한국ㆍ한국인ㆍ한국음악

이성천(Yi Sung Chun) 한국국악교육학회 1996 국악교육 Vol.14 No.-

The world we live in contains a variety of cultures and types of people, each race looking as different as their cultures are different. Korean people also are different from Chinese or Japanese and so are their culture and music. Trying to distinguish the unique characteristic of Korean music is not that simple a task. It is because one needs to know the music of the various cultures all around the world in order to pinpoint the very uniqueness of one specific culture in comparison. Thus, maybe not accurately but one needs to understand Western music and compare with it in order evaluate the characteristics of Korean music. This study hopes to better understand the unique qualities of Korean traditional music by approaching the music through its traditional culture and working within the framework of culture, and by finding the elements that are unique in the actual music. All things of the earth have some sort of line, color, and form. This applies to animals, plants, humans and even to inanimate objects. Then what about Korean music : its line, color, and form? In order to answer this question, we turn to defining what the Korean “line” is in its traditional culture. A line in Korean traditional culture is curved, not straight. One can see this curve in the mountains of Korea where the shape of the mountains are rolling and gentle hill-like rather than tall and straight. The pine trees which line the mountains are also dominated by the curvy twisting type. And because of this simple fact of Korea’s natural surroundings, this curve can be found everywhere in the Koreans, their philosophy, and their movements as well. Especially, the “face” of a Korean can be found in the gourd of Korea, a common household item for any older Korean. The lines of the gourd are wide and round, the color, a tan yellow. The simple and natural implement of the gourd of everday life can be a tool in explaining the Korean culture. Culture is life. The swaying lines of the caves of Korean buildings uses the Korean curve. Even the roof tiles are not straight. The curve can be found in Korean dance movements, the traditional garment “Hanbok” also uses the curved lines. The curved line is demonstratively the unique characteristic of Korean culture. The curved “line” in the traditional music of Korea can be found in its melodic lines. The main notes of the melody have another set of decorative notes which surround the mian note at the beginning and end of it. This “shigimsae” breathes life into the notes. It is in the realm of vibrato but it doesn’t stop at giving a steady equal change to a steadily held note. It gives the note shape and curvature and gives it a variety of different faces by the use of different “shigimsae”. This shigimsae is like the mother who has sent her daughter off to marriage. It doesn't just stop after having given off the note but kneads and twists the note to bring life to it and all the different characteristics. I have called these shigimsae notes “live tones” and others have named them “living tones”. Unlike the straight melodies which allow for harmonization in Western music because Korean melodies use these curved live tones to make the melody curved, Korean music is not only unable to use harmony, it is not necessary. This is the unique characteristic of Korean music. Like the wide round gourd of Korea, melodies of Korean traditional music are made of the curvy “live tones” and this is the “face” of Korean traditional music.

한국 전통음악의 창작방법에 관한 연구 (I)

