Aesthetics of Korean Music (한국음악의 미학 영문판)

영문 한국음악의 미학을 10가지로 설명한 책

Chun in pyong 지음

아시아음악학회 2021년 11월 20일 출간

작품소개

책소개

I have been writing articles on the understanding of Korean traditional music for readers, starting in 1980s for a music magazine ‘Eumak Chunchu’, according to its genres. As a consequence, Appreciating Korean Traditional Music was published in 1993 (ChungAng University Press). Those collected fragmented essays were not systematic, but rather sporadic, as contributed to a number of other magazines and newspapers in different times, nor concerned with an aesthetic idea. Nonetheless it was one of the best-sellers among the list of the ChungAng University Press as a reference in a class. This book is an enlarged and revised version of Aesthetics of Korean Music.

People create their own musical culture as they create their own history and tradition in their natural environment. Music is the complex of culture under the circumstances of geographical, political, economical factors. When culture is different, the character of the accepted beauty differs, and its criteria also can differ. As music reflects the life and history of the people, painting and music are also closely related arts.

The beauty of Korean traditional music is related to the spirit, norms and ideas of Korean people. It is also related to their values. Thus the discussion of the beauty of their music should be referred to that of other arts such as painting, architecture, dancing, literature and religion. The beauty of Korean music has an exquisiteness/ subtle charm of accommodation and synthesis which is embedded in Korean’s awareness of the beauty

목차

Aesthetics of Korean Music
by Dr. CHUN in pyong

Preface 007
Introduction 010
Ten beauties represented in Korean traditional music associated with Korean arts 020

1. The magnificent beauty 장려미壯麗美 020
2. The grand beauty 웅혼미雄渾美 030
3. The noble/ lofty beauty 고결미高潔美 069
4. The beauty of simplicity 간소미簡素美 096
5. The lengthy beauty 유장미悠長美 109
6. The natural beauty 무작위의 미 無作爲의 美 117
7. The beauty of ‘han’ 한恨 의 미 137
8. The beauty of excitement and enjoyment
신바람과 흥興의 멋 162
9. The improvisational beauty 즉흥卽興의 미 202
10. The jest/ satirical beauty 해학미諧謔美 222

Characteristics of Korean traditional music 231
Glossaries Kobinata 255
Bibliography 266

책 속으로

The magnificent beauty represented in Korean traditional architecture

Choi Soon-woo commented the stately columns of Gyeonghoiru as “… the beauty that is not imposing, or mean, or choking. Those granite columns can be seen as a model of the taste of being massive and calm without fussiness.” Andre Eckardt said of efface of Geunjeongjeon of Gyeongbok Palace as “… roofs that are stretched out and look grand and inspiring, their slants are well calculated, and they have an ideal elegance with well harmonized proportions in its rows and shapes.” And he continued to comment on it: “let’s see the ceilings. The waves of their colours are bob up and down. There that dominates in a green colour everything is alive and wiggles. Is that a huge wave that rose highly struck to the girders, or is that a snake that is twisted to them? Otherwise, is that cloud that emerged and rose above the middle of the skylight? What kind of ideas on earth was the artist to have made such arts moving towards its composition/form?” According to him, he had never seen such an art either in Japan, or in China that the way in which such harmony and simplicity are combined entirely within all the exuberance and dissolution. He further commented that “Korea has the most classical simplicity in its structural simplicity of that of the Palace comparing with that of Japan and China.”

Kyeongbok palace guenjeongjeon

Upon Buddhist statues of the Goryeo dynasty (918-1392), Kim Won-yong, pioneered archeologist, referred to it as “carving artists in the Goryeo dynasty constructed relatively good Buddhist statutes over about 10th to 12th centuries. That was an imbuement of a northern force about a lifeless Buddhist statue at the end of the Silla period (57 B.C.-A.D. 935). During that time there were Buddhist statues that were fully flourished smiles of the youth and the bodies of a full strength and plump among the Buddhist states made of iron, or stones. There are echoes of the lifelessness

