문화교차의 음악: 앨런 호바네스의 가야금, 타악, 현악 오케스트라를 위한 교향곡 제16번 = Music at Crossroads: Alan Hovhaness` Symphony No.16 for Korean Kayagum, Percussions and String Orchestra

다국어 초록 (Multilingual Abstract)

By analyzing socio-cultural contexts and musical texts, this paper examines diverse meanings of composition and performance of American composer Alan Hovhaness`s <Symphony No. 16 for Korean Kayagum, Percussion and String Orchestra>. The piece was composed by Alan Hovhaness in 1963 during his brief visit to Korea in the midst of a trip to Japan and after his journey to India. The piece was performed by the KBS orchestra with kayagum artist Hwang Byung-ki and conducted by the composer himself. Analysis of this piece shows that this piece imagines Korea as a part of remote Asia rather than acknowledging characteristics of Korean music from other Asian musical elements. His use of drones, strong vibrato on the kayagum, and use of gongs and percussion in this piece shows that this music cannot be free from a conventional sense of musical orientalism. Hovhaness imagined Korea as an exotic and mysterious Other, which is solely distinguished from the West. His interest in Asia in his life time led him to continue work on Indian, Japanese and Korean music until the late 1980s. He is known as one of the most representative modem American composers who made use of Asian musical idioms. His role as a cultural broker cannot be ignored. At the same time, Hovhaness`s music was a good model for Korean musicians who wished to meet the world and achieve modernity during the 1960s. For them, Hovhaness`s piece could be read as a symbol of modernity. In this sense, symphony No.16 is a site for negotiating two different world views. At the same time, this was music at a crossroads where the modem music history of America and Korea meets.