이성천 ( Sung Chun Yi ) 한국서양음악이론학회(연세대학교 음악연구소) 1992 음악이론포럼 Vol.2 No.-

The purpose of this study is to come to an understanding of the composition methods used in Korean Traditional Music and with it a finding of a new vocabulary for the subject with a comprehensive meaning. The history of music is the history of creativism. There are many different theories to the origin of music but one point we can be sure of is that humans created music. There also may be various theories as to what or how music was made, but there is no question that humans made it sung it, and performed it. And as we can sure that the history of Korea is the history of Koreans, l believe that at the beginning point of Korean history, music was made and that that music was played. But music can only be understood through written records if any were left, whether or not in the literal or illiteral era, if there was no system for writting down music and other records left of it, we can never know of that music. Korea did not develop a written language until a later period but even with having the use of Chinese letter, the music from ancient 15th century B.C. to 1st century B.C.(Era of three Kingdoms), and from 918 to 1392 (Koryo peiod) cannot be examined nor will its form ever be understood. Although Solmization(肉譜) was used during the Koryo period the writting of it was incomprehensible. Also Letter Notation(律字譜), and High-Low Letter Notation(工尺譜)was used to record Chinese Ceremonial Music(雅樂) and Popular Chinese Music(唐樂) but being also incomprehensible and it not being Korean music, these have been excluded from my studies.1392, the founding year of the Yi Dynasty is the first time one is able to study the musical forms in Korean Traditional Music. .In 1443, King Se Jong(1419-1450) developed the Hun-Min-Jung-Um(訓民正音), the Korean alphabet, and in 1447 created a complete system for recording music, the Mensural Notation System(井間譜). It was developed to write down Native Korean Music(鄕樂) and through these written records we are able to analyze the forms in music from the beginning of the Yi Dynasty. Thus in studying the composition methods in Korean Traditional Music, the most appropriate material for reference would be the first written records left in this era. The purpose of this study is to analyze the music from 1392 when Yi dynasty began, to 1450 the era of King Se Jong in order to further understand the composition methods of their time. In this era, there was no completely separate system for composing a new piece of music. Koryo songs and some of musics from < Poonga 12 Sibo >(風雅12詩譜) a part of 「Uire KyungJun Tonghae」(儀禮經傳通解)written by a Chinese named Joo-Hee(朱熹), was used as a base, piece for composing all new tunes.< Poonga 12 Sibo > is a collection of songs using text from Sikyung (詩經) which is one of Confucian Scriptures and these songs have been passed through from the Chinese Tang Dynasty(618-907) to Song Dynasty(960-1279). Therefore, we can conclude that the songs of < Poonga 12 Sibo > are Chinese. I have analyzed 8 pieces composed using < Poonga 12 Sibo > as their base pieces. These 8 tunes were written before the Se Jong era and have maintained the characteristic of the Chinese 7 tone system. But I have changed the notes of the Chuogwhangjong(潢鐘)and Chungtaeju(汰簇) in 12th Yul(律) down one octave, changed the starting note to Hwangjong(黃鐘), and the ending notes to Taeju(太簇)-Hwangjong(黃鐘)as in the Korean system of downward movement for its ending form. There are all together 12 songs in the < Poonga 12 Sibo > and of these, I have taken < NokMyung >(鹿鳴) < HwangHwangJaWha > (皇皇者華) < UhRyuh > (魚麗) < NamSanYuDae > (南山有臺) as the originating base pieces 1) and have composed 8 new ones < SuBoRoK > (受寶籙) < SuMyungMyung >(受明命) < HwaHwangUn >(荷皇恩) <YoongAnJiAk〉(隆安之樂) < HyuAnJiAk >(休安之樂) <MunMyungJiGok〉(文明之曲) < MuYulJiGok >(武烈之曲) and < GunChunJimg >(覲天庭) with new lyrics. Illustration 1 shows the relationship the base pieces and new songs. All the songs in the < Poonga 12 Sibo > are long so they have used either one movement in each song or if the movement is too short have used 2 to 3 movements. As a method of composing, they have either contracted the original piece or have used all of a melodic line to create the new piece. Before the SeJong era, the Chinese < Poonga 12 Sibo > was generally used as the base music for creating new compositions but King Se Jong used only Koryo songs of native Korean music to base new songs. Using < Chung San Byul Gok > (靑山別曲)as the base refaience music < Nab Shi Ga >(納氏歌) and < Hyu Myung > (休命) were composed; with < Suh Gyung Byul Gok > (西京別曲) the < Jung Dong Bang Gok > (精東方曲) was written; with < Han Lim Byul Gok > (翰林別曲)came < Hwa San Byul Gok > (華山別曲); <Man Jun Choon (滿殿春) to < Soon Ung > (順應) <Poong lb Song〉(風入松) to < Yoong Hwa > (陰化); < Ssang Hwa Gok > (變花曲); to < Jung Myung > (貞明); < Ga Shi Ri > (가시리) to < Hyung Gwang > (享光); < Ya Shim Sa > (夜深詞) to < Bo Yae > (保乂) ; with < Sa Mo Gok > (思母曲)wrote < Chang Hwi > (昌徽). Illustration 2 shows the relationship of Karyo songs and the new songs based on them. < Hwa San Byul Gok > was written by using all of < Han Lim Byul Gok > and < Yoong Hwa > was composed using only a part of <Poong Ib Song〉;s melodic line. The nest of the pieces used parts of their base piece's melodic lines and supplemented changed lines to create the new songs. Some of these changed lines are completely altered and only keep minimal characteristics of the base melodic line and rather than to call it a changed version of the base piece, we might call it a completely original line. Also the structure of the pieces can be divided into two forms-contraction and expansion. The two methods of composing were either to use all parts or some parts of the original piece, and in the case of using only some parts, the added changed lines would make it difficult to establish any reference to the base piece, also bringing about the expansion and contraction of the forms. I have analyzed 18 pieces composed from beginning of the Chosun era (Yi Dynasty)to the SeJong era and have organized their composition methods. 8 new pieces composed using < Poong 12 Sibo > as the base music are in strophic form and the pieces using Koryo songs as their base are in through composed form. A point to be aware of is that even when using the Chinese songs as the base piece, the new compositions always were written reflecting the Korean musical styles and during the King SeJong era, when independence was strongly stressed, they not only chose only Koryo songs for their base pieces but having supplemented the new compositions with varied melodies and so on. They showed beginning signs of creativism in composing new and original pieces without being bound to original melodic lines or the base. piece itself. Of course, in Korean traditional music, the act of composing did not just begin in the Chosun era. But in reaching my objectives in understanding of composition method by having chosen mateial from this period not only can we understand the essence(substance) of the music itself but because so many new pieces were composed in the beginning of the Chosun era that these pieces are the first and the oldest material we have that can be used for references. In older to understand the degree and the position that the composition methods used from end of the 14th century to middle of the 15th century (SeJong era)holds, I have compounded the beginnings of composition activities in the western music history. The beginning of western composition can be summarized by trope and sequence. Sequence can be considered to be a derivative of trope so I'll deal only with troping. Trope can be divided largely into 3 sorts ; one is to take the original melody and melismatize it; two is to place its text differently; three is to use both methods at once; but there is aLso a variety of other methods too complex to include in these divisions. Also when writting a new piece, sometimes a part of the original melody line is inserted into the new piece and/or is placed at beginning of the new piece. Troping uses mostly only the given piece or a given line. This was a method of composing used since the 9th century but coming into the 12th century the insertion or supplementation of parts or lines gave way to the creating of new lines at one's will. The difference between the western troping method of using the given melody or a given piece as the base piece with that of Korean traditional method is that although the composition method used in the Chosun era was that of being able to use the given music or line as a reference piece but the note itself and the ending styles could be changed and that many changed lines to supplement the new piece. The second objective study is to be able to find the most appropriate vocabulary in naming the activities and methods related to creating and composing of Korean traditional music. The reason is that music whether traditional or being written in the present are all called ‘composing’ and there is a need to reorgnize these different ideas. As stated above, in the beginning of the Chosun era the method of composition was that of using a base (reference) piece to create a new piece. So, from the position that this method is different from the method of creating a completely seperate and independent music,. I come to introduce the word 「Formation」 (形成) as a new word to describe the composing method of Korean traditional music. The reason I conclude to use the word ‘Formation’ is that not only from the understanding of the music in the Chosun era as described above, but from the view point of history, the various music forms such as San-jo, Pan-so-ri etc, that are included all have the qualities of having ‘Formation’, thus giving me reasons to quality this word The word 「Formation」, as in the past performers, is the creative action according to the performer, and composition is the creative action according to the composer I summarize that these are the two creative actions related to Korean traditional music. This study being the very first in analyzing the composition methods in Korean traditional music, I conclude my thesis with the beginning of my studies in composition methods of the Korean traditional music.