출판사 서평

It was Yi Hye-gu (b. 1909, pen name is Mandang) who wrote the first article on the subject. He pursued that the characteristic feature of Korean music in ‘creativity’ can be divided into three genres: (i) jeongak (classical, or court music) whose life consisted of ‘hardness and softness’ and ‘shading’; (ii) sogak (folk music) that possesses the rhythm of ‘the free spirited’; (iii) Korean music that expresses ‘life force/ liveliness’. Yi was a thorough positivist. He demonstrated a lecture concert about Yeongsanhoisang in honour with his 80th celebration concert in the 1980s. I remember there were lots of people gathered not only from Korean music but some people from other fields, and it was rather a difficult situation for the attendant who did not understand music and its notation as he attempted to explain aesthetic accounts of its music in great detail with its musical notation.
Hwang Byeong-gi, gayageum master and composer, wrote ‘The traits of aesthetics of Korean traditional music’ for the 16 perennials in Gonggan for three years started in 1975. Gwon Oh-sung tried to find its subject out for four elements ？ slow tempo, dynamics, changeability and improvisation in his article ‘Some features of aesthetics of Korean traditional music’. Chun In Pyong published Gugak Gamsang (‘Appreciating Korean Traditional Music’) in 1985. He dealt with the traits of Korean music in terms of ‘music by note and music by heart’: the former is a tradition of musical document/ notation/ tablature called as ‘sangja eumak = box music’, while the latter for an improvisational music called as ‘jaru eumak = sack music’. Then he introduced its traits as ten main genres. Sheen Dae-cheol described the thirteen features of the subject at his publication Wuri Eumak, Geu matgwa Soriggal (‘Our Music ？ its Taste and Sound Colour’, 1993) that based upon the serial contributions to Eolgwa Mmna ‘(Spirit and Culture’) from February 1991 to August 1992. Yi Seong-cheon mentioned it not only music but history, folklore, arts, architect, and so on in his publication Hangug, Hangugin, Hangugemak (‘Korea, the Koreans and Korean Music’, 1997).

In his book, he made an account of its classification expressed such terms ‘hwaibudong (unity within diversity)’ as the spirit/ soul of Korean music; ‘naturalism’ as the mind/ heart; ‘jungjeol (‘middle and festival)’ and ‘sinmyeong (‘enjoyment’)’ as its habitude/ physical constitution; ‘curves, taste good, asymmetry’ as its face. Han Myeong-hui classified it into six categories: ‘the magnificent beauty, the beauty of serene contemplation, the lengthy beauty, the old hand beauty, the refined beauty and the adaptation beauty’ for aesthetics in jeongak. Since then he carried out a history of Korean music for his PhD thesis

작가정보

저자(글) Chun in pyong

전인평(Dr. Chun In Pyong 全仁平, 1945)은 작곡가이며 또한 아시아음악 학자이다. 그의 초기 작곡 경향은 형식과 음향 구성에서 서양의 기법을 원용하였으나, 전통과 현대의 접목을 시도하면서 고문헌에서 그 뿌리를 찾으려고 애쓰고 있다. 그 결과 정읍에서 노피곰, 정읍후사, 머리곰 등을 만들어 냈고, 한국의 민화에서 관현악을 위한 음악 이야기 '까치와 호랑이'(1982년) 등을 만들어 냈다.한편 민속악에도 관심을 기울여 굿음악과 농악에도 관심을 보였다. 정읍후사(1984)는 진도 싯김굿을 현장 조사하고 굿음악 장단을 북으로 연주하도록 만든 작품이다. 또한 장구 연주자 김병섭에게서 설장고를 배우고 우리 나라의 농악 장단에 관심을 가지게 되었다. 이 때의 경험은 관현악곡 두레(1984)에 나타난다. 우리 나라 장단의 헤미올라 기법과 분할 조합 기법을 활용한 것이다.1980년대 중반부터는 인도음악 등 아시아 여러 나라의 연구를 진행하면서 아시아적 요소를 자신의 작품에 도입하기 시작하였다. 거문고 독주곡 왕산악(1984)은 인도의 라가 부빨리(Bupali)라가를 이용한 것이고, 가야고 독주곡 서경별곡(1986)은 인도의 캬？ 형식을 도입한 작품이다. 관현악곡 별주부와 토끼(1989)는 인도음악의 지속음(Drone) 기법과 서양 관현악에 사용한 팀파니 비브라폰 등을 우리나라의 관현악 기법에 이용한 것이다. 유네스코에서 주관한 실크로드 탐사에 참여한 후, 안목을 더욱 넓혔다. 거문고 합주곡 가야의 노래(1999)는 중앙아시아 지역의 우술(usul)과 마캄(makam) 이론을 도입하여 선법과 리듬을 더욱 다채롭게 구사한 작품이다. 2002년부터 아시아음악학회를 이끌며 영문학술지 Asian Musicology를 발행하고 있다.작품으로는 관현악곡 <쿠쉬나메>, 거문고 협주곡 <여섯줄 판타지> 등 80여 곡이 있고, 특히 거문고 관련곡을 많이 썼다. 또한 음악학자로서 ？？새로운 한국음악사？？ ？？동북아시아음악사？？ ？？창작음악사？？ ？？한국음악 선구자들의 삶과 음악？？ 등 27권의 저서를 냈다. 작곡연구단체인 한국국민악회 회장, 한국평론가협회 이사장으로 활동하고 있고 중앙대 명예교수이다,