Changjak Gugak as viewed in the ethnomusicological perspective

CHUN In pyong 아시아음악학회 2013 Asian Musicology Vol.22 No.-

It has been passed more than 70 years since Changjak Gugak (newly composed works based on traditional music) started to emerge in Korean traditional music. Now Changjak Gugak is firmly established as one of the musical genres. However its critical comments have still lingered on the people who are engaged in the music domain. Their main criticism lie in that it is difficult for them to perceive any sense of Korean traditional elements in the Changjak music produced. From an ethnomusicological perspective, tradition paradoxically changes slowly, with changes from one generation to the next not being seen as significant. Even if a tradition undergoes major changes over many generations, it will still be seen as unchanged. Changjak music is a music that was born in response to the stimuli from Western art music introduced to Korea in the early 20th century. It is, thus, inevitable as a mode of the times that Changjak music is vulnerable to be influenced by the idioms of Western music. This phenomenon is not unique and confined to Korea, but it is also in common in Asian countries such as North Korea, China, Taiwan, Hong Kong, Vietnam, Indonesia, and so forth. This article is to examine such criticism on Changjak Gugak and as a reaction to this it is to look into it as the view of the music in a Korean culture. I have looked at first a national music (Korean music) and then Changjak Gugak. I have also investigated the perspectives on Changjak Gugak. Having selected the criticized points of these, I have looked at these issues as an ethnomusicological perspective. In examining a number of criticisms on Changjak Gugak, most critics are the people who largely studied Western classical music. Among them most have been taking a great interest in Korean traditional music, and this is also much a concerned matter to the Korean traditional music filed. Korean music has, however, been kept throughout changes. For instance, Sanjo (highly artistic instrumental piece) has a history of a hundred-year, but its music and performance styles have been more than thirty yupas (schools). This was the result in that teachers who instructed and inherited Sanjo encouraged their students to create from its tradition. If they had tried to emphasise on following merely its tradition without its creation, today Sanjo would have remained in only 'the Kim Changjo Gayago Sanjo'. Everybody would be against it, if they insisted to preserve the 'tradition'. Changjak Gugak is continuing to transmit such creative processes. The criticisms on Changjak Gugak can be highlighted by these phrases: "To use the staff notation in the Korean music field would be a matter of grave concern", or "It destructs its purity when the equal temperament is applied to Korean folk music", or "It is difficult to understand the affect of Korean traditional music due to its excessive commercialization", and so on. 'The music in culture' in ethnomusicology embraces all the music in the world except for Western classical music. From its definition, Korean music contains all the genres such as musics of art, folk, popular that a certain group of people practises. Thus to see the Changjak Gugak domain with the sight of seeing Western classical music is as the same as seeing popular music with the sight of western classical art one. There are different kinds of musics in Changjak music in Korea, and they include art, popular and in-between the two. Before criticizing Changjak music, one should look at first to which such particular music belongs and then make critical comments according to the appropriate criteria. There must be different critical standards according to a case, such as the problem of adapting a functional harmony and the equal temperament, and so on in the Changjak music world. I think such issues can naturally be understood with the change of an appreciative eye. Taking account of Changjak music from the ethnomusicological perspective, it would be necessary t

라후셀레 마을 제천음악과 강원도 민요

全仁平 中央大學校 韓國藝術硏究所 1995 中央大學校 藝術大學 創論 Vol.14 No.-

The sacred music of Lahfu to god is very similar to Kangwon province folk tune in estern part of Korea. This article is focused to comparative study in two kind of songs. They have many similarities in rhythmic pattern, structure of melody, cadence, onamentation and mode. ◁표 삽입▷(원문을 참조하세요) For musical instruments of the hill tribes in Golden triangle area in northern Thailand, they have common musical instruments which have same origin with Koguryo dynasty in three kingdoms period of Korea. For instance, it was realized that Wagonghu, plucked string instruments played by Koguryo peoples, was played by hill tribe peoples in Golden triangle also. Koguryo dynasty(BC 37 - AD 668) imported musics from the centural asia(西域) and exported their musical tropes to Sui and Tang dynasty in China. It was discoverd that wagonghu, a plucted Koguryo's string musical instrument is still played in northern part of Myanma by a famous Korean cultural novelist Dr. Kim Byung-ho. Dr. Kim, a not specialist and non professional musician, is the first man who report the wagonghu is the prototype of "sung", a Burmese string musical instrument. Even Lahfu peoples have simila musics and musical instruments with Koguryo peoples in Korea, it is still difficult to say that Lahfu's ancester was refugees from Koguryo. But it should be true that they had some strong historic relations between them. It needs some more historical and documental coporation studies in many fields.

