[special issue - 사회라는 거울에 비춰진 건축의 초상] 우리 山河 우리 建築

황준연(Hwang Jun Yon) 대한건축학회 2005 建築 Vol.49 No.1

고구려 고분벽화의 거문고

황준연(Hwang Jun Yon)(黃俊淵) 국립국악원 1997 국악원논문집 Vol.9 No.-

As a contribution to the discussion of the origins of the kŏmun go, I examine the depictions of an instrument assumed to be the kŏmun go in wall paintings from Koguryŏ tombs, attempting to delimit which of the instruments shown in these paintings are kŏmun go and which are not, and how the construction of the kŏmun go should be understood. To this end, I consider the estimated date of eight Koguryŏ tomb paintings completed between about the fourth and the seventh century, comparing the instruments depicted in tombs associated with the kŏmun go: Anak #3, T aesŏngni #1, T onggu #12, Changch ŏn #1, the Tomb of the Dancers, Kangsŏdaemyo, T onggu #4, and T onggu #5(Chiban #17). I conclude from this that it is unlikely thah the stringed instruments appearing in the early tomb paintings are kŏmun go and that an early form of kŏmun go is depicted in tombs dating from the fifth century: Changch ŏn #1 and the Tomb of the Dancers.

鄕唐交奏 硏究

황준연(Hwang Jun yon)(黃俊淵) 국립국악원 1996 국악원논문집 Vol.8 No.-

Though Hyangdang kyoju has appeared under different names from the early eigtheenth century on, it appears to have always been used as accompanying music to the dance Ch ŏyongmu. Hyangdang kyoju has so far been seen as an arrangement of Sangnyŏngsan from Kwanak Yŏngsan Hoesang, but I will argue, on the contrary, that it is the original form of the piece. Its current form appears to originate in the version of Yŏngsan Hoesang notated in the Sogak wŏnbo, for it closely resembles that piece in both melody and rhythm. Its first measure corresponds to the first three measures of Sangnyŏngsan, which appears to be an expanded version of the piece, as reflected also in the wider melodic range of the latter. In the process of adaptation, modal changes have also occurred. While this study has been hampered by a lack of materials, it is to be hoped that further studies comparing old musical scores with their currently perfonned equivalents will help to overcome this limitation.

韓國傳統音樂의 樂調(平調와 界面調)

황준연(JUN YON HWANG)(黃俊淵) 국립국악원 1993 국악원논문집 Vol.5 No.-

The 15 Century 『Annals of King Sejong』 世宗莊憲大王實錄 and the 16 Century 『Akh Gwehbum』 樂學軌範 (Treatise on Music) show that the two main tonal systems o Korean music are the Pyong-Jo 平調 and the Kyemyon-Jo 界面調 (Jo 調 being t system). Also, 『Shiyong Hyangakho』 時用鄕樂譜 (Current Korean Music Manuscript) the same period does not contain any record of Jo other than the two mentioned above. Literature on Jo from the early Chosen period states that Korea s Pyong-Jo is th same as Chih-Jo 徵調 which is one of the five Jo belonging to China and that th Korean Kyemyon-Jo is the same as China s Yu-Jo 羽調. This would conclude that Pyong-Jo and Kyemyon-Jo of this period were considered to be a pentatonic scale built Sol and La respectively. And since then, there have been many thesises written using this basis of explanation. But as the music of Korea became more complex and varied, many have come to say that it would be unfitting to try and describe today s music with such simple definitions. I believe this stem from the fact that scholars think that the music theories of the olden days does not do justice the traditional music of today as well as the fact that there was a new system needed for explaining folk music(Minsogak 民俗樂) tha they believed didn t exist before. As a result, in trying to systemize the tonal system of Korean music, many have approached it from the view that there are five sets of pentatonic scales (scales built on Do; built on Re; built on Mi; built on Sol; and built on La). But this attempt would conclude that Korean music would be no different from Chinese. I believe this would not be the most correct way of describing Korean music which surely has its own characrteristics that are independent from that of Chinese music. In describing the Korean tonal system, one must be able to show the very features that separate Korean music from its neighbors and to represent the music itself in a correct way; and with this, one must be able to understand the total music picture including the music of the old as well as the traditional music of today; and it must represent both the Chongak 正樂 (Classical) and the Minsogak 民俗樂 (Folk) in balanced manner. Researching this period s material, literature and the music with this in mind, one might come to the following conclusions. Firstly, whether it be traditional music from the past or it be of today; or that it be Chongak or Minsogak; there is a general agreement that Korean music is divided in two main tonal systems, namely Pyong-Jo and Kyemyon-Jo. Secondly, whether or not it be Pyong-jo or Kyemyon- Jo, the center tone is the K 宮(or Chong 淸). But this Kung, being different from the Kung of China, lies in t middle of the scale in both Chongak and Minsogak. That is to say, the Kung(center ton in Korean music is in the middle of each of the two pentatonic scales and is not the lowest or the first note of the scale as has been stated by many. (With the influence of Chinese music, inevitably there are some pieces of the old classics that have Kung which lie on the bottom of the scale.) The structure of these scales are such that they build on the interval of a 4th below the Kung (or Chong) up to an interval of a 5t above the Kung (as in one of Korea s traditional notation system of the Oumyakbo 五音略譜: Ha 下 2 - Ha 1 - Kung - Sang 上: 1 - Sang 2 - Sang 3 ; this being similar t plagal mode and not the authentic mode of the Middle Ages). So, if one were to build a scale with Kung being the bottom note, the scale would end up being entirely different from the actual one used in the piece. The habitual Sol-scale and the La-scale theory can not be accredited.

