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중국음악사 시대 구분 시론 : 음악 양식의 변천을 중심으로
전인평 이화여자대학교 음악연구소 2008 이화음악논집 Vol.12 No.1
After completing 'New History of Korean Music" in 2000, the my research has been preceding on the studying of the mutual interchange of music within many countries in Asia. Thereupon choosing a geographically close nation, the outline on the history of Chinese music came to mind. While reading it, a quiet interesting fact was discovered. What it was that within the history of Chinese music, the time before Xinhai Revolution of 1911 was all classified as the Ancient Times. Generally the existence of the Ancient Times, the medieval times, the modem age and contemporary are all expected but only the Ancient Times was there. A book dealing with the entire era before the fall of Ch'ing Dynasty in 1911 is literally named as "History of Chinese Music of the Ancient Times". 1911 is mostly treated in West as the contemporary that has passed through the Middle Age and the Modem Age. But in the understanding of Chinese, this is seen as 'the Ancient Times." Chinese scholars defining 1911 in this way was quite intriguing. As will be discussed the next time, not only native Chinese scholars that are educated under the socialist regime have, but also the scholars of Taiwan have been writing within the same context. Yang in lieu, Yang En, lieu Jai cheng, Suk xiung hwa, Jin xe hai, Xio Jiap phong are all dividing each eras alike. As the above, the classification of the eras on the most outlines of the history of Chinese music is very much depended on the shift of dynasty. Some book does divide the Ancient Times using such terminology as primary ancient, middle ancient, modem ancient but nevertheless it still relies on the changes of the history of dynasty. The change of music does get influenced by the shift of dynasty but does not mean it coincides with it. So when writing "New history of Korean Music", it took much hesitation and revaluation but still less satisfaction to come to a decision of classifying each period on the criterion of the changes of music styles instead of the changes of dynasty. This present study is about raising such an issue and attempting the classification of Chinese Music according to the shift of music style. In this dividing, particulars should be attended especially. First, when possible, the shift of music style should be the focal point instead of the shift of dynasty. Secondly, to find out how the music style has changed, what is needed to be found is the time when the important Chinese music style has appeared and make it as the source of the classification of eras. Thirdly, make a notice on the growing numbers of respondent of the music. In other words, court music or festival music was only taken a place within the Royal Court or at a banquet where common people would not have been able to participate in. But since then, literati music must have been expanding its respondents and a play must have become the genre where not only people within the Court but the common were given the opportunity to take a part in. Fourth, as mentioned before, in a vast open land, countless things happen with continuity or discontinuity or sometimes happen even simultaneously. Within these events, pick a certain one that is a worth to look into and enumerate them and arrange a flow of music style with it. As this debate is the attempt that even Chinese have not tried, setting forth several people's views would therefore be a good way to go. Hopefully this writing would be a help to understand the history of Chinese music in new perspective. 중국음악사에 관한 개론서를 읽으면서 흥미로운 점을 발견하였다. 흥미있는 점이란 중국음악사에서 신해혁명 1911년 이전을 모두 고대로 분류한다는 점이다. 청나라가 멸망한 1911년 이전을 다루면서 아예 책이름을 『중국고대음악사』라고 붙이고 있다. 양음류(楊陰劉 1952), 양은(楊隱 1980), 류재성(劉再生, 1995), 숙흥화(肅興華 1995), 진사해 (陳四海 2003), 서갑방(徐甲方 2003) 모두가 같은 방법으로 시대 구분을 하고 있었다. 대부분의 중국음악사 개론서 시대 구분은 왕조 변천사에 의지하고 있다. 음악의 변천이란 왕조사 변천에 영향을 받기는 하지만 이와 일치하지 않는다. 본 논문을 이러한 문제점을 제기하고 음악 양식의 변천에 따른 중국음악사 시대 구분을 시도한 것이다. 이 구분에서는 다음 사항을 특별히 유의하였다. 1) 가급적 왕조사 변천을 벗어나 음악 양식의 변천을 중심으로 한다. 2) 음악 양식이 어떻게 변천하는 가를 알아보기 위하여 중국의 중요한 음악 양식이 언제 시작되었는지를 살펴 이를 시대 구분의 기본으로 삼는다. 3) 음악의 수용층 확산에 관심을 갖는다. 4) 중국음악사는 넓은 영토에서 연속적 또는 비연속적 또는 동시에 일어나기도 한다. 이러한 여러 사건 중에서 의미를 부여할 수 있는 사건을 잡아서 나열해 보고 음악 양식의 흐름을 정리해 본다. 이 논의는 중국 사람들도 시도해 보지 않은 시도라는 점에서 앞으로 여러 사람들과 의견 개진을 하고 싶다. 이 글이 중국음악사의 새로운 이해에 도움이 되기를 기대한다.