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장인종(In-Jong Jang) 한국콘텐츠학회 2009 한국콘텐츠학회논문지 Vol.9 No.3
본 연구에서는 한국 전통음악의 음악적 요소들이 각각 어떠한 정서를 유발하는가를 기분반응검사를 통하여 조사하였다. 조사 결과, 장단조선법, 템포, 음색, 수직텍스쳐의 두께와 수평텍스쳐의 밀도는 특정한 정서를 유발하는 효과가 있는 반면, 평조와 계면조로 구분되는 전통 선법은 정서반응에 미치는 영향이 거의 없는 것으로 드러났다. 또한 전통적인 국악보다는 현대에 창작된 국악이 일정한 정서반응을 이끌어 내는데 효과적인 것으로 나타났다. 서양음악과 마찬가지로 한국 전통음악 역시 음악적 요소에 따라 감성반응을 유발해내며 이러한 특성은 배경음악, 광고음악, 음악치료 등 다양한 분야에 응용될 수 있을 것이다. This essay researches which affective responses can be made from musical elements of Korean traditional music through adjective description about mood responses. It results that traditional mode which are classified into Pyoungjo and Gyemounjo hardly have any the affective responses, while major and minor mode, tempo, tone color, vertical and horizontal texture have some effects on particular affects. Meanwhile, newly composed Korean traditional music have more effects for as inducing affective responses rather than works as old Korean traditional music. As well as Western music, Korean traditional music induces different affective responses to each musical element. As such, this aspects can be adopted to different realms like background music, commercial music, music therapy and so on.
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68혁명을 통해 본 음악과 정치 -참여를 넘어선 음악의 정치화
장인종 ( Jang In Jong ) 한국음악학학회 2004 음악학 Vol.11 No.-
Revolution of 1968 affected discussions of `music and politics` in two aspects. First, in the mood of revolution of 1968 the so-called `political musics` aiming at political effect were made and discussions about `music and politics` derived from these musics. However, as it was discussed by musicologists in 1970s, `political music` was not free from the dilemma between aesthetical quality and political function in music. It has been always problem that musicians `engage` in politics outside music with music. In the second place, from revolution of 1968 the concept of `micro politics` was induced and it offered a new view of relationship between music and politics. So to speak music is considered as `musicalized power`, so we became to be able to view music under the recognition of `formation of power` and `flight from power`. From this point of view, it is become revealed that considerable musics around revolution of 1968 present inclination taward `music of fuite` in various forms. This music suggests the concept of `musicalization of politics` or `politicalization of music`, going beyond engagement of `policitcal music`.
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