sound to the whole world. For this purpose, I must know our traditional sound.

Q: Recently, I think that your musical attempt became smaller than before through the T.V. or mass-communication. Do you have any reason for this?
A: Until now, I have attempted many musical efforts through the mass-com. And I will continue to make such an effort. But, recently, it is a fact that my public appearance has become less than before. I think that the influence of the mass-communication is very strong. I don't avoid appearances on the radio or T.V. But, now-a-days T.V. show programs are for teenagers. The teenage generation asserts itself strongly. I cannot force them to accept Korean traditional sound. If they want to listen to traditional sound, then I am willing to play our traditional music for them.

Q: Do you have any philosophy toward sound?
A: Sound has a meaning in itself. Chaos is in the primordial order. I create new order to the sound of chaos with my thinking and passion. We must not attach our thoughts to things indiscriminately.

Q: I know that until now you have participated in many art fields. And you are known to many people in various fields. Do you think you are influencing them with your music in some way?
A: I think that every field is important in its surrounding. A person must put himself in another person's place. Such viewpoints are important not only in the music fields but also in any thing.

Q: What do you think about the recent music?
A: It is a good phenomena that music of various genre are produced often. But, excessive attachment toward popular music is not good for improving music.

Q: How do you think that the harmonization of Korean classical music and western music will influence the Korean music field?
A: There is no doubt that what I am doing will stimulate an improvement in our traditional sound. I play a bridge role between our music and western music. If my attempts are widely emulated, then people can become accustomed to our traditional instruments and their sound. But, it is more important that the musicians do their best.

Q: What is your musical plan in the future?
A: I will concentrate on expressing our historically famous people in sound.
I want to express King Sejong's spirit and his love of the mother tongue. And I will do my best in promoting our traditional sound worldwide. This is my future plan and hope.


Congratulatory letter on the release of
'88 Seoul Olympic Music Album

  The dominant tendency in contemporary Korean music is towards the analysis of foreign music and mainstream popular music, better known as pop music. The two primary illustrations of this tendency is in the composition of new music using Korean instruments played in a foreign style and by creating popular music in its many varied catagories. Kim Soo Chul is one person who is on the top of this trend. He fuses Western and Asian music through the composition and arrangement of his works and Western-style instrumentation. In addition, he creates a new sound by expertly combining popular Korean musical rhythms and melodies. Through his utilization of Korean instruments such as the Tae-Geum, Tae-Pyung-so, Kayageum, Chul-kanyageum, and the A-jaeng, he creates a memorably pure Korean melody. It is worth nothing that the sound of the TaePyung-So rhythm is well suited to the creation of popular music and in particular, the rhythm of the Ja-jin-mori and Sa-mul-nori are very effective.
  Since these works allow those familiar only with foreign music the opportunity to be introduced to the beauty of the Korean melody, I consider them very informative and enlightening. In light of his untiring endeavors towards the experimentation and concentration on his work, I would like to express my sincere admiration for Kim Soo Chul.

Choi, Jong Min/Music Critic Professor at the Academy of Korean Studies



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