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.

라후셀레 마을 제천음악과 강원도 민요

全仁平 남방문화연구회 1995 남방문화 Vol.- No.1

The sacred music of Lahu to god is very similar to Kangwon province folk tune in eastern part of Korea. This article is focused to comparative study in two kind of songs. They have many similarities in rhythmic pattern, structure of melody, cadence, ornamentation and mode. ◁그림 삽입▷(원문을 참조하세요) For musical instruments of the hill tribes in Golden triangle area in northern Thailand, they have conunon musical instruments which have same origin with Koguryo dynasty in three kingdoms period of Korea. For instance, it was realized that Wagonghu, plucked string instruments played by Koguryo peoples, was played by hill tribe peoples in Golden triangle also. Koguryo dynasty(BC 37 - AD 668) imported musics from the central asia(西域) and exported their musical tropes to Sui and Tang dynasty in China. It was discovered that' wagonghu, a plucked Koguryo's string musical instrument is still played in northern part of Myanma by a famous Korean cultural novelist Dr. Kim Byung-ho. Dr. Kim, a not specialist and non professional musician, is the first man who report the wagonghu is the prototype of "sung', a Burmese string musical instrument. Even Lahu peoples have similar musics and musical instruments with Koguryo peoples in Korea, it is still difficult to say that Lahu's ancestor was refugees from Koguryo. But it should be true that they had some strong historic relations between them. It needs some more historical and documental cooperation studies in many fields.

한국 선법 연구의 두 가지 접근 양상

전인평 ( Chun In Pyong ) 한국음악사학회 2016 한국음악사학보 Vol.57 No.-

본 논문은 한국음악 근대적 선법(旋法) 연구성과를 학문적인 접근방법과 실용적인 접근방법의 두 가지로 나누어 고찰한 글이다. 학문적 접근은 이혜구(李惠求) · 장사훈(張師勛) · 이보형(李輔亨) · 한만영(韓萬榮) · 권오성(權五聖) · 황준연(黃俊淵) · 김영운(金英云) 등의 연구를 이 범주에 넣었다. 이들의 연구는 매우 정밀하고 치밀하여 `한국음악의 다양성(多樣性)`을 설명하는데 필요한 연구라고 생각한다. 실용적 접근이란 학문적 접근에서 나온 결과물이 너무 다양성하고 복잡 난해하여 실제 작곡자나 연주자가 응용하기 어려운 면이 있었다. 이러한 문제점을 해결하기 위하여 나온 연구성과를 필자는 실용적 접근으로 분류하고 주로 작곡계에 관계하는 사람들의 연구로 백대웅(白大雄)·전인평(全仁平), 북한의 리창구의 연구성과를 이러한 범주에 넣었다. 학문접 접근방법에서는 주로 평조(平調)와 계면조(界面調)의 용어를 사용하였고, 민속악 연구에 심혈을 기울인 이보형은 `토리`라는 용어를 사용하여 연구를 하였다. 평조와 계면조의 두 가지 용어로 설명하는 과정에서 여러 용어가 혼란스럽게 사용되고 있다. 즉, 동일한 용어이지만 다른 개념을 담고 있거나, 동일 개념을 다른 선법 용어로 설명하는 경우가 있다. 실용적 접근방법에서는 주로 서양 계명(階名)을 이용한 다섯 분류방법을 사용하였고, 리창구는 궁조(宮調) · 상조(商調) · 각조(角調) · 치조(徵調) · 우조(羽調)로 설명하였다. 이 연구방법은 “왜 국악을 서양음악이론으로 설명하는가·” 하는 본질적인 질문을 유발할 수 있다. 사실 국악선법을 한국의 고유 방법과 용어로 설명할 수 있다면 최상이지만, 전통 국악용어에 선법관련 용어가 없는 것이 많아 어려움이 많다. 국악인을 비롯한 많은 사람이 서양음악 교육을 받았기 때문에, 서양 계명을 이용한 선법명(旋法名)을 사용하는 것이 쉽게 이해할 수 있다는 장점이 있다. This paper aims at the historical and comparative research on the modes of Korean music which is divided into p`yongjo 平調 (p`yong mode) and kyemyonjo 界面調 (kyemyon mode) two categories, academic approach and pragmatic approach. Academic approach was studied by Yi Hye-gu 李惠求 [Lee Hye-ku], Chang Sa-hun 張師勛, Yi Po-hyong 李輔亨, Han Man-yong 韓萬榮, Kwon O-song 權五聖, and Kim Yong-un 金英云. Their work is extremely precise and compact research to explain the diversity of the modes of Korea Music. The practical approach was studied by mainly composer group. The academic approach was so complex that it was very difficult to understand. The practical approach was aim to solve this problem and studied by Paek Tae-ung 白大雄, Chon In-p`yong 全仁平 [Chun In-pyong] and North Korea`s Lee Ch`ang-gu. In the study of academic approach it was primarily used as the term of p`yongjo and kyemyonjo in two category so there were many confuse term were used in the process. Sometimes, same term contains different concepts and same concept have different meanings. The practical approach was primarily used for 5 classification which is using Western solmization. This research can arouse to a fundamental question, “Why do you explain the traditional music with western music theory?” In fact, it is best to describe and explain the Korean music by Korean terminology. However, there are many musicians have a lot of difficulty to understand the traditional terms of Korean music. So the practical approach adapted the Western music theory because many Korean musicians have basic understanding on the Western music theory through Western music education. I believe that the practical approach has the advantage of being easily understand to the who want to know the modes of Korean traditional music.

