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RISS 인기검색어
- 검색키워드
- 저자 : 윤신향 ( Yun Sin Hyang ) (검색결과 2 건)
- 무료
- 기관 내 무료
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윤신향 ( Yun Sin Hyang ) 한국음악학학회 2004 음악학 Vol.11 No.-
This study tries to investigate the relation between maintone(sound)-composition of Isang Yun and formative arts. The first two chapter summerize the music historical primise for the integrative-artistic aesthetic and the process of establishment of Isang Yuns identity as a composer in europe. Therby it is characteristic, that Yun is interested in the relation between music and pictures, while the western composers in the 1950s deal with graphical music and accidental music: the compositional situation tends to weaken the traditional note system, to expand the traditional instrumental medium, and to dismantle the traditional genre. The third chapter describes the relation between the formative image of west side in the acient tomb mural `Sasindo`, which is an about 1500 years old Korean traditional heritage. The line image of this mural is similar with the line image, which Yun draws in the dialog with the japanese composer Nishimura Akira about his maintone(sound)-model. An archetype of this line image is implemented in the beginning of the piece <flute-etu¨de>(1974) in the first section, and it is transformed in the beginning of the fifth section of the same work. Specially amorphous form ending of the maintone(sound)-model displays in this part an expanded form. The expansion of the amorphous form at the end of the maintone-model occurs also three times in <Re´ak>(1966). It is deduced, that this amorphous part form shaws alike in <Images> as a connecting part of the sound-surface. The last two chapter deal with the means of change the Korean traditional format image to modern sound. Yun saw always the picture of the mural in his living room and emphasized the line image of this picture in the explanations of his work, and draw this form in the air in the introduction of play. This phenomen is interpreted under two aspects: at one hand side, the image depicts the taoistic thouhgt, which Yun himself wont to identify with his work. On the other hand side, the connection of Yun`s music with a Korean traditional image shaws the fusion aspect of composer. The formative essence of maintone(sound) based on spatial form. The formative mean is created through tile fusion of the line and colorful images. This aura of an image is consistently and endless open. As a result, his maintone(sound) -composition can be interpret as a try to form of an Asian image in the real space `modern`.
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20세기 중반 서유럽의 음향공간적 사고와 다문화 간의 만남
윤신향 ( Yun Sin Hyang ) 세계음악학회 2003 음악과 문화 Vol.8 No.-
The purpose of this study is to investigate the multicultural meeting in the sound-spatial concepts in the 1950-60s in western music and thereby to analyze the sociocultural location of this music. The first section describes three forms of the sound-spatial concept: the serial music, the aleatoric music in the 1950s, and the post-serial music in the 1960s. The second section deals with the general sociocultural location of music, that is get out special sound-aesthetic matter in the middle of the 20th century. This matter is discussed on one hand side as an aspect of the relationship between space-composition and culture-imperialism, and on the other hand side as an aspect of the intercultural composition. The first composition style of three sound-spatial ideas is based on the serial technique, which is `sound in the real space`. In this sound concept, represented by Karlheinz Stockhausen, sound is controlled technically. The technical equipment is a substantial component, since it allows the composer to combine sound-colors in individual oevres differently each time. The second composition style is based on the aleatoric technique, which is the `sound of silence`. In this sound concept, represented by John Cage, the sound space imitates the life space via the sound of the surrounding nature and the daily noise. The third composition style is the sound-surface-composition of the post serial music, which is called `imageable sound`. This sound concept, represented by Gyorgy Ligeti, deals with the imaginary space. The three sound-spatial ideas have in common a weakening of the awareness of a continuous flowing time, as it is present in traditional western music. With the moving of the musical time towards space dimensions expand the history of western music towards non- western cultures, and this is connected to sociocultural phenomena of multicultural exchange. The spatial composition effected by the serial technique includes elements, which can be discussed under an aspect of cultural imperialism. In the spatial cornposition, the tonal system rooted in western tradition is developed further towards the spatial system. The changed space-time-concept implies, that the furture oriented time is transformed into the space dimensions. Finally, the expansion of western music towards non-western music was the aesthetic solution to the shortage of sound material and the space-time problem in western music. The spatial composition of west European composers often includes elements of traditional music from non-European cultures. While this implies an exploitation of the non-western space, the cultural transformation by non-European composers via intercultural composition is a representation of their original culture. Since the audiences in different cultures have different experiences, the perception process plays a prominent role for the investigation of intercultural compositions. Still, the interpretation as well as the analysis of these compositions has to be based on individual perception. Because intercultural compositions are interpreted and played differently in different cultures, it is important for the investigation of the perception process to take the sociohistorical background into consideration. It turns out, that the modem composers in the 1950s and 1960s preceded a general development of the era. Their advances could be summarized as follows: sound in the real space realized by the electronic technique reflected the advances in modern communication, sound in the silence headed a process towards extreme individualism, and imageable sound anticipated the time of multimedia communication. All three new concepts of composing predicted a change in the way of life, which implies that the way of sound arrangement in the music is connected tightly to the sociocultural communication of man. The tendency of cultural imperialism in the spatial compositions and the intercultural composing bringing out the cultural transfor
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