동아시아 3국 현대음악에서 전통 수용방식 비교 연구: 윤이상, 타케미츠 도루, 탄둔의 작품을 중심으로 = A Comparative Study of Understanding Tradition in the Contemporary Music of East Asia: Works of Yun Isang, Takemitsu Doru and Tan Dun as Cases in Point

다국어 초록 (Multilingual Abstract)

Since introduction of Western music in the late 19th century, music cultures in East Asia have fundamentally changed. In modernization and westernization, traditional values were ignored for a long time. In the early days, East Asian composers who mainly studied abroad tended to imitate the styles of western music. Traditional music was not concern of them. Some composers began to realize East Asian musical tradition. but it was not enough to develop their own music. To add harmonies to traditional melodies was the main interest in the first half of the 20th century. Western comtemporary music since 1950s tried to experiment new musical thought and language, some of which was affected by East Asian tradition, and vice versa. This paper intended to examine the problem of tradition in the contemporary music in China, Japan and Korea. As this topic was too wide-ranging to discuss, I focused on a comparison of three representative composers of each country: Isang Yun (1917-1995), Toru Takemitsu (1930-1996) and Tan Dun (1957). Their attempts related to their own traditions have several features in common, although they are in different generations. They didn`t compose any more in a way of previous generations, e.g. in a style of pentatonic romanticism(by Barbar Mittler), but they realized their own musical soundscapes by using contemporary musical idioms of Western avantgarde. They also deeply appreciated traditional values of East Asian cultures and found out the essences from their own perspectives. However, it was different what they gave attention to and how they worked with it, for they were exposed to different cultures and historical situations. The first chapter of this paper was devoted to diverse compositional developments of three countries. The second chapter dealt with the different concerns of three composers. Whereas Yun focused on the substance of a constant moving, in itself vitalized tone (Nonghyon) and created his own musical language (Hauptton(klang)technik), Takemitus was especially attracted by the noise-like unique sound of Japanese traditional music (Sawari) and by a meditative silence (Ma). On the other hand, Tan s main concern was new possibilities of vocal sound or recitative form(nianbai) from Chinese traditional theaters (Peking Oper or Kunqu etc.). In the third chapter the works was briefly analyzed as a musical example: <Re´ak>(l966), <November Steps> (1967) and <On Taoism>(1985) which brought each composer into prominence. Yun attempted to mutate the terrain of Western contemporary music, based on his apprehension of Korean traditional music concept, while Takemitsu experimented with the way to `juxtapose` Japanese sound and Western orchestration. On the contrary, Tan`s Music resulted from a hybrid of multiple elements that he mastered in various Chinese traditions and Western music.