거문고와 그 음악에 관련된 연구동향

• 영문명: Trend of Researches Related to the Kŏmun go and Its Music
• 발행기관: 국립국악원
• 저자명: 신대철(Shin Dae chŏ l)
• 간행물 정보: 『국악원논문집』제10집, 239~268쪽, 전체 30쪽
• 주제분류: 예술체육 > 음악학
• 파일형태: PDF
• 발행일자: 1998.12.31

영문 초록

This paper will focus on some trends in research on the kŏmun go and its music during the period 1945-95. This research covers five main topics: 1. The kŏmun go 2. The music of the kŏmun go 3. The playing technique of the kŏmun go 4. Musical notation used in old kŏmun go scores and its interpretation 5. Scales and modes Research on the kŏmun go itself includes research on its history and etymology. Research on the music of the kŏmun go is of two types: transcription and comparison of old kŏmun go scores and studies of the traditionally unwritten genre sanjo. The former has concentrated on the music of the user strata of society, the royal court and the scholar-officials, in which fixed compositions such as Yŏngsan hoesang, Pohŏja, and kagok were performed, while the latter. though less numerous than studies of kayagŭm sanjo, has brought some scholarly attention to kŏmun go sanjo. Studies of the playing technique of the kŏmun go have addressed issues such as its performing method, the ornamentation techniques in kŏmun go sanjo, the evolution and functions of solmization. current performance practice, and modification of the instrument. Studies of musical notation used in old kŏmun go scores have covered classification of those scores, investigation of scores such as Kŭmhap chabo and Yanggŭm shinbo indication of the three modes in old scores. bibliographical and musicological studies of scores. and transcription into Western staff notation. Finally, researches on scales and modes have not yet arrived at a definitive theory and may therefore be confusing, but a few scholars have opened the door to an investigation of this topic. In particular, Yi Hye-gu s study The five modes in Yanggŭm shinbo is a pioneering work in this field. While research on the kŏmun go has thus covered diverse areas. more than half the studies are devoted to the music of the kŏmun go, with kagok of the sakdaeyȏp category receiving the most attention. This tendency is perhaps undesirable since studies of modal theory, of the kŏmun go s weak points and of modification of the instrument are not active relatively. Finally, it is hoped that this the studies of the kŏmun go and its music that have been produced so far. and the scholarly investigations of the rest develop together in future.

목차

Ⅰ. 머리말

Ⅱ. 본론

Ⅲ. 맺는말

참고문헌

Abstract