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한국음악 20세기 한국음악의 관점(7) 홍난파와 윤이상의 사회 1
홍정수 ( Jung Soo Hong ) 민족음악학회 2012 음악과 민족 Vol.44 No.-
The Japanese colonial domination and the Korean War are the two most important events of recent Korean history. They cast a long shadow on Korean culture. Even music and musicians suffered in that time. There are two composers, Hong NanPa and Yun Isang, each marking the beginning and the modernization of Western-oriented Korean music. It will examine how the two musicians were influenced by that negative social environment. This is the first part of the treatise, which will have the following last part. In 1928 the Korean music student in Tokyo, Hong NanPa took part in an anti-Japanese student movement by stopping his studies. This action was part of the Korean students independent proclamation against the Japanese colonialism. It led to a rally in the 1st march 1919 in Korea. The Korean independence was proclaimed nationwide. Hong was a young, modest participant and was not among the leading group of this movement. In 1937 he was arrested by Japanese colonial ruler as an influential musician. He was in compliance with requirements of the Japanese demand. It means, he wrote a apostate letter from the past belief in the independent Korea. After that he acted pro-Japanese and wrote praising songs to the Japanese militarism and nationalism. This thesis, based on his biography, deals with his path to the apostasy and is not intended to blame a single person such as Hong NanPa, but to the Japanese power, that destroyed not enough heroic individuals like him through violence and horror.
한국음악 20세기(19): 한국음악의 관점(10) : 윤이상의 음악미학 또는 도교와 드뷔시
홍정수 ( Jung Soo Hong ) 민족음악학회 2016 음악과 민족 Vol.51 No.-
The composer Isang Yun explains most of his works in terms of Taoism, which reflects East-Asian mindset. His Taoistic intention is attested in his writings since 1958. In this year in Darmstadt he met European avant-garde music (Serialism and Chance music) and made a complete turnaround. He abandoned Europe-centered techniques turning to the East-Asian music and thinking. But turning to this direction was in fact as a matter of time in that he wanted to compose Westernized Korean work from his early time in Korea. To be Koreanized, his Taoistic method is paired with ornamentations of ancient Korean court music. His Taoistic works sound sonorous mysticism. Yun’s Taoistic explanation of the cosmos increases the aura of mysticism of his music which was composed in a free way upon it. The music of Isang Yun was strongly influenced from Claude Debussy also, especially in these two points: 1) The strong eliciting of inexplicable mood; 2) The ornamentation, often called “arabesque”, always remains undefined and vague. Of course Isang Yun’s compositional techniques themselves, based on Korean ornamentation, atonality and ‘sound music’, have nothing to do with Debussy’s music. What``s in common between them is far from specific theoretical systems, and reflective of particular effects: Indefinite, inexplicable, vague and mysterious. Thus, Taoism was Yun’s Instrument for explanation, and Debussy’s music was the prototype of sound for his composition.