보상금증감소송의 소송물이론과 보상항목 유용 법리에 관한 고찰

이상덕 사법발전재단 2019 사법 Vol.1 No.49

본고는 보상금증감소송에 관한 대법원 판례 변천의 역사를 소송물이론과 보상항목 유용 법리를 중심으로 고찰하였다. 보상항목 유용 법리는 본래 일본에서 피보상자가 제기한 보상금증액소송에서 가급적 청구인용금액의 규모를 줄여 사업시행자를 이롭게 하려는 의도로 만들어진 일각의 주장이었을 뿐이다. 그럼에도 일본의 학설·판례에 대한 부정확한 이해와 우리 토지보상법상 개인별 보상 원칙에 대한 부정확한 이해에 기인하여 대법원 판례로 자리 잡게 되었다. 보상항목 유용 법리에 기초하여 개인별 1소송물설이 도출되었고, 개인별 1소송물설에서 보상항목 추가의 무제한적 허용에 관한 법리가 도출되었다. 그러나 그 후 대법원 판례는 보상항목 유용 제한 법리를 승인하여 피보상자가 보상항목 유용을 차단할 수 있는 소송법적 기술을 허용하였다. 또한, 2008년 이후로 수용재결 전치주의에 관한 판례가 확립되면서 보상항목 추가 법리는 실질적으로 폐기되었고, 그에 따라 개인별 1소송물설도 더 이상 따를 수 없게 되었다. 보상금증감소송의 형식적 당사자소송으로서의 성격을 고려하면 ‘1재결서 1소송물설’을 취하는 것이 타당하다. 대법원 2018. 5. 15. 선고 2017두41221호 판결은 한편으로는 수용재결 전치주의 및 1재결서 1소송물설에 입각하였으나, 다른 한편으로는 보상항목 유용 법리를 전면 폐기하지 않은 채 다만 보상금증감소송의 재판실무에서 발생하는 불합리한 소송법적 문제점을 일부 해결하는 방안을 제시하였다. 피보상자가 불리한 감정 결과가 나온 보상항목에 관한 불복신청을 철회하는 방법으로 법원의 현실적 심판범위를 일방적으로 바꾸는 문제점, 그러한 피보상자의 의사표시에 대해 어떤 경우에는 피고 사업시행자의 동의가 필요하고, 또 어떤 경우에는 동의가 필요하지 않는 등 소송의 승패 내지 청구인용금액이 소송기술 내지 우연적 사정에 좌우되는 문제점을 해결하기 위하여, 피고 사업시행자에게도 보상항목 유용 법리의 적용을 주장하는 정반대의 의사표시를 소송상 방어방법으로서 주장하는 것을 허용하였다. 2017두41221호 판결은 일부 보상항목에 관하여 법원감정 결과가 원고에게 불리하게 나온 경우 소 일부 취하, 청구 일부 포기라는 소송법적 수단을 통해 보상항목 유용 법리의 적용을 제한하려는 피보상자의 시도를 실질적으로 무력화시킬 수 있는 수단을 피고 사업시행자에게 명시적으로 허용해 준 것과 다름없다. 2017두41221호 판결이 보상항목 유용 법리를 둘러싼 재판실무의 난맥상을 보상항목 유용 법리 자체를 폐기하는 방법으로 근본적으로 해결하지 아니하고, 피보상자와 사업시행자 사이의 소송상 형평 내지 무기대등의 원칙을 강조하면서 피보상자를 더욱 불리한 법상황으로 내몬 것은 매우 아쉬운 부분이다. 다만 2017두41221호 판결이 제시한 해결방안에 따르면, 피보상자와 그 소송대리인이 아무 정당한 근거 없이 소송을 제기하고 법원감정 결과에만 의지하여 보상금증액을 도모하는 전문성 없는 소송 행태에 제재를 가하는 긍정적 효과도 일부 있을 것으로 예상된다. 그러나 법원이 법원감정 결과를 그대로 신뢰하지 않고, 피보상자에게 가장 유리한 결과가 도출되도록 각 보상항목별로 여러 감정 중에서 가장 다액이 나온 감정 결과를 선별적으로 채택한다면, 법원은 보상항목 유용 법리의 적용을 사실상 회피할 수 있고, 보상항목 유용 법리 적용 ... This paper examines the progressive history of Supreme Court precedents in lawsuits seeking an increase or decrease of compensation amount centering on the subject-matter of lawsuit theory and the utilization of compensation items doctrine. Originating from Japan, the doctrine on the utilization of compensation items was formulated based on the concepts of authoritarianism and developmental dictatorship with the intent to benefit a project operator by reducing the accepted claim amount, if possible, in a suit instigated by a party to be compensated (indemnitee) seeking an increase or decrease of compensation amount. Nonetheless, the foregoing doctrine came to be established in judicial precedents of the Supreme Court of Korea, due to misunderstanding of Japanese academic theories and judicial precedents as well as misapprehending the principle of individual compensation under Korea’s Act on Acquisition of and Compensation for Land, etc. for Public Work Projects (hereinafter “Land Compensation Act”). Based on the utilization of compensation items doctrine, the single subject-matter of lawsuit theory was derived, from which the doctrine on the permission of infinite addition of compensation items was deduced. However, the Supreme Court’s subsequent judgments recognized the principle on restricting the utilization of compensation items, thereby enabling an indemnitee to initiate legal proceedings in order to block the utilization of compensation items. Moreover, upon the established precedents since 2008 regarding the principle of the exhaustion of cases involving (land) expropriation, the principle on the addition of compensation items was substantially discarded, consequentially making the individual-based single subject-matter of lawsuit theory incompliant. Adopting the “single written adjudication and single subject-matter of lawsuit theory” is plausible when considering the nature of a lawsuit seeking an increase or decrease of the amount of compensation, which reflects the characteristic of a perfunctory party proceeding. Supreme Court Decision 2017Du41221 Decided May 15, 2018 is grounded on the principle of the exhaustion of cases involving (land) expropriation as well as the single written adjudication and single subject-matter of lawsuit theory; on the other hand, the subject case presents a way to partly resolve the issues of unreasonable legal procedures arising from actual trials pertaining to litigation seeking an increase or decrease of compensation amount without wholly abandoning the doctrine on the utilization of compensation items. As the means of defense in litigation, the subject case permits the defendant (project operator) to make a completely opposite assertion, that is, application of the utilization of compensation items doctrine, to address such issues as: (i) the indemnitee’s unilateral change of the scope of a court’s practical adjudication by retracting the motion to appeal regarding a compensation item following an unfavorable appraisal outcome; and (ii) the outcome of a lawsuit or the accepted claim amount being influenced by litigation techniques and fortuitous circumstances, such as the obtainment or non-obtainment of consent from the project operator as to the indemnitee’s expression of intent. The subject case is the same as explicitly giving the defendant (project operator) the green light to take the measure that may de facto incapacitate an indemnitee’s attempt to restrict the application of the doctrine on the utilization of compensation items via partial withdrawal of a lawsuit and partial renouncement of a claim in the event that the court’s appraisal outcome with respect to certain compensation items is unfavorable to the plaintiff. Rather than fundamentally resolving the disorderly aspect of judicial proceedings surrounding the doctrine on the utilization of compensation items by way of discarding the relevant doctrine per se, the subject case puts the indemn...

