한국음악의 멋

전인평(Chun InPyong) 아시아음악학회 2001 아시아음악학 총서 Vol.3 No.-

아시아 음악학회

Chun InPyong(全仁平) 아시아음악학회 2001 아시아음악학 총서 Vol.1 No.-

거문고와 가야고의 체질인류학적 고찰

전인평 민족음악학회 2004 음악과 민족 Vol.27 No.-

The Korean generally can be divided two category, southern origin who have moved form warm south bound and northern origin who came from cold north bound. The 6 string zither Germungo was originated from Goguryeo, northern kingdom of Korea, which was adapted for gents and literati class musical instruments. 12 string zither Gayago was made by a Gaya musician Ureuk which was a southern kingdom of Korea. Gayago is adapted for women and common people s musical instruments. Generally speaking, a northem people have left brain who have the way of thlnking for more rational, visual, logic than southern people who have right brain. The right brains southern origin people is more emotional and show more improvisational way of thinking. The Germungo is used for literati music, yeongsanhoesan and gagok which is more variational system and more slow but gayago is used for folk music whih is more improvisational and wide range and wide change of tempo like a sanjo. Most of Korean is based more right brain and more emotional and have the talent for improvisaion tequinique. So I would like to suggest that we have to more stress to use the slow music, yeongsanhoesang and gagok, for young generation educational purpose to increase the logic, mathematic and rational thinking rather than emotional thinking and impovisationa life.

티벳 불교 음악에 관한 고찰 : 한국음악과의 비교를 중심으로

전인평 중앙대학교 예술연구소 1998 中央大學校 藝術大學 創論 Vol.17 No.-

The rhythms of general music are divided into three types; metrical, cyclical rhythm with regular, periodical measure, measured rhythm heaving a different signature in each measure and free rhythm Without rhythm and metrical beat. But Tibetan Buddhist chant and Korean pomp‘ae(梵唄) have a special rhythmic pattern which can't be counted among these types. In this rhythm, the interval sound gets more and more shorter as the sound continues. This is called channun sori in Korea, rolmo rhythm in Tibet. and can be explained as a logarhythmic structure. Channun sori of Korean music is similar to Tibetan logaththmic structure. and can be found in Channun sori of pomp'ae, Naerim moktak, Sorinaegi of samulnori, Kagok(歌曲), and Chongup(井邑), Logarhythmic structure, in which the interval between sounds becomes more and more shorter, as various sounds continue, appears as Channun sori in Korean pomp'ae. A similar type of this Channun sori can be found in pomp'ae, samulnori, kagok, and chongup(井邑) in Korean music. This Channun sori can also be found in shomyo(聲明), Japanese Buddhist chant also. Its basic melodic type is called 'yuri'(曲) and its transformed type is called twe-times yuri and three-times yuri. These can be explained as transformed types of Korean Channun sori. In this article, I studied the logarhythmic structure of Buddhist music related to Korean music. As mentioned in the introduction, Tibetan music is more familiar to me than any other music of the Asian area. Then, from what comes such familiarity and similarity? can this be explained as only coincidence? Or does this originate in historical influences? As one of the reasons to explain this phenomenon, the spread of Buddhism can be explained. Religion delivers not only religion itself bur also culture. That is, religion is a boat which delivers culture. Korea was under control of the Mongols for90 years in 13th Century, and Mongol introduced Tibetan Lamaism long ago. In Korean customs, there remains influences of the Mongol tradition. For this reason, it needs to study the influence relation, taking a look at historical exchanges. Especially, logarhythmic structure, the feature of Tibetan Buddhist chant, can be found in not only Korean music but in Buddhist chant of Japan. From this point of view, it is important to study history related to music. But, it is far from my major in music to study history. Therefore, finishing off this article, I suggest that cooperative study with historic study should be carried out. Writing this article, many people aided in my research. Especially I can't forget help the assistance of Mr. Gerchu at the Tibetan Arts Institute in Lasa. I appreciate his help once again.

