가야고를 위한 모음곡 " 놀이터 "

이성천 한국국악학회 1974 한국음악연구 Vol.3 No.-

전통예술에서의 전통론

李成千 세계평화교수협의회 1984 廣場 Vol.1984 No.126

전통예술 환경의 개선

李成千 세계평화교수협의회 1984 廣場 Vol.1984 No.125

한국 전통음악의 조에 대한 미의식의 형성 : 역사적 고찰 A Historical Study

이성천 한국미학예술학회 2001 美學·藝術學硏究 Vol.13 No.-

Music is a calculated order of various sounds. In Korean traditional music, these orders or patterns of sounds are sometimes called jo(調). Very similar in concept to the Western scale, tonality, mode or key, but because Korean tradition리 music does not use the idea of tonic or dominant in its music, the use of jo is different from the Western understanding of tonality. The following is an outline of the various uses of the word jo in Korean traditional music today. 1) Jo in terms of scale 2) Jo in terms of register 3) Jo in terms of notation 4) Jo in terms of emotional expression 5) Jo in terms of musical language 6) Jo in terms of title or form 7) Jo in terms of rhythmic pattern Among the many different uses of the term jo, 1) and 2) are related to actual order of sounds, in other words, pitch and scale, where as 6) and 7) have nothing to do with actual order or systemization of sounds. 3), 4) and 5) can be grouped into one category relating to musical notation. Thus, in speaking of jo in terms of sound order, jo can be divided into two large categories of scale and notation. Korean traditional music used jo in the 7th century. According to the Historical Records of the Three Kingdoms (1146 Pusik Kim), Shilla Dynasty instruments such as Gomungo, Gayageum, Bipa, Daegeum, Joonggeum, and Sogeum used musically the term jo. But there are no records of the details of the use or function of jo of this period. Later in the 15th century, the three fundamental jos of Korean music, Pyungjo, Ujo, and Kyemyunjo appeared, but they too were never described further in their uses. Jo was merely considered a simple term describing scales or tonality. Later, coming into the 17th century, the different characteristic styles of Prungjo, Ujo and Kyemyunjo are felt more strongly. Pyungjo is straight, big and grandly peaceful. Ujo is clear and strong. Kyemyunjo is sorrowful and mourning. The aesthetic sense of these three very different styles of jo becomes much more realized in the vocal genre of Pansori. Pansori is a dramatic vocal style in which music and lyrics must intimately entwine in order to express the dramatic changes of the story the singer is telling. Pansori magnifies the emotional and characteristic aspects of the unique styles of each of the three jos as well as use many other dramatic expressions in its performance. Such examples are Horyungjae, in which the characteristic strong style of Ujo climaxes to its fullest, and Sorumjae, which makes use of the sorrowfu1 tonality of Kyemyunjo. Sullungjae uses situational expressionism, Sukwhajae uses a similar vocal style to the Gayageum Byungchang(self-accompanied singing with Gayageum). And Sanyuwhaj ae uses the special dialect of eastern region folk song and Kangsanfae which is in the style of Kyonggj region folksong. One can say that Pansori expresses emotion through its unique vocal usage and style, not through a certain musical scale or jo, and thus it is difficult to describe the Pansoris aesthetic sense of jo in terms of certain tonality or key. As stated, there are many uses of the word jo in traditional music. To summarize what we have discussed into two categories, we can see to in terms of sound order, representing scale or tonality, and jo in terms of musical notation, as In how to sing or play a note, the style in which the written music best represents the emotional expression. Historically, the scale, or order of sounds, came first and later in the 17th century, thee motional significance of the different characteristics of the scales was added, resulting in aestheticism of the different jos. Later on, with the development of Pansori, these characteristics and styles became more significant, as they became the key uses through vocalization, in order 13express the dramatic emotions and situations in Pansori. Unlike the music described above, traditional court music, which is mainly used for ceremonies, place symbolic meanings to jo, but in actual music, the expression or function of jo is not significant. In the three main categories of Korean traditional music, the full function and use of jo is most widely found in folk music. In classical music, jo is much less prevalent, playing more the role of representer of mood. Also, the aestheticism of jo is most magnified in the Pansori and Sanjo solo music genres of Korean folk music, in which the emotion becomes the focal point of aesthetics and the aesthetic expression becomes most delicate.

