韓國 傳統音樂의 現代化 = STUDY ON THE MODERNIZATION OF KOREAN TRADITIONAL MUSIC
1. It was not untill the end of the nineteenth century that western composers began to concerned about the eastern music.
Debussy was the first to hear the sooth eastern Gamelan music at an international exposition in 1889. He noticed differences between the western and eastern music. He found himself much attracted by the eastern music.
Composers of eastern countries were also conscious of the distinction of their own national music and began to studs it methodically in an effort to modernize it.
2. In serch of methods of modernizing the Korean traditional music, we have analyzed of western composers' works in the eastern style. We haute also made an analysis of the technique and method of the original creative works of eastern as well as Korean composers.
We have performed several distinguished pieces that are described above, and studied the response and opinions of the performers, composers and audience.
3. In the history of the twentieth century music. the thirst new movement was the Impressionism of Debussy that arose against the romantism of nineteenth century, and then atonalism and Neo-classicism.
The twentieth century, especially afther World War II, has show us a richer variety in trends of music than anti other in terms of materials and technique.
The trends mar be divided as follows; atonal, music concret, electronic synthesizer and mix-media.
4. It is to be noted from this study that there are a few western composers who have been influenced by the eastern music and the eastern conception thereof.
Debussy's "La mer 1905" is based on the principle of the Gamelan music which is characterized by the elaborated them and sonority that is largely an admixture of a number of melodic, rhythemic, registral and timbral variants of a single linear movement.
E. Varese's concept of music as "organized sound" and of sound as "living matter" is a modern western parellel of a pervasive chinese concept.
J. Cage's "4' 33" "was influenced by the Chinese concept of "Zen" which is the philosophy of silence. H. Cowell used the material of Indian music in his "Madras symphony", and that of Japanese music in his "Concerto for Koto and Orchestra, 1964".
5. Since the second world war, Japanese contemporary music was made a remarkable progress. Japanese composers have tried to create a modern style of their own by combining the traditional Japanese material with the western technique.
Matsudairaa Yoritsune's "Theme and Variation for Piano and Orchestra" is a piece of modernized A-ak using the three series. Takemitsu, Toru used two Japanese traditional instruments in addition to the regular western orchestra in .his "November step". This piece attracted much attention from composers.
Mayuzumi Toshiro(1929) who is a representative Japanese contemporary composer, composed the modernized A-ak "Showa-Tempyo-Raku" for the orchestra of Japanese traditional instruments. In this piece, he thought, the harmonic structure of "Shang" in similar to the tone-cluster of western terminologe.
The three composers have had the same purpose in view, even if their methods are different to modernize the Eastern music.
6, Korea has a relatively short history of contemporary music, much due to the social disturbance following world war II and the Korean War (1950-1953). Since the nineteen-sixties, the composers have become more active in their composition. The proposition of this period is "the spirit of the time" and "nationalism".
La, un-yung's "Symphony No. 9" is based on the style of Neo-nationalism, Neo-primitivism and pointillism. This work is composed for a few traditional Korean instruments, Chang-ko, Je-keum, Jing, and the western orchestra. The form is the Korean style of "San-jo, Jinyangjo, Joong-mori, etc.
With Korean folk rhythem, using the nine special mods, this work is a much modernized Korean style music.
Jae-Youl Park's "Sanjo for five instruments" is lased on the free serial technique and proportional notation. Especially the vibrato, glissando and pizzicato of the Flute, Clarinet, Violin and Cello are effective in creating the unique Korean mood.
In J. Y. Park's "Fantasy in Space" the composer tried to get the image of Korea, combining the three different medias; slide, dancing and music.
In the J.Y Park's "Keyong for percussions and orchestra" the composer tried to invoke the eastern atmosphere of meditation in the first movement. In the second movement, to create the atmosphere of Sanjo, the work employed the original rhythem of San-jo and serie of C. D.F #, Bb using the Korean traditional instruments of the Jango, Unla. The third movement is a variation of the Korean traditional agricultural music.
In the In Yong La's "Yung Myung Song, for Kaya-keum, Dae-keum, Flute and Chamber Ensemble", Kaya-keum is changed from the original tuning. Flute is used without headjoint using the traditional notation and graphic notation. This piece indicates the passibility of a new way to compose the piece of combination of Korean traditional instruments and western instruments.
In the IsangYun's "Yeak", the composer excellently presented the characteristics of A-ak in the method of accent, trill and glissando with tone cluster using the serial technique.
To compose the modernized Korean style music, as describedabove, further studies are required of the method of combination of the Korean material with the contemporary western technique.
For this thesis, we had;
1. The first New Music Forum
1) Date : 23 April, 1973, 6:00 P.M.
2) Place : Orchestsra Room, Yonsei University
3) Performer : Yonsei New Music Ensemble
2. The 2nd New Music Forum
1) Datse : 15 November, 1973, 7:00 p.M.
2) Place : Auditorium, Yonsei University
3) Performer : Yonsei New Music Ensemble Korean Navy Percussion Ensemble
3. The exhibition of New Music Compositions.
1) Date : 10-13 rune, 1974
2) Place : Student Hall, Yonsei University.
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