한국전통음악의 체질 : 중절(中節), 신명(神明) Equillibrium and Rapture

이성천 서울대학교 동양음악연구소 1993 民族音樂學 Vol.15 No.1

The activities of the human can be divided into two parts: the activity of the rationale and the activity of the senses. As an example, the activity of scholarship would belong to the rationale, and the activity of art would belong to the senses. The rationale is involved in the activities of the senses as the senses are involved in the activities of the rationale. These two activities do not function as separate entities but they are a part of one another. We have stated that artistic activities fall into the senses category. But characteristics of the art itself may vary with the degree of the rationale involved in the senses. In terms of music, the involvement of the rationale in the music itself can be either little or much. This kind of example would be the same as categorizing early music of Greece into Appolonian or Dionysian music, as it would be similarly divide by Nietsche into music of the logos and the pathos. Korean traditional music can also be divided into two categories. The disposition of Chongak (正樂, Classical music) would fall into the Apollonian category as the Minsogak (民俗樂, Folk music) would fall into the Dionysian. Chongak and Minaogak are devived from the personalities and the dispositions of the Korean people. Thus, stating that the structure of Korean music is based on disposition, I have studied these two categories from the cultural point of view and have tried to research the specific characteristics of them. 1. Equillibrium The Chosun Dynasty (1392-1910) was a society based on a very strict class system. The upper class of scholars and intellectuals studied Confucianism and became infautated with its ideologies. Confucianism became the ruling doctrine and because it was part of the mandatory curriculum by the state for anyone with aspirations in politics, it was unrealistic to study anything else. There were even the Sunbi (classical scholar or learned man), a branch of the upper class, who whiled away time completely immersed in the study of Confucianism without even the interest in political advancement. Along with the Sunbi, this elite upper class enjoyed forging in their scholarly pursuits and never took lightly the work of cultivating the mind. Of course, their focus was in the ideologies of Confucianism but their study mediums included painting, calligraphy, playing music as well as the art of listening to it. The music that was created by this elite group is called Chongak, or 'proper' (correct, right) music. The word 'proper' means that Chongak music makes people be proper. The oriental philosophy of music is not based on aesthetics but rather on ethics. Thus, the reason that music is necessary in a society is to make people proper and to create a society of higher values of ethics. And because Chongak is considered to be music that builds life of high character and builds courage towards devotion to the state, the Sunbi and scholars chose Chongak as a way of discipline and pleasured themselves in the playing and listening of it. In the first chapter of the Joongyong (The Doctrine of the Mean), a Confucian literature, it is said, $quot;While there are no stirrings of pleasure, anger, sorrow, or joy, the mind may be said to be in the state of equillibrium. When those feelings have been stirred, and they act in their due degree, there ensues what may be called the state of harmony.$quot; The word equillibrium in this passage, can mean appropriate, not extreme, level, or balanced. People are creatures who have sensitive faculties by nature. These senses are expressed through the emotions it creates. The Confucian ideology would like that these emotional expressions be filtered through a state of equillibrium. This equillibrium, the filter of emotional expressions, is rationality. Chongak is not music that exposes human emotions. It carries a character of showing an adequate and an appropriate amount of emotions. Thus, it can be said that the upper society of the Chosun Dynasty, that based itself on the ideologies of Confucianism, will have most certainly used Chongak as a medium of their studies processes. The musical shape of Chongak does not contain drastic movements or wide jumps in its melodic lines. There aren't many rhythmic changes and no sudden contrast created by an appearance of some element that is suddenly different. Longer rhythm patterns are used and there are no heavy colors of harmonies. Its instrumentation uses an ensemble of instruments with lighter sounds. For those who will play Chongak, there also exists a code that must be practiced accordingly. This attitude is called Keumdo (琴道) and it has many a rules to follow. Among them is, one must play only in a clean atmosphere when the weather is good. And playing is not permitted in unclean places or when the weather is foul. For the players themselves, proper attire must be worn as well as have proper posture. If Chongak is a music that makes the mind and sould of a person proper, then the appearance of the music must be also proper and the player must also play in the proper manner. Thus, Chongak has also been called the music of the rationale, music of self discipline, and music of the mind. These are the characteristics of the music of Chongak, which give it its name, equillibrium.

가야고를 위한 모음곡 " 놀이터 "

이성천 한국국악학회 1974 한국음악연구 Vol.3 No.-

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.

중국교포의 음악교육

이성천 중앙대학교 중앙음악연구소 1992 중앙음악연구 Vol.3 No.-

한국전통음악의 개성 : Encompassment and Leisure 포괄성, 여유

이성천 서울대학교 동양음악연구소 1992 民族音樂學 Vol.14 No.1