국악작곡 교육에 관한 논의와 관점 = Discussion and Perspective on Education of Kugak Composition

다국어 초록 (Multilingual Abstract)

The matters about kugak 國樂 composition are directly connected with perspectives on ch’angjak kugak, 創作國樂 request from actual performance field, and recognition for Korean society and culture. Therefore discussing on such matters would require composite viewpoints which consider trends and environment of the discourses related to kugak such as tradition, newness, ch’angjak kugak, identity, and so on. This study is to read a stream and changes in the education for kugak composition and to interconnect to circumstance and needs of actual performance field. By virtue of those process, I would like to propose a more wide perspective toward kugak composition in embodying the education for creative area.
Education for kugak composition has carried by kugak composers who are actively composing in actual performance filed. However yangak 洋樂 (Western music) composers and performer-composers as well as kugak composers came to teach kugak composition due to the changes of performance field since the late 1980’s. It seemed that the music performance field needs were the one not bounded to ch’angjak kugak, and music works composed by yangak composer and performer- composer have been increased. Although they were, it is only on the works by kugak composers that one raise issues by critical view in discussing over music works using Korean musical instruments or elements. Such an unbalanced view to ch’angjak kugak cannot organize the right circulation and interrelation between education for kugak composition and field for actual performance.
The present education for kugak composition lost the own characteristic. That is why we have to remind again what the early education made an emphasis on: analysis and comprehension of Korean traditional music, study on many issues on Korean musicology, and discussion through humanities and arts. These have been emphasized as much as compositional techniques. In other words, education for composition has to incorporate with theoretical and philosophical basis. We should remember this must significantly exist these days.
Despite that the perspective and discussion on ch’angjak kugak and kugak composition must renew according to changes of the times, the perspective is stuck to the previous one, the discussion is repeated, and education lost its core essence and be affected by performance field. In profound discussion over kugak composition, what the essential matter inevitably discussed together with are as it follows: the trend and content of chaotic field in performance area, meaning of kugak composition, and inequal view toward criticism in ch’angjak kugak, ch’angjak yangak 創作洋樂, and ch’angjak music. I hopefully expect that this study would contribute some useful purpose so as for the education for kugak composition to lead music culture in Korea.