거문고와 관련한 음악사상의 문제 = Ideology Reflected in the Kŏmun go Music

다국어 초록 (Multilingual Abstract)

The kŏmun go is a representative Korean string instrument. modified from a Chinese zither and used since the Koguryŏ period (37B.C.-668 A.D.). From the Unified Shilla period (654-935A.D) it played an important role in the sophisticated pursuits (or p ungnyu) of the elite. and it survives to this day as a representative instrument of p ungnyu music.
The concept of music relating to the kŏmun go can be investigated through the section on music in the History of the Three Kingdoms and through the poems and musical scores left by the literati.
Through these documents we can see that the kŏmun go was regarded as a tool for cultivating mind and body and restoring the purity bestowed by heaven at birth. Thus. through p ungnyu activities involving the kŏmun go. one could shed all worldly grime and self-consciousness. and come face-to-face with one s purest form.
The concept of p ungnyu implies a belief that the heavenly nature within a human being can encounter the love of heaven toward human beings. so that human beings can become immortals and recover their pure nature through the unification of heaven and humanity. Therefore. the p ungnyu music that arose from the p ungnyu spirit works to unify human completeness with musical completeness. Hence. the texture of p ungnyu music has a melodic framework that allows each instrument to express its own independent beauty while contributing to a harmonious overall effect. Thus, it is a distinctive music in which both the whole and the parts possess completeness. to the extent that each instrumental part can be performed as a solo.
The p ungnyu music with this distinctive texture was developed in this way by the p ungnyu spirit. This p ungnyu concept of music has been sustained from ancient times to the present day against the background of the concept of the unification of heaven and humanity, and this can be seen as the musical concept of the kŏmun go.

목차 (Table of Contents)

• Ⅰ. 들어가는 말
• Ⅱ. 본론
• Ⅲ. 마무리
• 참고문헌
• Abstract