8 research outputs found
Kugak Orchestra in the 20th Century : Traces of Chaos
The university education in Korean music that began in 1959 set a new paradigm of Korean music, serving as a platform for a new genre of composed music for the standardized Kugak orchestra. This genre is one of the corollaries of university curricula, that were inevitably influenced by a Western-oriented music education system in which Korean music had been incorporated into. From the outset, university education in Korean music was characterized by both the upside of raising the profile of new Korean music and the downside of a less than clearly defined direction. While Kugak orchestras that competitively sprang up throughout the country served to accommodate university graduates and developed their own skills by employing highly qualified performers, a number of problems were caused by an under-prepared Korean music community itself that suffered a shortage of composers, conductors, and well-trained critics.
20์ธ๊ธฐ ์ฐฝ์๊ตญ์
๊ณก์ ํธ์ฑ๊ท๋ชจ๋ฅผ ๋ณด๋ฉด, (1) ๊ฐ์ผ๊ธ์ ์์ํ ์ฌ๋ฌ ๊ฐ์ง์ ๊ตญ์
๊ธฐ๋ฅผ ์ํ ๋
์ฃผ๊ณก ํํ์ ์
๊ณก๋ค (2) ์๊ทธ๋ฃน์ ํฉ์ฃผ๊ณก, ์ฆ ์ค์ฃผ๊ณก์ด๋ ์์ ์
๊ธฐ๋ฅผ ์์ด์ ์ฐ๋ ํจ์ ํํ์ ์
๊ณก๋ค (3) ๋๊ท๋ชจ์ ๊ตญ์
๊ดํ์
์ ์ํ ์
๊ณก๋ค๋ก ๋๋ณํ ์ ์๊ฒ ๋ค. ์ด ๊ฐ์ด๋ฐ ๋
์ฃผ๊ณก์ ์ด๊ธฐ ํฉ๋ช
๊ธฐ(1936~)์ ๊ฐ์ผ๊ธ ๋
์ฃผ๊ณก์ ํ๋๋ก ํ์ฌ ๊ฑฐ๋ฌธ๊ณ , ํด๊ธ ๋ฑ์ ์ํ ์
๊ณก๋ค์ด ์ง๊ธ๊น์ง ์๋ง์ ์๊ณก๊ฐ๋ค์ ์ํ์ฌ ์ฐฝ์๋์๋ค. ๊ทธ ์
๊ณก๋ค์ ์ํ์ฑ์ ๊ฐ๊ฐ์ ์ฐ์ฃผ๊ฐ๋ค์ ์ํ์ฌ ๊ฒ์ฆ๋๊ณ ์์ฉ๋๋ ๊ณผ์ ์ ๊ฑฐ์ณ์ ์ด๋ ์ ๋ ์ฅ์์ด ๊ตฌ๋ณ๋์๋ค. ๋
์ฃผ ์
๊ธฐ๋ฅผ ์ํ ์ํ์ ๋
์ฃผ์์ ๋
์ฃผํ๋ฅผ ์ํ์ฌ ๋ฐ๋์ ํ์ํ ๊ฒ์ด๋ค. ๊ทธ๋ฆฌ๊ณ ๊ทธ ์์๊ฐ ์ฆ๋ํจ์ ๋ฐ๋ผ์ ๊ทธ๋ฌํ ์ํ๋ ๋์์์ด ์๊ณก ๋๊ฒ ์ง๋ง, ๊ทธ ์ํ๋ค์ ๊ฐ์น๋ ์ธ์ ๊ฐ ํ๋ช
๋๊ณ ๋๋ฌ๋๊ธฐ ๋ง๋ จ์ด๋ค. ์ญ์ฌ์ ์ํ ์์์ ์ข์ง ์์ ์ํ์ ์๋ฌด๋ ๋์๋ณด์ง ์์ ๊ฒ์ด๊ณ , ์ข์ ์ํ์ ๊ฑฐ๋ญ ์ฐ์ฃผ๋ ๊ฒ์ด๊ธฐ ๋๋ฌธ์ด๋ค
Korean Music Culture and Eurocentrism [Centrism of West]
The article considers at the notion of cultural eurocentrism (respectively, centrism of the West) and its relationship to colonialism including aspects of neocolonialism. Furthermore, the contexts and background of East Asian eurocentrism are examined, especially those that are relevant for Korea. The consequences and problems of Korean eurocentrism are taken into account, such as its impact on Korean tradition and artificial heritage. Thus the apt development of Korean music culture in the 21st century is discussed as well.
