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이해식 중앙대학교 중앙음악연구소 2001 중앙음악연구 Vol.10 No.-
This is the collection of the records related with my seven pieces of composition that were criticized not favorably but severely. Since I believe that a history of Music begins with the accurate records of the composers and their ideas, I collected the records of my composition. The reason why I collected only the composition criticized severely is on purpose to take an objective view of my composition, to identify my existence while discussed lively and to acquire the strong incentive and the desire to create. Here we have seven pieces of composition; A chamber music The dance of the wind(바람의 춤), a traditional orchestra Haedongsin'gok(海東新曲 The new music from sunrise) and The Dance, and the Words of the Wind for the Young(젊은이를 위한 춤, 바람의 말), a dance music Galsup(갈숲 The field of reeds), two solos for gayago Julpuri No.2(줄풀이 No. 2 The unitie for strings No. 2), and Huktam(흙담 The clay wall), a solo for geomungo Gopuri(고풀이 The untie for chords). The records related with these works consist of the notes for the composition, an explanation about the composition, an introduction of LP and CD, information of the published notes and several articles and criticism etc.. Through these records, we can help understand the background and the idea of my music. It is common that music is for listening. The expressions such as 'going watching concerts' and 'calling audience as spectators' are of appreciating music with sight not with hearing. Watching is still closer than hearing to our life so that we may acquire much more information. Accordingly the title of this essay is not "How does the audience appreciate my composition with hearing?" but "How does the audience appreciate my composition with sight?" Moreover we can more accurately recognize things by watching them than hearing. Related with an appreciation in that way, this essay deals with arguments: How to appreciate composition such as shaman music(playing, ritual ceremony) and dance music. There are comments about Haedongsin'gok Julpuri No. 2 and Huktam in the last part of this essay. Of the compositions, particularly I assert the criticism about Huktam to be reconsidered correctly. Since Huktam contains an ethno- logical meaning from the composition, they made a mistake even if they regard Huktam(흙담, The clay wall) as Doltam(돌담, The stone wall). Of course I'd like to call it a mistaken criticism. As criticism affects the players and the audience, a critic should be a good executive who criticizes the composition itself and he or she should be a good narrator who uses the sentences composed of proper words. I hope this essay can help us live happily and freely with music. Through this essay "How does the audience appreciate my composition with sight?" we'll be able to seek. Good answers for many questions, too. How can composers accomplish their works? How can players perform actively? And could they expect the intellectual and penetrative criticism?