국립공원내 전통사찰의 자원 가치 평가

이영경,이병인 한국정원학회 2002 한국전통조경학회지 Vol.20 No.4

Traditional temples located in national parks in Korea have played important role in the designation, use, and management of national parks. The purpose of the study was to find out the values and benefits inherent in traditional temples in national parks and to suggest some sustainable management plans for traditional temples. The study consists of three-steps. First, six values and benefits of traditional temples were derived from literature review. The six values include religion, culture, heritage, ecology, tourism, recreation and relaxation. Second, questionnaires were developed by 8 experts of landscape and environmental planning. Third, an on-site survey was conducted in the 7 traditional temples. 2,554 visitors evaluated the value of the visited temples using 26 developed value descriptions. The data were analyzed by factor analysis, and the results were summarized into three. First, the six values were evaluated positive for all the 7 temples. Second, for all the 7 temples, religious value was evaluated very low, while heritage value was evaluated very high. Third, value evaluation appeared to depend on the physical and cultural characteristics of temples. Based on the results, it was suggested that temple areas should be designated as "multiple heritage area" in national parks in, order to conserve the various values. Also, every temple should prepare master plans to restore the original religious value as well as to conserve the heritage value. The plan should provide effective land use of temple area in order to accommodate different activities such as religious, touristic, and social services.

중국 元代 『居家必用』이 조선 類書類에 끼친 영향에 대한 고찰

강상희(Sang-hee Kang),조헌철(Heon-cheol Cho),최송현(Song-hyun Choi),이병인(Pyong-in Yi) 국제차문화학회 2023 차문화ㆍ산업학 Vol.60 No.-

