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      가야금 명인 김종기의 생애사에 대한 재고 = A Reconsideration of Life of a Gayageum Master, Kim Jong-Gi

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      https://www.riss.kr/link?id=A108661203

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      다국어 초록 (Multilingual Abstract) kakao i 다국어 번역

      Kim Jong-Gi is the second generation of the gayageum(12-stringed zither) sanjo(solo instrumental music) and, at the same time, is the master musician of the geomungo(6-stringed zither), haegeum(2-stringed fiddle), danso(notched flute), janggu(hourglass-shaped drum), and pansori(epic vocal genre). Since he died in his thirties, there is little information about his artistic journey. To accurately illuminate Kim Jong-Gi’s musical life, a three-dimensional verification is necessary, involving his family background, lineage, educational process, and relationships with his peers through the network of relationships surrounding him.
      Kim Jong-Gi came from a musical family. It can be inferred that he originally came from a musical family since his brother’s, and his father’s name is not on any of the genealogy of the Kim clan of Gimhae. His elder brother was also a master musician of the gayageum and the haegeum. At his time, multi-talented musicians mostly came from the musician family. Furthermore, the fact that Kim Jong-Gi’s gayageum teacher, Park Han-Yong, came from a musical family and that Kim Jong-Gi’s in-laws were musicians confirms that Kim also came from a musical family, considering the customs of musicians marrying within musical families. Kim Jong-Gi's original Chinese name is ‘金鍾基’, but he became known as ‘金宗基’ in the media while active in Gyeongseong(now Seoul). Kim Jong-Gi was born in 1905 and passed away in 1935. This can be deduced through his relationships and testimonies from individuals he collaborated with at the time, such as Park Rok-Ju, Im Bang-Wool, Shin Kwae-Dong, and Kim So-Hee. While Kim Jong-Gi’s birthplace is known as Jangsu in Jeolla-do Province, it is highly likely that his family originally came from Chungcheong-do Province, as stated by his nephew, Kim Su-Ak. It is reasonable to consider that he was born in Jeolla-do Province after his ancestors moved from Chungcheong-do Province.
      Park Han-Yong is considered Kim Jong-Gi's teacher in geomungo sanjo. They have a mentor-disciple relationship within the ‘Gabi’ family. Baek Nak-Jun is considered Kim Jong-Gi’s teacher in geomungo. If Kim Jong-Gi is originally from Chungcheong-do Province, it is natural for him to have learned the geomungo from Baek Nak-Jun, who came from the shaman clan in Chungcheong-do Province. Kim Sam-Tae, Jung Geum-Rye, and Bang Geum-Seon can be mentioned as Kim Jong-Gi’s disciples. Kim Jong-Gi’s gayageum sanjo was properly passed down by Jung Geum-Rye, and it has been continued to the present by Kim In-Je and Kim Jin-Ae.
      Kim Jong-Gi had a close friendship with Park Rok-Ju, a renowned singer of the time, and he was an active member of the ‘Joseon Vocal Music Research Society’, taking a leading role as a pioneering musician in the music scene in the early 1930s. After Kim Jong-Gi’s passing, the initiative in the gayageum field was carried on by Kim Chang-Jo’s disciples. The friendship between Kim Jong-Gi and Im Bang-Ul was special, and through their musical exchange, Kim Jong-Gi became a motivating force in creating a new style of gayageum sanjo. He formed deep connections with other musicians, such as Oh Tae-Seok and Park Jong-Gi, and expanded his musical world through collaboration with them.
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      Kim Jong-Gi is the second generation of the gayageum(12-stringed zither) sanjo(solo instrumental music) and, at the same time, is the master musician of the geomungo(6-stringed zither), haegeum(2-stringed fiddle), danso(notched flute), janggu(hourglas...

