음악사적 의미로서의 작곡가의 작품양식 연구 - 이성천의 평론에 투영된 나의 작품양식의 재접근 -

이해식(Hae Sik Lee) 세계음악학회 2001 음악과 문화 Vol.5 No.-

This article is my trial to discuss my style by interlinking following three items: my musical style introduced in the preface of Hadongsin`gok(海東新曲 The new music from sunrise), Huktam(흙담 The clay wall) and The Dance, and the Words of the Wind for the Young(젊은이를 위한 춤, 바람의 말); the reviews for three books of my work written by Professor Lee Sungchon; and his comment in the point of the culture and his critical description about my work Turaesari(두레사리 The Lives of the Old Community). Lee Sungchon recognized my idea expressed in Haedongsin`gok as the faith of composing. He thought shamanism is the material of the work accomplished in Huktam with the individual concept or specific concept. Furthermore he said that these ideas and concepts mentioned above are actively expressed in The Words for the Wind. The Words for the Wind is not only The house of the wind.(바람의 집) condensed energy which the young and I can dance with, but the Kutchek(굿책), the music book of created kut(굿). Lee Sungchon said this work is the dance music only expressed by movements of body like dance. This pinpoints my fate with accuracy, too. Turadsari is a cantata which reveals the important character of folk music throughout being performed by two groups of choir and an orchestra, and it is also my work that expresses my own style of composition obviously. Therefore, Lee Sungchon emphasized that there is much intention to transfer a folk music into the music of art, the culture of life into the culture of the music especially on the basis of the lots of experience of fieldwork. The contents investigated up to now almost point to the universality grasped from the experience, but at the same time they may have the danger of returning to kind of obstinacy or rigidity caused from the basic meaning of the word style? That kind of movement, however, is the matters that I dislike extremely. At this time, the style in my case takes a role to grant the meaning of the history of the music and to create.This article is my trial to discuss my style by interlinking following three items: my musical style introduced in the preface of Hadongsin`gok(海東新曲 The new music from sunrise), Huktam(흙담 The clay wall) and The Dance, and the Words of the Wind for the Young(젊은이를 위한 춤, 바람의 말); the reviews for three books of my work written by Professor Lee Sungchon; and his comment in the point of the culture and his critical description about my work Turaesari(두레사리 The Lives of the Old Community). Lee Sungchon recognized my idea expressed in Haedongsin`gok as the faith of composing. He thought shamanism is the material of the work accomplished in Huktam with the individual concept or specific concept. Furthermore he said that these ideas and concepts mentioned above are actively expressed in The Words for the Wind. The Words for the Wind is not only The house of the wind.(바람의 집) condensed energy which the young and I can dance with, but the Kutchek(굿책), the music book of created kut(굿). Lee Sungchon said this work is the dance music only expressed by movements of body like dance. This pinpoints my fate with accuracy, too. Turadsari is a cantata which reveals the important character of folk music throughout being performed by two groups of choir and an orchestra, and it is also my work that expresses my own style of composition obviously. Therefore, Lee Sungchon emphasized that there is much intention to transfer a folk music into the music of art, the culture of life into the culture of the music especially on the basis of the lots of experience of fieldwork. The contents investigated up to now almost point to the universality grasped from the experience, but at the same time they may have the danger of returning to kind of obstinacy or rigidity caused from the basic meaning of the word style? That kind of movement, however, is the matters that I dislike extremely. At this time, the style in my case takes a role to gran