21์ธ๊ธฐ์ ์ฐ๋ฆฌ๋ ์ฐ๋ฆฌ๋ฌธํ์ ๊ฐ์น๋ฅผ ๊ณ ์ ๋ฐ์ ์์ผ ๊ธ๋ก๋ฒํ ํ๋ ๊ฒ์ ํ๋์ ์งํ๋ก ์ผ๊ณ ์๋ค. ํ๋ํ๋ฅผ ๋ชฉ์ ์ผ๋ก ์๊ตฌ๋ผ๋ ์ด์์ ํฅํด ์จ๊ฐ์๊ฒ ๋ฌ๋ฆฌ๋ 20์ธ๊ธฐ๋ฅผ ๋ณด๋ธ ์ฐ๋ฆฌ๋ ์ด์ ํ๊ฒฐ ์์์์ ์ฐพ๊ฒ ๋์๊ณ ๊ทธ๋ฌํ ํ๋๋ก ์ธ์์ ๋ฐ๋ผ๋ณด๊ณ ์๋ค. ์ด์ ๊น์ง ์ ๋์ ์ผ๋ก ์ฐ์ํ๋ค๊ณ ์ฌ๊ฒผ๋ ์๊ตฌ๋ฌธํ์ ์์กด์ฑ์์๋ ์กฐ๊ธ์ ์์ ๋ก์์ก๋ค๊ณ ๋ณผ ์ ์๋ค. ์ฐ๋ฆฌ ๊ณ ์ ๋ฌธํ์ ๋ํ ์๋ถ์ฌ๋ ์ ์ฐจ ์๊ฒจ๋๊ณ ์๋ค. ๊ทธ๋ฌ๋ ์ฐ๋ฆฌ์๊ฒ๋ ์ฌ์ ํ ์๊ตฌ์ฃผ์๊ฐ ๋ฟ๋ฆฌ ๊น๊ฒ ๋จ์ ์๋ค. ์ฐ๋ฆฌ๋ ๊ธ๋ก๋ฒํ๋ฅผ ์ฌ๋ก๊ฑด์ผ๋ก ๋ด๊ฑธ๊ณ ์์ผ๋ ์ค์์ ์ธ๊ณ์ ๋ค์ํ ๋ฌธํ๋ค์ด๋ ๋ฌธํ๋ค ๊ฐ์ ๊ต๋ฅ์๋ ๊ด์ฌ์ด ์ ๊ณ ์๊ตฌ์ ๊ทน์์ ๋๋ผ๋ค์ด ๊ฐ๊ณ ์๋ ๋ฌธํ์ ์์ฉ์๋ง ๊ธ๊ธํ๊ณ ์๋ค. ๋์ฑ์ด ํํ ์ด ์์ ๋๋ผ๋ค์ ๋ฌธํ์ ์ทจํฅ์ ์ฐ๋ฆฌ ๊ฒ์ผ๋ก, ๋์๊ฐ์ ์ฐ๋ฆฌ๋ฌธํ์ ์ฒ๋๋ก ์ผ๋๋ค. ์ฆ, ์ฐ๋ฆฌ๋ ์์ง๋ ์๊ตฌ ์ค์ฌ์ ์ธ ๊ตฌ์กฐ์ ์ธ ๋ณ์์ ํค์ด๋์ง ๋ชปํ๊ณ ์๋ค. ์ด ์ํฉ์ ํนํ ์์
๋ฌธํ์์ ๋๋๋ฌ์ง๊ฒ ๋๋ฌ๋๋ค
Pyeongjo Naedang and Current Korean Music
์ ๋์๋ฐ ์ ๋ชฉ ์๋ ๊ธฐ๋ก๋ ํ์กฐ๋ด๋น์ด๋ ์ฃผ์์์, ๋์๋ฐ์ด ๋ด๋น(๊ณ๋ฉด์กฐ)์ ํ์กฐ ์
๊ณก์ผ ๊ฒ์ผ๋ก ์ถ๋ก ํ๊ณ , ๋ ๊ณก์ ์ ์จ์ ์ ๋น๊ตํ์ฌ ๋์ผ๊ณ ์
๊ณก์์ ํ์ธํ์๋ค. ๋ํ ์ ๋์๋ฐ ์ฆ ํ์กฐ๋ด๋น๊ณผ ์ค๋๋ ์์ธ๊ตฟ์์ ์ฐ์ฃผ๋๋ ๊ธฐ์
๊ณก ๋น์
์ ๋น๊ตํ์ฌ ๊ทธ ๋๊ณก์ ์ ๋ชฉ๊ณผ ์ ์จ์ด ์ ์น๊ด๊ณ์ ์์์ ๋ฐํ๋ค. ๋ค๋ง ํํ ๋น์
์ ์ ์จ์ 500๋
์ ์์ฐจ(ๆๅทฎ)๋ฅผ ๋๊ณ ์งํํ์ฌ ๊ทธ ์ํ์ ์จ์์ ํฌ๊ฒ ๋ฉ์ด์ก๋ค. ์ด ๊ธ๋ก ์ ์๋ก์
๊ณก๊ณผ ํํ ์
๊ณก์ ๊ด๋ จ์ฑ์ ๋ํ ๊ด์ฌ์ด ์ฌ๊ณ ๋๊ธฐ๋ฅผ ํฌ๋งํ๋ค.Having inferred that Daewangban is a modulation of Naedang (which is in the mode of gyemyeonjo) into the mode of pyeongjo, based upon an annotation entitled Pyeongjo Naedang under the heading of