근대 외래음악의 유입과 한국적 수용

• 영문명: Modern Influx of Foreign Music and its Koreanized Acceptance
• 발행기관: 국립국악원
• 저자명: 이상만(Lee Sang man)
• 간행물 정보: 『국악원논문집』제11집, 255~267쪽, 전체 13쪽
• 주제분류: 예술체육 > 음악학
• 파일형태: PDF
• 발행일자: 1999.12.31

영문 초록

Koreanized acceptance means Koreanized re-creation. Modern Korean music begins with the influx of Western music starting from about 1885. The most important event was the introduction of Christianity and hymns by missionaries such as Appenzeller and Underwood. They taught ch angga at churches and Western-style schools. At the turn of the century the Korean government began to establish the first Western-style marching band and a German named Franz Eckert was invited to lead the band in 1902. In addition to leading the band, he was also asked to compose music for the government. He incorporated characteristics of Korean traditional music into his music. This was the beginning of Koreanized acceptance of Western music. The first book of ch angga was published by the Ministry of Education in 1908. It contained songs translated from Japanese books and thus ended up introducing Japanized Western music. The first institution for music education called chosun chŏngak chŏnsupso was established to preserve Korean traditional music but ended up contributing to the understanding of Western music. The man who taught Western music there was Kim In-sik who wrote hakdoga. Hong Nan-pa was Kim s student who had a broad understanding of both Western and Korean traditional music. He declared that we needed to create the Music of the New Chosun. Under Japanese rule since 1910, however, music education at schools was mostly Western music. Many musicians studied in Japan, Germany, the U.S.A., and in Italy and brought Western music back to Korea. Chae Dong-sun was among a few musicians who tried to create new Korean music based on the framework of Western music. Since the liberation from Japan, a new term, Shin Kugak , was created. It was a new kind of music that combined compositional styles of Western music with the tradition of Korean rriusic. It was no longer the transplantation but Koreanization of Western music.

목차

Ⅰ. 서론

Ⅱ. 본론

Ⅲ. 맺음말

Abstract