본 연구는 우리나라 음청류 문화의 성립에 가장 큰 영향을 끼친 중국 원대(元代) 『거가필용』의 음청류들이, 조선 후기의 유서 『산림경제』, 『증보산림경제』, 『임원경제지』의 음청류 기록들에 미친 영향관계를 살펴본 것이다. 문헌연구 방법으로 진행된 본 연구는 한국의 전통음료의 연원과 종류를 파악하여 전통음료의 정체성을 확인하는 한편, 계통과 분화의 모습을 파악하여 전통음료의 대중화와 세계화에 기여하려는 목적이 있다. 연구를 통해 『거가필용』이 조선 유서류들에 상당한 영향을 끼쳤다는 것과 함께, 『정조지』에 전통음료의 종류가 가장 많이 수록되어 있음을 확인하였다. 한편 전통음료의 보급과 확산을 위해서는 건강과 양생만을 강조할 것이 아니라, 치열하고 각박한 삶을 살아가고 있는 현대인들에게 심성을 따뜻하게 해주는 정신적 효용과 가치가 있다는 사실을 함께 알릴 필요가 있다는 것을 확인하였다. This study examines the Eumcheongryu of 『Geogapilyong(居家必用)』 in the Yuan Dynasty of China, which had the greatest influence on the establishment of Korean Eumcheongryu (飮淸類) culture. This study examined the relationship of influence on the records of sound streams in 『Sanlimgyungje(山林經濟)』, 『Jeungbosanlimgyungje(增補山林經濟)』 and 『Imwongyeonjeji(林園經濟志)』. This study, which was conducted as a literature research method, aims to contribute to the popularization and globalization of traditional beverages by identifying the identity of traditional beverages by identifying the origin and type of traditional beverages in Korea, and identifying the lineage and differentiation of traditional beverages. Through the study, it was confirmed that 『Geogapilyong』 had a significant influence on the documents of the Joseon Dynasty, and that the most types of traditional drinks were included in『Jeongjoji』. On the other hand, in order to spread and spread traditional beverages, it was confirmed that it is necessary not only to emphasize health and health, but also to inform modern people who are living fierce and harsh lives that they have spiritual benefits and values ​​that warm their hearts.

One-step phyto-mediated fabrication of silver nanoparticles and its anti-microbial properties

Velmurugan Palanivel,Sung-Chul Hong,Veera Ravi Arumugam,Sivakumar Subpiramaniyam,Pyong-In Yi,Seong-Ho Jang,Jeong-Min Suh,Eun-Sang Jung,Je-Sung Park Techno-Press 2023 Advances in nano research Vol.14 No.4

This manuscript describes the one-step eco-friendly green fabrication of silver nanoparticles (AgNPs) through the in-situ bio-reduction of an aqueous solution of silver nitrate using Syzygium aromaticum leaf extract. UV-vis spectroscopy shows a characteristic SPR peak around 442 nm. FTIR spectroscopy showed that the AgNPs were capped with bioactive phyto-molecules. TEM images revealed oval and spherical particles with a mean diameter of ~12.6 nm. XRD analysis revealed crystalline and face-cantered cubic AgNPs. The phytosynthesized AgNPs showed broad-spectrum anti-microbial activity against two foodborne pathogenic bacteria, Listeria monocytogenes and Staphylococcus aureus. The AgNPs showed a prominent ability to inhibit biofilms formed by L. monocytogenes and S. aureus in laboratory conditions through a crystal violet assay. The results suggest that the AgNPs could be a novel nanotool to develop effective antimicrobial and anti-biofilm agents in food preservation.

LCA를 통한 도시 고형 폐기물의 환경부하평가

박정한,Tohno, Susumu,Kasahara, Mikio,이병인 한국환경과학회 2003 한국환경과학회지 Vol.12 No.6

We analyzed the amount of environmental loads, and the amount of energy consumption through life cycle assessment from a discharge stage to the ultimate disposal to municipal solid waste in Seoul. We carried out inventory analysis of the amount of environmental loads that made the object range collection, intermediate treatment, and the final treatment, and took into consideration each stage exceptions CO₂ and NOx , the amount of SOx discharge, and energy consumption. We applied the data of an object model, and acquisition processed the scale of an object model suitably and applied to it to difficult data using the data of the Yokohama City incineration plant in Japan. The amount of environmental loads per lton of municipal waste were analyzed CO₂ 0.4C-ton, SOx 0.4㎏ and NOx 0.8㎏. Moreover, the amount of energy consumption which is 2.4Gcal was computed.

셸돈의 管理思想에 관한 理論 分析 : 管理·組織 理論을 中心으로

片仁範 단국대학교 경영대학원 1985 經院論叢(壇國大學校) Vol.5 No.-