Daewangban in Siyong Hyangakbo, I have compared the melodic contours of Daewangban and Naedang and confirmed that the two pieces are of the same origin. I have also compared Pyeongjo Naedang, that is, Daewangban in Siyong Hyangakbo, with the current instrumental version of Dangak as performed in Seoulgut, Seoul shaman ritual, and demonstrated that the two pieces are related. It is important to note, however, that the current version of Dangak is far removed from the original as it has evolved over the past five centuries. I hope that this essay will arouse further interest in the relationship between pieces contained in Siyong Hyangakbo and pieces currently played
์ฐ์กฐ์ ๊ธฐ๋ณธ์ฒญ๊ณผ ๋ณด์กฐ์ฒญ
Sanjo would be long and tedious unless its ch'ang, the central tone, varies in
the course of music. The change of ch'ang reflects a tightly organized pattern: a piece consists of a kibon ch'ang[fundamental tone], usually middle c, and its modulations (relative ch'ang) that occur based on the central tone to fifth above and fourth below, forming the tonic and dominant relationship. Then pojo ch'ang[auxiliary tone] appear a major second above and below those fundamental
ch'ang depending upon instruments. As shown in the following diagram, two different patterns are found in sanjo. In kayagum sanjo, the fundamental ch'ang, c,
and its relative ch'ang, g, and G, are approached by an interval of major second