한국 미술 미학에 비추어 본 한국음악의 미

전인평 이화여자대학교 음악연구소 2006 이화음악논집 Vol.10 No.1

음악 문화는 사람이 만든 것이다. 사람은 자연환경 속에서 역사와 전통을 만들어내고, 지역에 따라 다른 풍속이 형성된다. 그러므로 음악이란 지리적, 정치적, 경제적 여러 조건 아래에서 생성된 총합체이다. 문화가 다르면 향수하는 미의 성격이 다르고 미의 기준이 달라 질 수 있다. 음악은 생활과 역사의 반영이란 점에서 미술과 음악은 상호 친연성이 높은 예술이다. 그러므로 한국 음악미의 논의는 음악뿐만 아니라 미술, 무용, 문학 그리고 종교와 함께 논의되어야 한다. 이처럼 한국 음악의 미는 원융과 종합의 묘가 있다. 한국음악에는 이처럼 한국인의 종합적인 미의식이 녹아있다. 필자의 이 글은 미술계에서 한국 미술의 미학 개념을 전통음악에 적용해 보자는 생각에서 시작한 것이다. 특히 권영필 외 여러 사람이 쓴 『한국의 미를 다시 읽는다』(돌베개, 2005)는 본인의 연구에 큰 의지가 되었다. 필자는 특별히 미학에 관한 연구를 해 온 것은 아니다. 이 글은 지극히 주관이고 초보적인 글이 될 수밖에 없다. 이 글의 목적은 국악을 즐기려는 보통사람들을 위한 것이다. 이를 위해서 필자는 한국음악의 미를 장려미, 웅혼미, 고결미, 간소미, 유장미, 무작위의 미, 한의 멋, 신바람과 흥의 미의 멋, 즉흥의 미, 해학미의 10 가지로 분류해 보았다. 앞에서 제시한 10 가지 아름다움을 우리 나라 그림, 건축, 벽화 등에 나타나는 아름다움과 우리 나라 음악의 악곡의 아름다움을 대비해 보았다. 그림이나 건축 등은 눈으로 직접 보이는 것이기 때문에 쉽게 아름다움을 이해할 수 있다. 그러나 음악은 추상성이 강하여 아름다움을 쉽게 간파하기 어렵다. 그래서 눈에 보이는 미술에 의지하여 눈에 안 보이는 음악의 이해를 돕도록 도와주는 것이 이 글의 목적이다. The culture of Music is made by human. Human creates history and tradition in his natural environment arid depending on the region, different customs evolve. Accordingly, Music is formed under the influence of geographical, political, econo-aesthetical and other factors. The nature and standard of the aesthetics which is appreciated and enjoyed differs from culture to culture. As music is the reflection of life and history, the fine arts and music have a high mutual affinity. Therefore a discussion on the beauty of Korean music would have to include not only music but also the fine arts, dance, literature and religion. Thus the aesthetics of Korean music has the mystery of integration. In this way, the comprehensive aesthetic sense of Koreans is recorded in Korean music. I started writing this essay with the motive of trying to apply the aesthetic concept of Korean art to traditional music. The book, 'HanguguiMirulTasiIngnunda' [reading Korea's aesthetics again], (Gweon Young-phil and others, Dolpegae publishing house, 2005), was a big help in my research. I have not been making a research especially about aesthetics. This paper can only be subjective and rudimentary. The target for this paper is the common man who wishes to enjoy traditional Korean classical music. For this I have classified the aesthetics of Korean music into 10 types-jangnyeo-aesthtics [magnificence], unghon-aesthtics [grandeur], gogyeol-aesthetics [noble-aestheticsndedness], ganso-aesthetics [simplicity], yujang-aesthtics [long line], the aesthetics of mujagwi [no artificiality], the meot of han [deep sorrow], the meot of sinbaram [excitement] and heung [pleasure, aestheticsrth], jeukhung-aesthtics [impromptu amusement], and haehag-aesthetics [refined humor]. I tried to compare the ten types of beauty presented above, to the beauty which appears in the Korean paintings, architecture and murals and the beauty in Korean musical compositions. The beauty in a painting or architecture etc can be understood easily since it is seen directly by the eye. However, as music has a strong abstractness, it is difficult to perceive its beauty. For this reason, the objective of this paper is to assist in the understanding of music, which is not perceived by the eye, by relying on the arts which are visible to the eye.