      Kim Jong-Gi is the second generation of the gayageum(12-stringed zither) sanjo(solo instrumental music) and, at the same time, is the master musician of the geomungo(6-stringed zither), haegeum(2-stringed fiddle), danso(notched flute), janggu(hourglass-shaped drum), and pansori(epic vocal genre). Since he died in his thirties, there is little information about his artistic journey. To accurately illuminate Kim Jong-Gi’s musical life, a three-dimensional verification is necessary, involving his family background, lineage, educational process, and relationships with his peers through the network of relationships surrounding him.
      Kim Jong-Gi came from a musical family. It can be inferred that he originally came from a musical family since his brother’s, and his father’s name is not on any of the genealogy of the Kim clan of Gimhae. His elder brother was also a master musician of the gayageum and the haegeum. At his time, multi-talented musicians mostly came from the musician family. Furthermore, the fact that Kim Jong-Gi’s gayageum teacher, Park Han-Yong, came from a musical family and that Kim Jong-Gi’s in-laws were musicians confirms that Kim also came from a musical family, considering the customs of musicians marrying within musical families. Kim Jong-Gi's original Chinese name is ‘金鍾基’, but he became known as ‘金宗基’ in the media while active in Gyeongseong(now Seoul). Kim Jong-Gi was born in 1905 and passed away in 1935. This can be deduced through his relationships and testimonies from individuals he collaborated with at the time, such as Park Rok-Ju, Im Bang-Wool, Shin Kwae-Dong, and Kim So-Hee. While Kim Jong-Gi’s birthplace is known as Jangsu in Jeolla-do Province, it is highly likely that his family originally came from Chungcheong-do Province, as stated by his nephew, Kim Su-Ak. It is reasonable to consider that he was born in Jeolla-do Province after his ancestors moved from Chungcheong-do Province.
      Park Han-Yong is considered Kim Jong-Gi's teacher in geomungo sanjo. They have a mentor-disciple relationship within the ‘Gabi’ family. Baek Nak-Jun is considered Kim Jong-Gi’s teacher in geomungo. If Kim Jong-Gi is originally from Chungcheong-do Province, it is natural for him to have learned the geomungo from Baek Nak-Jun, who came from the shaman clan in Chungcheong-do Province. Kim Sam-Tae, Jung Geum-Rye, and Bang Geum-Seon can be mentioned as Kim Jong-Gi’s disciples. Kim Jong-Gi’s gayageum sanjo was properly passed down by Jung Geum-Rye, and it has been continued to the present by Kim In-Je and Kim Jin-Ae.
      Kim Jong-Gi had a close friendship with Park Rok-Ju, a renowned singer of the time, and he was an active member of the ‘Joseon Vocal Music Research Society’, taking a leading role as a pioneering musician in the music scene in the early 1930s. After Kim Jong-Gi’s passing, the initiative in the gayageum field was carried on by Kim Chang-Jo’s disciples. The friendship between Kim Jong-Gi and Im Bang-Ul was special, and through their musical exchange, Kim Jong-Gi became a motivating force in creating a new style of gayageum sanjo. He formed deep connections with other musicians, such as Oh Tae-Seok and Park Jong-Gi, and expanded his musical world through collaboration with them.

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      참고문헌 (Reference)

      1 손태룡, "한국전통음악가연구" 보고사 2011

      2 한국정신문화연구원, "한국유성기음반총목록" 민속원 1988

      3 김영재, "한국근현대사의 음악가 열전(IV)-나의 스승 신쾌동선생님을 그리며" 한국음악사학회 7 : 1991

      4 송방송, "한국근대음악사연구" 민속원 2003

      5 송방송, "한겨레음악인대사전" 보고사 2012

      6 김동일, "피에르 부르디외" 커뮤니케이션북스 2016

      7 박미경, "진도 세습무 박씨 계보와 인물 연구" 한국국악학회 41 : 53-88, 2007

      8 송방송, "증보 한국음악통사" 민속원 2007

      9 김성혜, "조선성악연구회의 음악사적 연구" 한국음악사학회 1 : 1990

      10 노재명, "조선성악연구회 발자취를 따라서: 1934~1943년 익선동 등에서 활약한 판소리중심의 한국민속음악 독립군, 국악 성지" 채륜 2017

