열국시대와 남북국시대의 외래 음악

• 영문명: Foreign Music in Yŏlkuk and Nambukkuk Period
• 발행기관: 국립국악원
• 저자명: 전인평(Chun In pyong)
• 간행물 정보: 『국악원논문집』제11집, 123~157쪽, 전체 35쪽
• 주제분류: 예술체육 > 음악학
• 파일형태: PDF
• 발행일자: 1999.12.31

영문 초록

This article examines the acceptance of foreign music during Yŏlkuk period and Nambukkuk period. With no notations and scarce amount of literature which reveals Korean music of that particular period, this study will be limited to some respects. The music of the West was a foreign music at this period, and, with the indigenous music, the music culture bloomed. The transmission of Buddhism resulted in the dissemination of Indian music to different cultures; the influence of Indian culture on Koguryo, Paekje, and Shilla was enormous. The current author discusses the acceptance of instruments, modes and music. The kŏmun go and changgu originated from India, and p yŏng mode and pansŏp mode of Shilla came from the mode on Kudimiyamallai epitaph via Central Asia. Even though there are no extant notations, the creation of mask-dance music and changdan are assumed to have been influenced by India. There rhythmic similarity between hŏt ŭn t aryŏng changdan used in mask-dance and cancatputa which appears in an ancient Indian music literature. Both of the changdans have a rhythmic proportion of 2:2:1:3. Besides the similarity in rhythm, they have a lot in common; both of them were used in drama, were played with changgu, and related to Buddhism. Further study of the similarities between these two changdans will contribute to revealing the origin of mask-dance including Pongsan mask-dance which employs hŏt ŭn t aryŏng.

목차

Ⅰ. 머리말

Ⅱ. 본론

Ⅲ. 맺음말

참고그림 및 지도

참고문헌

Abstract