산조의 기본청과 보조청

황준연 서울대학교 동양음악연구소 1996 民族音樂學 Vol.18 No.1

Sanjo would be long and tedious unless its ch'oˇng, the central tone, varies in the course of music. The change of ch'oˇng reflects a tightly organized pattern : a piece consists of a kibon ch'oˇng[fundamental tone], usually middle c, and its modulations(relative ch'oˇng) that occur based on the central tone to fifth above and fourth below, forming the tonic and dominant relationship. Then pojo ch'oˇng[auxiliary tone] appear a major second above and below those fundamental ch'oˇng depending upon instruments. As shown in the following diagram, two different patterns are found in sanjo. In kayagum sanjo, the fundamental ch'oˇng, c, and its relative ch'oˇng, g, and G, are approached by an interval of major second above auxiliary ch'oˇng(d, a, and A). In komungo sanjo, on the other hand, the fundamental and its relative ch'oˇng are decorated by a major second below auxiliary ch'oˇng(B flat, f, and F). While the use of ch'oˇng varies according to instruments, Sanjo usually starts with an auxiliary ch'oˇng and then precedes to the fundamental ch'oˇng. Such changes in ch'oˇng makes Sanjo not only one of the most beautiful traditional genre with its rich melodic lines that can show off performers' virtuosity, but also a very carefully planned music.