이해식 작곡 <밧삭>의 음악적 분석

이해식(Lee Hae sik) 국립국악원 2010 국악원논문집 Vol.21 No.-

본 논문은 임실 <방아타령>·연평도 <상여소리>·북청 <사자놀이>·무안 <자진상여소리> 등의 민속음악이 합창과 국악관현악을 위한 <밧삭>(外數)에서 셈되고(數) 변주되는 과정을 분석한 논문이다. 이중에서 특히 임실 방아타령은 사설과 선율에서 예술적 차원이 높고, 가요형식의 상위로써 민요의 형식미를 내포하고 있음으로 하여 <밧삭>의 중심 소재가 된다. 연평도 상여소리는 지극히 토속적인 사설이 <밧삭>에서는 해학적 표현으로 바뀌며 달구소리를 겸한다. 연평도 상여소리와 북청 사자놀이 기악(퉁소)은 북방적 놀이와 정서이며 임실 방아타령과 역동적으로 변주되는 무안 자진상여소리는 남방적 정서이고 토리이다. 또 <밧삭>에서는 규성(叫聲) 기성(奇聲) 환성(歡聲) 등의 양태로 다섯 번의 소리지르기(오행 관련의 함성)가 있는데 농경사회의 호호굿에서 원용한 소리지르기는 밧삭의 주요거점으로써 언어적 종지(cadence)로써 <밧삭>이 <밧삭>이게 한다. 함성은 또 과장되어서 <밧삭>의 종지기능을 수사학적이며 분명하게 하는 동시에 형식을 이루는 핵심적 요소가 된다. 이러한 <밧삭>의 연산(演算) 과정을 상세하게 풀어봄이 곧 『이해식 작곡 <밧삭>의 분석』이다. Oesac(外數), a piece composed by Lee Haesik(이해식). The word Oesac was specifically coined by the composer to symbolize reincarnation and the floral world of the paradise. The voyage to the next world is symbolized in this piece by a pallbearers dirge. The chorus following the pallbearers dirge accompanies the pounding of earth on the tomb and which symbolizes life s eternal dreams. Death is only the threshold of the endless process of reincarnation. Materials used in the writing of this piece come from folk songs recorded by KBS Folk music Collection Staff during the past 15 years. The composer, Prof. Lee haesik, was born in North Jeolla(全羅) Province in 1943. he is a graduate of the College of Music, Seoul National University and of the Graduate School of Music, Dan-kook(檀國) University. He won prizes for the best composition both for western and Korean music in the 1968 music contest sponsored by the Dong-a Ilbo(東亞日報) daily.

長短의 論理에서 創作으로

李海植(Hae­Sik Lee) 영남대학교 인문과학연구소 1994 人文硏究 Vol.16 No.1

論文 : 『 동동 』의 (動動) 구조

이해식 ( Hae Sik Lee ) 서울대학교 동양음악연구소 1997 民族音樂學 Vol.19 No.1

산조의 미학적 구조론

이해식(Hae Sik Lee) 민족음악학회 2002 음악과 민족 Vol.23 No.-

This paper is based on the chinyang(진양) section of Kayago sanjo(가야고 산조). Various styles(流派 ruyp`a) of sanjo have greatly contributed to the embellishment of sanjo music; however, it is not appropriate to say that this is a composition. At present, when kayago sanjo is notated on the western staff, the real tone is the perfect fifth below the notated one on the staff notation. This shows inconsistency. Therefore, alto Clef should be used for notating kayago sanjo on the western staff to make the same between the real and notated tone. The characteristic and taste of sanjo are often explained as the relationship between tension and relaxation. However, I see this as a relationship between excitement and rest that relates people`s true emotions. The rhythm by the changgo(장고) in kayago sanjo accelerates the excitement and rest in sanjo music and makes the melodic structure of sanjo more precise In Korean traditional music, roominess is the space for dance with a power of life beyond the physical space. Also, this roominess relates to the moderation that cont5ols temperance. The essence of sanjo is often compared with taste. This relates to the function of the mouth to human beings that is essential for living. The essence of sanjo is cooking the musical sound well. Cooking the sound actually means having a precise understanding of the function of traditional vibration(弄絃) technique and modulation. Utch`ong(엇청), a term that came from the p`ansori(판소리), indicates the perfect fourth pitch above the basic pitch. This can be seen as a `sub dominant` in Western music. Utch`ong that has breaking power from convention and propelling power as well, consistently becomes ponch`ong(本廳), and this cycle gives fresh air to the music of sanjo. I see this modulation of utch`ong as the reaction of kyemyon(界面). This reaction can be found in rhythm, saesamch`ong, and tonality. This shows a decisive bar structure that has musical sentence and phrase. This also can be seen as the surface tension of sanjo that makes to narrow the interval, like kkonun wich`ong(꺽는위청) and araech`ong(아래청). In Korean music, dukum(得音) indicates the moment that someone totally understands the music. I think that this dukum in sanjo is indeed modesty and the completion of humanity based on philosophy that makes us realize the rule of life and on aesthetics that makes us realize the rule of beauty.