음악교육과 인간두뇌 발달

이성천 한국국악교육학회 1999 국악교육 Vol.17 No.-

만해의 도덕적 상상력과 문학의 상관성*

이성천,이은영 경희대학교 인문학연구원 2011 인문학연구 Vol.0 No.19

This paper appears in the system of thought of Han deserve moral imagination and literature on the relationship between the purpose of identifying serve as means. This paper raises these issues through the Han's literary writing editorials, and practical action as a Buddhist reform movement and the independence movement, rather than isolated from each other 'moral imagination' organic relationship with the medium that it would prove. His literary creation, as well as activities unrelated to the accident or any other kind of activity, not an optional matter in his whole life and activity would suggest that naturally harmonious. Specifically, chapter 2 of the paper is to discuss about the relation- ship between imagination and practice Buddhist philosophy of Man- hae looked around. Chapter 3 of the moral imagination and the formation of the Manhae and the information primarily for the ('Korea Buddhist theism') was investigated through. Chapter 4 of Manhae and his literary and moral imagination in practice what is being expressed and examined in detail. In the process, this study literature and practice of the Manhae is not a separate activity of the external manifestation of the imagination proved to be the same. Manhae in terms of personal moral imagi- nation of the inner discourse of the literary and 'linguistic' is expre- ssed in the form of Buddhism called reform movement and the independence movement 'physical' is expressed in the form. Also expressed in the language of literature over the Manhae individuals to stimulate the reader's moral imagination wont recharge, so the reader inside the external action of the imagination, after all, is leading to. Manhae moral imagination of the end of his own verbal or physical conduct of a motive, as well as one of his poems, novels and a change in the mind of the reader to act, make up. Thus, the literature of Manhae led his own practice and ethical means of wiping the mind, the other practical means to cultivate their moral imagination can be said. 이 논문은 만해 한용운의 사상체계에 나타나는 도덕적 상상력과 문학의 상관성에 관한 의미 규명을 목적으로 삼는다. 본고에서는 이러한 문제제기를 통해 만해의 문학적 글쓰기가 논설, 실천적 행위로써의 불교개혁운동 및 독립운동이 서로 분리된 것이 아니라 ‘도덕적 상상력’을 매개로 해서 유기적인 관계를 맺고 있음을 입증하고자 했다. 뿐만 아니라 그의 문학 창작 활동은 우연적이거나 다른 활동과 무관한 일종의 선택적 사안이 아니라 그의 전체적인 삶과 활동에서 자연스럽게 어우러지는 것임을 제시하고자 했다. 구체적 논의로 본고의 2장에서는 상상력과 실천의 관계에 대해 만해의 불교 철학을 중심으로 살펴보았다. 그리고 3장에서는 만해의 도덕적 상상력의 형성과 그 내용에 대해 주로 「조선불교유신론」을 통해 고찰하였다. 4장에서는 만해의 도덕적 상상력이 그의 문학과 실천에 어떻게 표출되고 있는가를 구체적으로 살펴보았다. 이 과정에서 본고는 만해의 문학과 실천은 별개의 활동이 아니며 동일한 상상력의 외부적 표출임을 입증했다. 개인적 측면에서 만해 내면의 도덕적 상상력은 문학과 논설이라는 ‘언어적’ 형식으로 표출되고, 불교개혁운동과 독립운동이라는 ‘신체적’ 형식으로 표출된다. 또한 언어로 표출된 문학은 만해 개인을 넘어서 독자의 도덕적 상상력을 자극하고 함양시키는데, 이렇게 해서 독자 내면의 상상력도 결국은 외부적 실천으로 이어지게 된다. 결국 만해의 도덕적 상상력은 그 자신의 언어적, 신체적 행위의 동인(動因)일 뿐만 아니라 그의 시, 소설을 읽는 독자의 마음에 변화를 일으켜 행동하게 만든다. 따라서 만해의 문학은 자기 자신의 실천을 이끄는 도덕적 마음을 닦는 수단이자, 타자들의 도덕적 상상력을 함양시키는 실천적 수단이라고 할 수 있다.

韓國傳統音樂의 精神과 樣式硏究

李成千 서울대학교 동양음악연구소 1991 동양음악 Vol.13 No.-

한국전통음악의 개성 - 포괄성ㆍ여유

李成千 서울대학교 동양음악연구소 1992 동양음악 Vol.14 No.-

자료보관 시급하다

李成千 세계평화교수협의회 1984 廣場 Vol.1984 No.127

전통예술과 매너리즘

李成千 세계평화교수협의회 1984 廣場 Vol.1984 No.128