채동선(蔡東鮮)의 음악세계에 관한 연구 = A Study of Chae Dong-Sun’s Music

다국어 초록 (Multilingual Abstract)

A composer, Dong-Sun Chae, was born at Beol Gyo in 1901 and ended his life at the age of 53 in a shelter in Pusan in 1953, is a pioneer of the 20th century. He was also the one who never surrendered to the pressures of the
dark and depressing Japanese colonial age and, tried to put Korean sentiment into his work. In addition, he is not only recognized as a composer but also an educator and a performer.
Dong-Sun had very close relationship with Ji-Yong Jung, a lyrical poet representative of Korea, and most of Dong-Suns works came from poems of Ji-Yong Jung. Among his arias, ‘Go Hyang’, which also came from one of
Ji-Yong Jung s poems, has deeply impressed listeners until now. The aria, ‘Go-Hyang’ has given a strong message to remind us of our native land not only in the colonial age of Japan, but also in the present time. It gives us an
opportunity to taste the bosom of lost native land not only during the Japanese colonial period but also the present time.
This study discusses his life, activities, works classified by genre, and musical characteristics. Due to the massive volume of work he had completed only a few works have been selected for analysis. As we take a look at his
life, he had always been an honor roll student and in a center position of leadership. When 3.1 Hurrah incident occurred, he couldn t stay at his school, Kyung Gi high school, anymore because he had become involved in that
incident. From this activity and involvement, Japanese police started to watch him, prompting his father to send him to Tokyo. There, he went to Waseda University and majored in English. Although he majored in English, at his
father s insistence, he started to study music again diligently after he returned. After graduation from university, he studied composing and conducting for another five years until 1929 as an international student in Germany.
Dong-Sun s musical career can be divided into three period. The first period, started from his return to Korea after studying abroad in Germany when he performed as a violinist and started to compose. During this period,
he composed artistic Arias and indoor Ensembles for recitals. The second period, the period of hiding, when he tried to devote himself to implement inner devotion as a creator because World War II begun and he got out of the
reality. During this period, he settled on pivotal of future movements through national classical music. The third period is the period of enthusiastic activities. He did everything he could possibly do for settling down Korean
music together with country liberation by standing up in front line through creation of music for when the country was liberated. He tried hard for the realization of his musical idea by making group activities and performance of
orchestral music, choruses, and Brass music.
Dozens of Dong-Sun s works have been handed down including some instrumentals, arias, Cantata, choral, national pop, Korean folk songs, arrangements, and national classical music. Dong-Sun s activities and performances as a composer had begun in 1932 after his return. Based on the count of pieces of his works, string quartet in g minor, is counted as first piece. There was no count for his works at the beginning but we could assume
that this piece took lots of time because he marked this piece as number one because he thought he made this in 1930s. In fact, it is sensational that he made string quartet in g minor, in the early 1930s no matter whether the
quality is good or not. This string quartet in g minor treats traditional skills, traditional functionality smoothly and expresses the tone, harmony, tense, inner delineation in the gap between a poem and a poem though the progress of repeat of melody and essence of beauty of art.
As we look at number 5 through 8 of his works, Dong-Sun used words ‘popular song’ for most of Ji-Yong Jung󰡑s poem songs, but used ‘solo’ for string music. However, one of his instrumental mus

목차 (Table of Contents)

• Ⅰ. 서 론
• Ⅱ. 채동선의 생애
• Ⅲ. 채동선의 주요활동
• Ⅳ. 작품목록과 주요장르
• Ⅴ. 채동선 음악의 특징
• Ⅵ. 결 론