역사 문화
Korean Traditional Music: Its Genres and Heritage
전인평CHUN In Pyong
아시아문화
0 (0명)
3명이 읽었어요
원스토리 앱에서 볼 수 있는 작품이에요.
- 소장
- 10,000 ⓒ
| 듣기기능 | 미지원 | 파일정보 | |
|---|---|---|---|
| 총 용량 | 9.9 MB | 이용기기 | |
| ISSN | 97911926 | ||
책 소개
이 도서는 한국 전통 음악의 다양성을 소개한 영문 도서이다. 선비음악, 서민음악, 궁중음악, 종교음악 불교음악과 샤만음악과 한국음악의 특성을 소개하는 책이다. .
This book introduces the diversity of Korean traditional music. It covers literati music, folk music, court music, and religious music Buddhist music and shamanic music, along with the characteristics of Korean music.
There are many possible ways to classify Korean music, but in this book I will classify it into munin eumak 문인음악, literati music, seomin eumak 서민음악, commoners’ music, gungjung eumak 궁중음악, court music, gunsauirye eumak 군사의례 음악, military-ritual music, and jonggyo eumak종교음악, religious music. The reasons I use the terms munin eumak and seomin eumak in this book are as follows. Today, most traditional music is not as historically old as one might think. Music such as <Pungipsong> 風入松 from the Goryeo period has been transmitted in notation, but its performance tradition was discontinued. <Yeomillak> 여민락 from King Sejong’s time has been transmitted through notation in each period, but it has changed greatly over later generations and has come down to us in altered form today.
In fact, except for munmyo-ak 문묘악, most of the music transmitted today dates from after the seventeenth century. In other words, most repertories performed in today’s gugak Korean traditional music are transmissions of music from the early modern period and later.
Within the music transmitted today, the string pungnyu 줄풍류, jul pungnyu of the <Yeongsanhoesang> line, as well as gagok, gasa, and sijo, are musics developed by groups of jungin 中人 and seonbi [文人]. Munin eumak refers to music enjoyed by pungnyu-gaek 歌客, amateur connoisseurs rather than professional musicians, and it was music whose meaning strongly emphasized jeonginsim 正人心—cultivating and rectifying the mind for moral self-discipline—rather than entertainment 娛樂. The term “munin eumak” was first used by Yi Hyegu 이혜구, 1909 ~ 2010 when discussing the concept of jeongak. Just as painting has “literati painting” muninhwa, music enjoyed within literati society came to be called munin eumak.
This book introduces the diversity of Korean traditional music. It covers literati music, folk music, court music, and religious music Buddhist music and shamanic music, along with the characteristics of Korean music.
There are many possible ways to classify Korean music, but in this book I will classify it into munin eumak 문인음악, literati music, seomin eumak 서민음악, commoners’ music, gungjung eumak 궁중음악, court music, gunsauirye eumak 군사의례 음악, military-ritual music, and jonggyo eumak종교음악, religious music. The reasons I use the terms munin eumak and seomin eumak in this book are as follows. Today, most traditional music is not as historically old as one might think. Music such as <Pungipsong> 風入松 from the Goryeo period has been transmitted in notation, but its performance tradition was discontinued. <Yeomillak> 여민락 from King Sejong’s time has been transmitted through notation in each period, but it has changed greatly over later generations and has come down to us in altered form today.
In fact, except for munmyo-ak 문묘악, most of the music transmitted today dates from after the seventeenth century. In other words, most repertories performed in today’s gugak Korean traditional music are transmissions of music from the early modern period and later.
Within the music transmitted today, the string pungnyu 줄풍류, jul pungnyu of the <Yeongsanhoesang> line, as well as gagok, gasa, and sijo, are musics developed by groups of jungin 中人 and seonbi [文人]. Munin eumak refers to music enjoyed by pungnyu-gaek 歌客, amateur connoisseurs rather than professional musicians, and it was music whose meaning strongly emphasized jeonginsim 正人心—cultivating and rectifying the mind for moral self-discipline—rather than entertainment 娛樂. The term “munin eumak” was first used by Yi Hyegu 이혜구, 1909 ~ 2010 when discussing the concept of jeongak. Just as painting has “literati painting” muninhwa, music enjoyed within literati society came to be called munin eumak.