태권도 앞굽이의 기저면 형태별 생체역학적 분석

김백수 ( Baig Soo Kim ),강성철 ( Sung Chul Kang ),이해식 ( Hae Sik Lee ),정태운 ( Tae Woon Jung ) 대한무도학회 2009 대한무도학회지 Vol.11 No.1

본 연구는 기저면의 크기 변화에 따른 앞굽이 아래막고 몸통반대지르기 동작의 가장 효율적인 동작의 형태를 밝히기 위하여 운동학적 변인 및 운동역학적 변인을 분석한 결과 다음과 같은 결론을 얻었다. 1) 동작 수행시간은 몸통지르기 국면에서 다른 유형에 비해 소요시간이 가장 짧아 몸통반대지르기에 가장 적합한 앞굽이 유형은 엉덩뼈너비유형으로 나타났다. 2) 인체중심은 상하(z축)로 발너비유형이 가장 큰 움직임이 있었고, 좌우(x축)로는 어깨너비유형이 가장 큰 움직임이 있었으며, 진행방향(y축)으로 어깨너비유형이 가장 적게 이동하였다. 3) 두 발이 이루는 각도는 발너비유형에서 8.1°와 7.6°, 엉덩뼈너비유형에서는 17.4°, 17.6°, 어깨너비유형에서는 25.6°, 27.5°의 결과를 나타내었으며, 발너비유형의 신체중심이 기저면의 가쪽에 위치하여 다른 유형보다 불안정하다고 판단되었다. 4) 발목/무릎/엉덩관절각은 모든 유형이 비슷한 형태로 나타났으나, 발축각은 엉덩뼈너비유형과 어깨너비유형이 비슷한 양상을 보인 반면 발너비유형은 다른 유형에 비해 2배에 가까운 발의 바깥쪽돌림을 하여 방어에 취약한 자세인 것으로 판단되었다. 5) 왼손 아래막기와, 오른손 지르기에서 최고 속도는 엉덩뼈너비유형이 가장 빠른 것으로 나타나 아래막기와 지르기에서 가장 적합한 앞굽이 유형으로 판단되었다. 6) 수직 및 합성 지면반력은 유의한 차이가 없었지만 전후 및 좌우 지면반력은 유의한 차이가 있어 발너비 및 어깨너비유형에 비해 엉덩뼈너비유형이 비교적 가볍게 발을 내딛었고 신체중심 이동이 원활하다고 할 수 있었다. This study investigated the affect of stance length and its relationship to the effectiveness of the forward stance. 5 Poomsae players participated in this study. The kinematical data of the preparation motion of a downward block in forward stance, then stepping into a mid section punch was recorded by 6 cameras at 60 field/sec. While the groundforce reactions were measured by 2 force platforms. Data was collected by Kwon3D XP Motion Analysis Program and here are the following conclusions. There are three forward stance types of width between right foot and left foot. Type 1: Foot length, Type 2: Hip width, Type 3: Shoulder width 1) For motion practice duration, it was found that Type B took shorter duration at trunk punch phase than other two Apkubi types. That is, it is found that Type B is most appropriate Apkubi type for trunk opposite punch. 2) For COM displacement, it was found that Type A showed longest movement in vertical direction(z axis), and Type C showed longest movement in medial-lateral direction(x axis), but showed shortest movement in anterior-posterior direction(y axis). 3) For angle between right and left foot, it was found that Type A, B and C recorded 8.1°/7.6°, 17.4°/17.6° and 25.6°/27.5°respectively. Here, it is estimated that Type A is more unstable than other two types because the COM of Type A is located on lateral side of BOS. 4) All of 3 Apkubi types showed similar ankle/knee/hip joint angles. For toe out angle, Type B showed similar aspects to Type C, while Type A showed external rotation of foot almost twice wider than other two Apkubi types, which indicates that Type A is more vulnerable to opponent`s attack than other two types. 5) For the maximum velocity of left hand arae makki and right hand punch, Type B recorded highest velocity of all. Thus, it is found that Type B is most appropriate Apkubi type for arae makki and punch. 6) Despite no significant difference in vertical and resultant ground reaction force among 3 Apkubi types, there were significant differences in anterior-posterior and medial-lateral ground reaction force among them, i.e. it is found that Type B shows lighter forward step and smoother COM displacement than Type A and C.

