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      韓國杖鼓音樂에 나타난 Rhythm과 Movement 硏究  :  (湖南右道農樂의 장구놀이를 中心으로)

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      https://www.riss.kr/link?id=E1062948

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      다국어 초록 (Multilingual Abstract)

      This paper aims to acquire the fullscore of rhythms and traits of dancing movements in Korean drum music.
      It is said that the most developed element of Korean local Changgo music is rhythm, that is, Karak, which is first of all outstandingly expressed in Cholla provincial farmers' music.
      It is, therefore, expected to find a good model for study in one of best technical drumist, Pyang-Sop Kim' performance.
      The description method of drum rhythms and dancing movements was used as a way of simultaneously synthetic(combined analysis both of rhythm and movement. It is valid because our drum rhythms are composed in a unique way of characteristic motions, and vice versa.
      For this, the investigator has taken a lesson about drum theory and practice at Mr. Kim's Studio from Dec. 3, 1979 till Jan. 31, 1981, and as the basis of the experience scrutinized and sketched had performances in order to acquire more typical patterns of rhythm score and to find out utmost believable traits of dancing motions. Here much cnnsoltation with him for further more exact scores were necessitated.
      The results are as follows:
      1. The whole scheme is 3 parts form of Simple Movement with Introduction and Coda composed of 228 changedans of 24 sections.
      2. Hemiolic phenomena comes out all of kutkori, tonsalpuli, chajnmori, and so on.
      3. The permanent crossing change manner of drumming attitude is most fundamental trait.
      4. When music rests, in return dancing movement expresses motions with "music in hearts," for example, such as palim, sache, sukpattadum, kokaltadum, and so on.
      5. Bodily motion is always curvilinear with shoulder swinging, and so the internal movement naturally determines the external one.
      The above means that rhythms, being performed seperatedly from movements are not living. It is living only when connected with dancing movements.
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      This paper aims to acquire the fullscore of rhythms and traits of dancing movements in Korean drum music. It is said that the most developed element of Korean local Changgo music is rhythm, that is, Karak, which is first of all outstandingly expresse...

      This paper aims to acquire the fullscore of rhythms and traits of dancing movements in Korean drum music.
      It is said that the most developed element of Korean local Changgo music is rhythm, that is, Karak, which is first of all outstandingly expressed in Cholla provincial farmers' music.
      It is, therefore, expected to find a good model for study in one of best technical drumist, Pyang-Sop Kim' performance.
      The description method of drum rhythms and dancing movements was used as a way of simultaneously synthetic(combined analysis both of rhythm and movement. It is valid because our drum rhythms are composed in a unique way of characteristic motions, and vice versa.
      For this, the investigator has taken a lesson about drum theory and practice at Mr. Kim's Studio from Dec. 3, 1979 till Jan. 31, 1981, and as the basis of the experience scrutinized and sketched had performances in order to acquire more typical patterns of rhythm score and to find out utmost believable traits of dancing motions. Here much cnnsoltation with him for further more exact scores were necessitated.
      The results are as follows:
      1. The whole scheme is 3 parts form of Simple Movement with Introduction and Coda composed of 228 changedans of 24 sections.
      2. Hemiolic phenomena comes out all of kutkori, tonsalpuli, chajnmori, and so on.
      3. The permanent crossing change manner of drumming attitude is most fundamental trait.
      4. When music rests, in return dancing movement expresses motions with "music in hearts," for example, such as palim, sache, sukpattadum, kokaltadum, and so on.
      5. Bodily motion is always curvilinear with shoulder swinging, and so the internal movement naturally determines the external one.
      The above means that rhythms, being performed seperatedly from movements are not living. It is living only when connected with dancing movements.

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      목차 (Table of Contents)

      • Ⅰ. 緖論
      • Ⅱ. 總括的 記述
      • A. 一般的 特徵
      • B. 構造的 特徵
      • Ⅲ. 細部的 考察
      • Ⅰ. 緖論
      • Ⅱ. 總括的 記述
      • A. 一般的 特徵
      • B. 構造的 特徵
      • Ⅲ. 細部的 考察
      • A. 다스름
      • B. 휘모리
      • C. 굿거리
      • D. 동살풀이
      • E. 자진모리
      • F. 연풍대
      • Ⅳ. 結論
      • 참고문헌
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