above auxiliary ch'ang{d, a, and A). In komungo sanjo, on the other hand, the
fundamental and its relative ch'ang are decorated by a major second below
auxiliary ch'ang(B flat, f, and F). While the use of ch'ang varies according to
instruments, Sanjo usually starts with an auxiliary ch'ang and then precedes to
the fundamental ch'ang. Such changes in ch'ang makes Sanjo not only one of the
most beautiful traditional genre with its rich melodic lines that can show off
performers' virtuosity, but also a very carefully planned music
ํ๊ตญ์์ ์ฌํ์ ๊ณผ์ ์ ์ฐ๊ตฌ๋ฐฉํฅ
ํ๊ตญ์์
์ฌํ์ ้ๅ์ด๋ผ๋ ๅฐๅ็ ์ ์ฝ์ ๋ฐ๋ ้ณๆจๅฒๅญธ์ด์ด์ ๋งค์ฐ ์ ํ์ ์ด๊ณ ํน์ํ ็ ็ฉถๅ้๋ผ๊ณ ํ๊ฒ ๋ค. ๊ทธ๋ผ์๋ ๊ทธ ๅญธๅ็ ็ ็ฉถ์ฑ๊ณผ๊ฐ ์ด๋ฏธ ๅๅฑฑ๋งํผ ๋์ด ์์๊ณ ๏ผ ๋
์์ ์ธ ๅญธๅ์ ๅ ด์ผ๋ก์ ๋ฐ์ ์ ๊ฑฐ๋ญํ๊ณ ์๋ ๏งค็ฑ๋๏ผ ์ด ๅญธๅๅ้๋ฅผ ๊ฐ์ฒํ ์ ๊ตฌ์๋ค๊ณผ๏ผ ๊ทธ๋ค์ ้ณๆจๅญธ็ ็ ็ฉถๆนๆณ๏ผ ๋์๊ฐ์ ๊ทธ๋ฌํ ็ ็ฉถ๋ฅผ ๊ฐ๋ฅ์ผํ๋ ้ณๆจ้บ็ข๊ณผ ๊ทธ ่จ้(ๆจ่ญ)์ ์๋ค๊ณ ๋ณด๊ฒ ๋ค. ์ฌ์ค ้ณๆจๅฒๅญธ์ด๋ ํน๋ณํ ๅญธๅ์๏ผ๊ทธ๊ฒ์ด ๆญทๅฒๅญธ์ ํ ๊ฐ๋์์ ํ๋ฆผ์์ผ๋๏ผ ์ผ๋ฐ ์ญ์ฌ ํ์๋ณด๋ค๋ ์์
ํ์์ ์์ผ๋ก ์ฃผ๋ก ็ก็ฉถ๋์ด ์์ผ๋ฉฐ, ๆ็ปํตํ ์ผ๋ฐ์ ๆญทๅฒๅญธ็ ็ก็ฉถๆนๆณ์ผ๋ก๋ ไธๅ
ๅํ์ฌ ์ธ์ ๋ ้ณๆจๅญธ็ ็ก็ฉถ๊ฐ ์๋ฐ๋์ด์ผ๋ง ๅฎ้๋๋ ๊ฒ์ผ๋ก ์ธ์๋์ด ์๋ค. ์ด๋ฌํ ๊ด์ ์์ ้ณๆจๅฒๅญธ์ด๋ ๅญธๅ์ ํ์
ํ ๋๏ผ ๊ทธ๊ฒ์ ๆญทๅฒๅญธ์ ํ ๊ฐ๋๋ก ๋ณด๊ธฐ๋ณด๋ค๋ ้ณๆจๅญธ์ ํ๊ฐ๋๋ก ์ธ์ํ๋ ๊ฒ์ด ๋์ฑ ํ๋นํ ๊ฒ์ด๋ค. ๋์๊ฐ์ ้ณๆจๅฒๅญธ ์ ็ก็ฉถ์์ ้ณๆจๅญธ่
๊ฐ ้ณๆจๅญธ็ ็ก็ฉถๆนๆณ์ ํฌ๊ธฐํ๋ค๋ฉด, ้ณๆจๅฒๅญธ์ ์ค ์๋ฆฌ๋ฅผ ์๊ฒ ๋ ๊ฒ์ด๋ค