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다국어 초록 (Multilingual Abstract)

This study focused on examining the current state of research related to Cheol Ajaeng and discussing the current state of passing down and its application prospect in the future.
Even though Cheol Ajaeng has been invented more than 30 years, it still does not be the mainstream and is only played by some because most Ajaeng players concern that iron strings are very sensitive and hard to handle and Cheol Ajaeng is only for an optional instrument depending on their choice. However, at this point in time, it is important to look into the availability of Cheol Ajaeng and discuss its potentiality in the future because it can look back on a part of the development process of Ajaeng.
The first Cheol Ajaeng was invented by Ajaeng virtuoso, Yoon yoon-seok (1939 4.14 – 2006 1.6) He had made from 1991 to 1992, and considered of bowing and Jibeomjil technique. Since then, some Ajaeng performers have used it to Sanjo, Sinawi, folk-song and dance accompaniment, and even some original compositions, and unlike the first invented Cheol Ajaeng, currently, it has changed the body shape and the materials of strings.
Until now, Cheol Ajaeng for professional Ajaeng performers has been recognized as an optional instrument because it is hard to play, and its penetration rate is very low because it is made in a custom-made. However, in terms of its application prospect, it still has a lot of potentials to use in Sanjo, Sinawi, folk-song and dance accompaniment, and even some original compositions. The unique tone color when playing Cheol Ajaeng by the bow and the clear and delicate resonance when playing with Jibeomjil technique are distinguished from the sound of So Ajaeng and Dae Ajaeng, thus it gives more special effects and can be stood out in the original compositions. However, the original compositions for Cheol Ajeang are still limited in the solo recital, chamber or Gugak orchestra concerts, so audiences are rare to listen to music for it.
Generally, Ajaeng performers are difficult to try playing Cheol Ajaeng because it is not only a basic instrument to learn like So Ajaeng and Dae Ajaeng, but also does not have many original compositions. Therefore, it needs to compose music more for Cheol Ajaeng so that Ajaeng players can have chances to play it in the environment. After the original compositions for it increase more, for sure, Cheol Ajaeng players will increase as well, so it will be developed as a solo instrument, not just for the instrument for effect.
It can also be compared to the case when the original compositions for Dae Ajaeng have been composed since 2000, so it is rapidly developed as a solo instrument, now it has more diverse repertoires and its strings even are added. In this regard, Ajaeng players and composers have to consider the potentials of Cheol Ajaeng which has been a new tradition. In the future, Cheol Ajaeng will not only have more values in accordance of the changes of the times, but also establish itself. In addition, it looks forward that Cheol Ajaeng related music will be more diverse and developed. Also, it hopes that this study will be helpful to study about Cheol Ajaeng related contents and give some motives to compose various original compositions.

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