목차
Table of Contents
1. Preface 11
2. Definitions of Key Terms Related to Classification 15
3. The Literati Music Tradition and Its Music 20
3.1. The World of Literati Arts: Painting and Music 20
3.1.1. Characteristics of Literati Music 22
3.2. The Yeongsanhoesang lineage: Variations from a Core Repertoire 23
3.2.1. Hyeonak Yeongsanhoesang Junggwangjigok 24
3.2.2. Pyeongjo hoesang Yuchosin jigok 26
3.2.3. Gwanak Yeongsanhoesang 27
3.2.4. Hamnyeongjigok a prototypical gyemyeonjo piece 28
4. Music born from the Lives of the People 29
4.1. Social Background and Formation of Folk Music 29
4.1.1. Characteristics of Folk Music 31
4.2. Vocal Lineages in Folk Music Traditions 31
4.2.1. Pansori 32
4.2.2. Changgeuk 34
4.2.3. Danga 36
4.2.4. Byeongchang 36
4.2.5. Minyo Folk song 37
4.2.6. Japga 48
4.2.7. Gueum salpuri 54
4.3. Instrumental Lineages in Folk Music Traditions 55
4.3.1. Sanjo 55
4.3.2. Pungmul Nongak 57
4.3.3. Samulnori 61
5. Court Music for Rituals and Banquets 64
5.1. The Saak Lineage: From Song-Dynasty Lyric Songs to Korean Court Tradition 64
5.1.1. Lineages in Boherja 65
5.1.2. Nakyangchun 71
5.2. The Yeominrak Lineage: Court Instrumental Developments 72
5.2.1. Yeominrak 73
5.2.2. Yeominrakman 74
5.2.3. Yeominrakryeong 75
5.2.4. Haeryeong 76
5.3. The Sujecheon Lineage: Court Music Derived from a Sujecheon Piece 77
5.3.1. Sujecheon 77
5.3.2. Dongdong 79
5.4. Court Ritual Music Lineages 80
5.4.1. Philosophical Background of Joseon Dynasty Ritual Music: the Thought of Yeak and the Yin–Yang and Five-Phases Theory 80
5.4.2. Aak, the Oldest Ritual-Music Tradition 86
5.4.3. Munmyo Jeryeak 88
5.4.4. The Ritual Music of Jongmyo: <Jeongdaeeop> and <Botaepyeong> 100
5.4.5. Sajik Jeryeak 108
5.4.6. Gyeongmogung Jeryeak 109
5.5. Military Ritual Music 110
5.5.1. Chwita Manpajeongsikjigok 110
5.5.2. Daechwita Muryeongjigok 112
5.5.3. Gilgunak Jeolhwa 113
6. Religious Music in Ritual Traditions 115
6.1. The Buddhist Music Lineage 115
6.1.1. Beompae 115
6.1.2. Hwacheong 121
6.1.3. Yeombul 122
6.1.4. Boryeom and Hwacho saggeori 123
6.2. The Shaman Music Lineage Based on Gut; Muak 125
6.2.1. Types of Gut 126
6.3. Rhythmic Cycles and Regional Variations in Gut Music 136
6.3.1. Gut rhythmic cycles in the Southern Gyeonggi Region 137
6.3.2. Gut rhythmic cycles in the East Coast Region 139
6.3.3. Gut rhythms in the Jeollanam-do Region 140
6.3.4. The rhythm of the Deongdeogungi rhythmic cycle in Gut Music as Seen in the Sejong Sillok 140
Appendixt
7. Appendix: About author 149
7.1. From Silk Road Music to Asian Music Studies 149
7.2. The first wrong train: 150
7.3. The second wrong train: Heading to India 151
7.4. From Silk Road Music to Asian Music Studies 152
7.4.1. The UNESCO Silk Road Expedition 153
7.4.2. Publication of Silk Road: Songs on the Road 2003 156
7.4.3. Insights from Silk Road Music Research 158
7.4.4. Founding the Council for Asian Musicology and Launching the Journal Asian Musicology 2002 159
7.4.5. UNESCO Jury for Intangible Cultural Heritage 2010 164
7.4.6. The Warm Heart of the Arab World: “A Korean Scholar Has Skipped Lunch” 167
7.4.7. KBS Documentary: In Search of Goguryeo Music 2007 170
7.4.8. Four Stages of Musical Transmission 173
