한국전통음악 장단연구에 나타나는 몇 가지 편향들에 대하여 = Problems in studies of changdan

다국어 초록 (Multilingual Abstract)

Changdan is usually translated in `rhythmic cycle`. But it doesn`t merely have rhythmic determinants. It indicates also non-rhythmic aspects included with tempos, meter and moods, which are understood as separated from the rhythm itself in western music. In this respect, we should not bring the rhythmic definitions and methods for rhythmic analysis from western music theory to understand changdan. We need a new approach to it. Chαngdαn should be understood as variously patterned dynamic processions in musical time. Hereby, the patterns are not only rhythmic, but also mean continuously-connected-masses-of-energy by the unit of korean beat(pak). It organizes fundamentally all of the musical elements, rhythm, melody, tempo, moods and forms. The rhythmic pattern of one changdan itself, which is written in the book of introduction, tells us almost nothing. The important thing is, how differently one changdan can be played in practice and how it creates other musical processes in its various forms. But many scholars have focused only on these fixed and formed rhythmic patterns. We can, of course, take out just a rhythmic aspect from changdan and analyze it. But such an analysis makes a skeleton out of a flourishing organism. Western history is regarded as rationalization process, in which magic and mystic elements are removed and a wide spectrum of human minds and activities was understood scientifically and logically in many kinds of systems. This can be also observed in the history of music theory, and musical practice has developed in interaction with it. So western music lost more and more its improvisatorial characteristics. In quite different way from western music, changdan has developed with full of improvisatorial and irrational aspects which are very difficult to analyse. It is meaningless, if it is investigated as their fixed form, without explaining what happens by playing.