      1 손태룡, "한국전통음악가연구" 보고사 2011

      2 한국정신문화연구원, "한국유성기음반총목록" 민속원 1988

      3 김영재, "한국근현대사의 음악가 열전(IV)-나의 스승 신쾌동선생님을 그리며" 한국음악사학회 7 : 1991

      4 송방송, "한국근대음악사연구" 민속원 2003

      5 송방송, "한겨레음악인대사전" 보고사 2012

      6 김동일, "피에르 부르디외" 커뮤니케이션북스 2016

      7 박미경, "진도 세습무 박씨 계보와 인물 연구" 한국국악학회 41 : 53-88, 2007

      8 송방송, "증보 한국음악통사" 민속원 2007

      9 김성혜, "조선성악연구회의 음악사적 연구" 한국음악사학회 1 : 1990

      10 노재명, "조선성악연구회 발자취를 따라서: 1934~1943년 익선동 등에서 활약한 판소리중심의 한국민속음악 독립군, 국악 성지" 채륜 2017

      11 이보형, "전라북도국악실태조사: 무형문화재종합조사보고서" 문화재관리국 문화재연구소 1982

      12 최동현, "전라북도 마을굿·산조: 전통문화예술의 정리" 전라북도 문화예술과 2006

      13 문순태, "임방울, 서민의 한 풀어준 소리" 1975

      14 이진원, "일제강점기 전통음악 명인 김종기 재조명" 2023

      15 이영희, "이영희: 국가무형문화재 전승자 구술 자서전 042" 국립무형유산원 2021

      16 이달재, "이동백과 조선음악" 5 (5): 1939

      17 이재화, "유성기 음반에 나타난 김종기 거문고산조 단모리 연구" 한국고음반연구회 4 : 1994

      18 조영애, "유대봉류 가야금산조" 은하출판사 2022

      19 심새미, "유대봉 가야금 산조 연구" 서울대학교 대학원 2004

      20 하선영, "오태석 가야금병창의 음악적 특징과 장르적 특성" 전남대학교 대학원 2014

      21 권도희, "산조연구" 은하출판사 2001

      22 이보형, "산조 : 무형문화재종합조사보고서(7)" 문화재관리국 문화재연구소 1987

      23 김우진, "백낙준의 생애" 한국음악사학회 (35) : 175-208, 2005

      24 크리스토퍼 스몰, "뮤지킹 음악하기" 효형출판 2004

      25 이용식, "남도굿 악사의 삶과 음악 - 영암의 한씨 고인을 중심으로" 한국무속학회 (36) : 113-136, 2018

      26 박록주, "나의 이력서 13"

      27 김진애, "김종기류 가야금산조 음반해설집"

      28 김인제, "김종기류 가야금산조" 은하출판사 1990

      29 권도희, "김종기 산조와 산조사의 수수께끼" 국립민속국악원 6 : 2006

      30 이예원, "김종기 가야금 산조 연구" 한양대학교 2015

      31 이숙희, "김수악: 한국근현대예술사 구술채록연구시리지 37" 한국문화예술위원회 2005

      32 정지연, "김삼태 가야금 산조의 분석연구 : 김종기 가야금·거문고 산조와의 비교를 통하여" 한국예술종합학교 2013

      33 유영대, "국창 임방울의 생애와 예술" (사) 임방울국악진흥회 2004

      34 이보형, "국창 임방울의 생애와 예술" (사) 임방울국악진흥회 2004

      35 최동현, "국창 임방울의 생애와 예술" (사) 임방울국악진흥회 2004

      36 표인주, "국창 임방울의 생애와 예술" (사) 임방울국악진흥회 2004

      37 표인주, "국창 임방울의 생애와 예술" (사) 임방울국악진흥회 2004

      38 삐에르 부르디외, "구별짓기: 문화와 취향의 사회학 상" 새물결 2006

      39 김인제, "고음반에 나타난 김종기 가야금산조의 가락과 현행 정금례의 가락 비교-진양조를 중심으로" 고음반연구회 4 : 1994

      40 한국정신문화연구원, "경성방송국 국악방송곡 목록" 민속원 2000

      41 정익섭, "개고 호남가단연구" 민문고 1989

      42 이보형, "가야금산조: 무형문화재조사보고서 제94호" 문화재관리국 1980

      43 권도희, "가야금산조 진양의 형식론" 고음반연구회 3 : 1993

      44 Bourdieu, Pierre, "The Logic of Practice" Polity 1990

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