1. Preface 11
2. Definitions of Key Terms Related to Classification 15
3. The Literati Music Tradition and Its Music 20
3.1. The World of Literati Arts: Painting and Music 20
3.1.1. Characteristics of Literati Music 22
3.2. The Yeongsanhoesang lineage: Variations from a Core Repertoire 23
3.2.1. Hyeonak Yeongsanhoesang Junggwangjigok 24
3.2.2. Pyeongjo hoesang Yuchosin jigok 26
3.2.3. Gwanak Yeongsanhoesang 27
3.2.4. Hamnyeongjigok a prototypical gyemyeonjo piece 28
4. Music born from the Lives of the People 29
4.1. Social Background and Formation of Folk Music 29
4.1.1. Characteristics of Folk Music 31
4.2. Vocal Lineages in Folk Music Traditions 31
4.2.1. Pansori 32
4.2.2. Changgeuk 34
4.2.3. Danga 36
4.2.4. Byeongchang 36
4.2.5. Minyo Folk song 37
4.2.6. Japga 48
4.2.7. Gueum salpuri 54
4.3. Instrumental Lineages in Folk Music Traditions 55
4.3.1. Sanjo 55
4.3.2. Pungmul Nongak 57
4.3.3. Samulnori 61
5. Court Music for Rituals and Banquets 64
5.1. The Saak Lineage: From Song-Dynasty Lyric Songs to Korean Court Tradition 64
5.1.1. Lineages in Boherja 65
5.1.2. Nakyangchun 71
5.2. The Yeominrak Lineage: Court Instrumental Developments 72
5.2.1. Yeominrak 73
5.2.2. Yeominrakman 74
5.2.3. Yeominrakryeong 75
5.2.4. Haeryeong 76
5.3. The Sujecheon Lineage: Court Music Derived from a Sujecheon Piece 77
5.3.1. Sujecheon 77
5.3.2. Dongdong 79
5.4. Court Ritual Music Lineages 80
5.4.1. Philosophical Background of Joseon Dynasty Ritual Music: the Thought of Yeak and the Yin–Yang and Five-Phases Theory 80
5.4.2. Aak, the Oldest Ritual-Music Tradition 86
5.4.3. Munmyo Jeryeak 88
5.4.4. The Ritual Music of Jongmyo: <Jeongdaeeop> and <Botaepyeong> 100
5.4.5. Sajik Jeryeak 108
5.4.6. Gyeongmogung Jeryeak 109
5.5. Military Ritual Music 110
5.5.1. Chwita Manpajeongsikjigok 110
5.5.2. Daechwita Muryeongjigok 112
5.5.3. Gilgunak Jeolhwa 113
6. Religious Music in Ritual Traditions 115
6.1. The Buddhist Music Lineage 115
6.1.1. Beompae 115
6.1.2. Hwacheong 121
6.1.3. Yeombul 122
6.1.4. Boryeom and Hwacho saggeori 123
6.2. The Shaman Music Lineage Based on Gut; Muak 125
6.2.1. Types of Gut 126
6.3. Rhythmic Cycles and Regional Variations in Gut Music 136
6.3.1. Gut rhythmic cycles in the Southern Gyeonggi Region 137
6.3.2. Gut rhythmic cycles in the East Coast Region 139
6.3.3. Gut rhythms in the Jeollanam-do Region 140
6.3.4. The rhythm of the Deongdeogungi rhythmic cycle in Gut Music as Seen in the Sejong Sillok 140
Appendixt
7. Appendix: About author 149
7.1. From Silk Road Music to Asian Music Studies 149
7.2. The first wrong train: 150
7.3. The second wrong train: Heading to India 151
7.4. From Silk Road Music to Asian Music Studies 152
7.4.1. The UNESCO Silk Road Expedition 153
7.4.2. Publication of Silk Road: Songs on the Road 2003 156
7.4.3. Insights from Silk Road Music Research 158
7.4.4. Founding the Council for Asian Musicology and Launching the Journal Asian Musicology 2002 159
7.4.5. UNESCO Jury for Intangible Cultural Heritage 2010 164
7.4.6. The Warm Heart of the Arab World: “A Korean Scholar Has Skipped Lunch” 167
7.4.7. KBS Documentary: In Search of Goguryeo Music 2007 170
7.4.8. Four Stages of Musical Transmission 173