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- 저자 : 趙運朝 (검색결과 55 건)
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趙運朝 이화여자대학교 한국문화연구원 1988 韓國文化硏究院 論叢 Vol.53 No.-
In Korean traditional music Haegum has played a major role. After looking into numerous records and documents concerning Haegum and examining mainly its playing techniques such as tuning and finger position, I have come to ind following facts. First of all, it has been discovered that Haegum was originated in Dang Dynasty or previous to that period, and in the beginning its playing positions had been different, using in combination playing techniques of musical instruments like Bip'a(琵琶). Haegum which has originated from Hyondo(絃도) was introduced to Korea as early as King Ko-jong era of Koryo? Dynasty or before that, and this musical instrument used in King Se-jong and King Song-jong of Cho-sun Dynasty was shaped in Ip-juk(立竹) or Nak-Yong(落纓) differing from the instrument used in modern times. As to tuning, there is perfect 5th interval between Jung-hyon(仲絃) and Yu-hyon(遊絃) in nowadays as it was in Ak-hak-gwae-bom (樂學軌範) period. The current music in the Hyang-ak(鄕樂) tradition is tuned into two strings of Jung-ryo(仲侶) and Hwang-jong(黃鍾), and the music in the Dang-ak(唐樂) is tuned into Hwang-jong and Im-jong(林鍾). There are sixteen tone names in Ak-hak-gwae-bom. It has the range of two octaves and minor 2nd interval, and four fingerings are used in the context of two kinds of finger position. On the other hand, in the current music in the Hyang-ak tradition, sixteen tone names are used as in Ak-hak-gwae-bom. But the musical range covers two octaves lacking minor 2nd interval and is narrower than that of ancient period. However, it has been raised minor 3rd interval in the bottom and minor 2nd interval in the top and consequently it has changed into higher range. Also, the current finger position in the Hyang-ak tradition can be divided into four forms and in each there are twelve ways of fingering. Each fingering such as combination-connection type, fingering-affected type, developmental type etc. is organic and shows the aspect of mutually helping with the other. The current music in the Dang-ak tradition also use sixteen tone names. Its range as in Hyang-ak tradition covers two octaves lacking minor 2nd interval, but looking at the whole, it is major 2nd interval higher than the range of music in the Hyang-ak tradition. Also, finger position in the Dang-ak can be divided in two forms, but in each form five fingerings are used. These fingerings are different from that of Hyang-ak tradition. And used independently in each music piece, they show developing aspect.
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조운조 이화여자대학교 한국문화연구원 1989 韓國文化硏究院 論叢 Vol.56 No.-
The form of orchestration has been changed so endlessly across the ages and countries of the world that it is difficult to make it scholarly and standardize it. Therefore, the form of orchestration in Korean Traditional Music will be changed in succession, and it will assume a continuous aspect of scholarly attitude and volition to arrange it. Especially, it is one of the problems to be solved quickly in Korean Traditional Music, now, to study the proper loudness of sound which is followed necessarily in the orchestration. As the approaching method for these problems, this paper examined the form of orchestration appeared in Korean history and used in present Korean Traditional Music. In addition, it surveyed the flow of creative composition, and, by the phonometer, the loudness of sound which Korean musical instruments now actually have, and finally concluded like the following passages. It is difficult to find a document on the orchestration in Silla, historically. But in Koryo Dynasty, according to various kinds of historical record, the form of orchestration due to musical division of hang-ak, Dang-ak, and A-ak, appeared differently. That is to say, Hang-ak-ki, Kng-ak-ki, and A-ak-ki were used, divided into the same kind of instrument groups. In Cho-Son Dynasty, you could find many types of orchestration. There is the form of orchestration according to the musical division of Hang-ak, Dang-ak, A-ak, and also, there could be found mixed organization of Hang-ak-ki and Dang-ak-ki or Dang-ak-ki and A-ak-ki, and even the mixture of Hang-ak-ki, Dang-ak-ki, and A-ak-ki, without rigid division. These features appear to have been continued by recent times. Viewing from the current music, you could find the division of organized instrument groups according to a musical piece, but you could confirm the fact that the boundaries among Hang-ak-ki, Dang-ak-ki and A-ak-ki, the traditional method of dividing musical instrument which appears historically, has collapsed. On the other hand, the creative composition which has begun to be tried formally since 1939, passed the 50 's and the 60 's that can be called the enlightenment age or experiment age, and reached the 70 's to expand rapidly. That is to say, the number of 3 composers and about 20 works for 20 years between '39 and '59, and 37 composers and 176 works in the '60s, and 71 composers and about 320 works in the '70s, backs up these. As for the form of orchestration which appears in the works of this period, you could know that surely the division of Hang-ak-ki, Dang-ak-ki, and A-ak-ki is not considered at all. And the creative composition, begun by large-scaled form of orchestration, has shown various forms of orchestration, gradually. Also, you always feel rather unsatisfied when the creative composition is played, which the phonometer experiment proved it was basically due to the small volume of Korean musical instruments. As the plan to solve this problem, temporarily I suggest that the number of the players in each performance group has to be increased at least twice as many as the present number, and finally, I feel keenly, through this study, that it remains as the problem to be solved, to amplify the loudness of sound by improving the musical instruments. For the scientific manufacturing of the Korean instrument which is still in the handicraft stage, I also emphasize that it has to be achieved actively to improve the instrument, mobilizing the vanguard mechanism, and in addition to it, I insist that this paper is the part of works which stimulate the academic world to express their positive concern for it.
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