「 동동 」(동동(動動))의 구조

이해식 서울대학교 동양음악연구소 1997 民族音樂學 Vol.19 No.1

Dongdong which means movement, is a kind of dance music. It has about a 500 year old history. This dance music is composed of several sounds such as taeju(太簇)·hwangjong(黃鐘)·muyoˇk(無易)·namryoˇ(南呂)·imjong(林鐘)·chungryoˇ(仲呂) and hyoˇpjong(來鍾), Muyoˇk and hyoˇpjong are exotic sounds, and these two sounds are use only once while the music is played. They may be considered as pitch accents like two other sounds choˇngtaeju(淸太簇, f$quot;) and paeimjong (倍林鐘, b^b), which are the highest sound and the lowest sound. These pitch accents can be a symbol of moderation related to the oriental morality because those accents tend to be very moderate. In the first period of Dongdong, there is a period in which attack and cadence are the same. This is called the tendency of a mode. However, it is difficult to find the tendency of the mode in other phrases since modification is always added to either the, starting sound or the ending sound. The method of development of Dongdong is the absolute repeat of the same phrase. A drum plays the absolute rhythm of the bar rhythm of 18 times. According to the point of view of Confucian morality, the matter of repeat is connected to the character of recreation because Dongdong is a dance music. In Dongdong, the third bar each period is placed by imjong. This theroretically proves that Dongdong is based on the mode of irrljong. From the 4th period to the 8th one, the sound of chungryoˇ placed on the fourth bar is the secondary structure when compared to imjong. However, this sound functions to neutralize the dominating sound of imjong. The sound of imjong is united with the drum side which is the accent of a drum, this sound can be emphasized as the accent when compared to the sound of imjong considered as the tone value. Dongdong uses insertions as the most common ways for development and modification. Generally there are many inserted phrases in the sounds of imjong. The melodies of the 8th period are inserted sounds of hwangjong, and they give signs of modulation. This is an intention to neutralize the imjgong dominating theory. Like all the other wood-wind instrumemts, piri(腎築) can make two sounds at one position. I call this kind of instrumemtation an artificial sound. Dongdong uses these artificial sound several times. Like any other Korean music, Dongdong has a number of perfect intervals of the 4th. A different thing about Dongdong, however, is that the sounds are all upward intervals of the 4th. This may be due to the characteristic of Dongdong, which is a wood-wind work. and this wood-wind work tends easily to make a skipping sound using wood-wind instruments. As Colaer argues that the physiological structure of the vocal apparatus among all men accounts for the special importance of the interval of the fourth it is worth paying attention to the theory that Dongdong was originally the accompaniment for the song of Chongeupsa(井邑詞). Generally in Korean instrumental music, piri play the main melody. In Dongdong's ensemble, choˇtte(大 ) and tangjoˇk(唐笛) function as an obbrigato, which is the main melody played above one octave of piri and as a break which can help piri relax as well. Especially the sound that function as a break is called a yoˇneum(連音) in Korea. This kind of music style is also used in other music. The structure of Dongdong is very much related to my work. This relationship creates an intention to pursue the study of work done in the past. In relation to that work I want to make possible a better understanding of future music.