논문 상세보기

세계음악학회> 음악과 문화> 경기민요 "군밤타령"의 방생 시기에 대한 재검토

KCI등재

경기민요 "군밤타령"의 방생 시기에 대한 재검토

Reconsidering on the Development of "Gunbam Taryeong"

조유미 ( Yoo Mi Cho )
  • : 세계음악학회
  • : 음악과 문화 23권0호
  • : 연속간행물
  • : 2010년 09월
  • : 109-130(22pages)

DOI


목차


					

키워드 보기


초록 보기

The famous Gyeonggi folk song `Gunbam Taryeong` is known to have been created during the Japanese colonial period of Korea. However, unlike most new folk songs, who wrote and composed the song is not known, except that it is just identified as a folk song of Gyeonggi. Therefore, this study explores when the folk song started to become popular among people and what changes it has undergone while being passed down until today. The study found that Gunbam Taryeong is composer Jeon Su-rin`s creative work written in 1932 during the Japanese colonial period. The words of the song were originally created under the influence of "Mangok Gunbam Taryeong" which resulted from a combination of two different folk songs, "Yeonggam Taryeong" and "Bamyeot Taryeong." The folk song Mangok Gunbam Taryeong took a form in which two people exchange melodies with each other, giving out vowel sounds or short words of encouragement, called chuimsae, and thus such sounds and words were also used in Jeon Su-rin`s Gunbam Taryeong. Today, however, it has been transformed into a song being sung by a single person. Gunbam Taryeong was originally written in four-quarter time but later translated into a measure of 8/g"time to the play of janggu (atraditional Korean musical instrument) as it was often enjoyed by famous folk-song singers. The original way to song the folk song is characterized by making its refrain one-beat shorter than the length of the part.

ECN


UCI

I410-ECN-0102-2012-670-001696983

간행물정보

  • : 예체능분야  > 음악
  • : KCI 등재
  • : -
  • : 반년간
  • : 1229-5930
  • :
  • : 학술지
  • : 연속간행물
  • : 1999-2018
  • : 339


저작권 안내

한국학술정보㈜의 모든 학술 자료는 각 학회 및 기관과 저작권 계약을 통해 제공하고 있습니다.

이에 본 자료를 상업적 이용, 무단 배포 등 불법적으로 이용할 시에는 저작권법 및 관계법령에 따른 책임을 질 수 있습니다.

발행기관 최신논문
| | | | 다운로드

1쇼팽 수용관의 시대적 변천

저자 : 김경임 ( Kyoung Im Kim )

발행기관 : 세계음악학회 간행물 : 음악과 문화 23권 0호 발행 연도 : 2010 페이지 : pp. 5-33 (29 pages)

다운로드

(기관인증 필요)

초록보기

Frederic Chopin was often romantically idealized or interpreted not only in the nineteenth century, but even up to the middle of the 20th century. His name reminded the people of an lonely alien who desperately missed his home-land, a romantic man who were involved with the sensational love-affairs, and a delicate artist who died at an early age with tuberculosis. However, from the 1950s on, the argument against this romantic views began to emerge, emphasizing that the life and music of Chopin was misinterpreted with the elements of so-called `myth` and `romantic legend`. The social climates and the individual dispositions play an significant role in causing changes of views about Chopin. In fact, it is helpful to understand an artist better, if we analyse the relationship between the historical facts concerning him and the diverse views about him. Thus this study begins with a discussion of the elements which causes the changes of views on the artists. Then it explains the diverse views on Chopin prevalent in the 19th and the 20th centuries, and presents the task which these diversity Imposes upon us.

2모방과 창조의 역학: 국악관현악단 45년의 전개양상

저자 : 박미경 ( Mi Kyung Park )

발행기관 : 세계음악학회 간행물 : 음악과 문화 23권 0호 발행 연도 : 2010 페이지 : pp. 35-71 (37 pages)

다운로드

(기관인증 필요)

초록보기

While Korea had a long ensemble tradition, cultivated mainly for various court functions and folk rituals, the large-scale modem orchestras of Korean traditional instruments were newly born around 1965. The orchestra was the obvious imitation of Western orchestra. The imitation was so explicit that not only its external appearance, but its basic arrangement and formation, including the conductor, were roughly set up. Considering the 2-300 years of steady and inevitable process toward its perfection in the West, it seems very difficult to understand the 45 years` survival beyond such seemingly reckless and superficially imitative beginning. During the similar period, the West-oriented orchestra of traditional instruments appeared in many other Asian countries, especially in those with strong musical traditions. Among those, Korean case can be accessed as one of the most successful. 45 years passed since its beginning, currently about 40 orchestras are publicly or nationally institutionalized, and all actively performing. Its successful survival can not be explained now by simple imitation theory. There must have been some creative capability working in it. This paper tries to analyze the dynamics of imitation and creation in the orchestral tradition, and search further the meaning of its existence in modem Korean society.

3초급 피아노 교재에 사용된 장,단조 체계 이외의 악곡 분석과 활용 방안

저자 : 유승지 ( Seung Ji Ryu )

발행기관 : 세계음악학회 간행물 : 음악과 문화 23권 0호 발행 연도 : 2010 페이지 : pp. 73-107 (35 pages)

다운로드

(기관인증 필요)

초록보기

The purposes of this study were to examine and analyze musical pieces based on scales other than the major and minor scale in elementary piano method books and consider the significance of such musical pieces in elementary piano education. It also aimed at suggesting plans for today`s children living in the 21st century to utilize their capabilities as players, composers, and improvisers, as did the musicians from the past in the elementary stage. For those purposes, the investigator examined some of the elementary piano method books, namely Alfred`s Basic Piano Library, Piano Adventure, Klavier and 123 Klavier. The research scope was restricted to musical pieces in (1) the pentatonic scale, (2) the whole tone scale, (3) the chromatic scale, (4) the mode, and (5) the polytonality. As a result, there were a total of 674 musical pieces in the four piano books with 43 in the pentatonic scale, 6 in the whole tone scale, 6 in the chromatic scale, 25 in the mode, and 2 in the polytonality. Judging from the results, it is safe to say that the currently used piano books contain musical pieces in much more diverse scales than the ones based on `Middle C Reading Approach.` However, there were some indications of proof, namely the inclination of book organization toward the major and minor scale and poor theoretical explanations about the scales other than the major and minor scales, that the pieces in scales other than major and minor were still neglected to some degree despite their huge significance in music education in the 21st century. In an attempt to help the students understand the musical pieces in the scales other than major and minor with poor explanations provided for them and increase their comprehensive musicianship, the investigator researched teaching plans to utilize those pieces and made various suggestions related to improvisations, and composition. Those scales, which have much greater access to improvisations than the major and minor scale and create their own unique moods, contain many effective contents to help the students learn to play the piano with interest and develop their comprehensive musicianship in early music education. They also present themes that the students should definitely learn in order to experience diverse musical pieces from the Baroque Period to modem times with no prejudice. The research findings will hopefully provide piano teachers with useful information with which to teach their students musical pieces in the scales other than major and minor. Teachers armed with enough theoretical knowledge can teach their students to naturally develop improvisations and compositional skills as well as play the piano based on a profound understanding of music. Ultimately the study results will hopefully have positive influences on piano pedagogue who try to promote a bright future by developing new 21st century-style piano books.

4경기민요 "군밤타령"의 방생 시기에 대한 재검토

저자 : 조유미 ( Yoo Mi Cho )

발행기관 : 세계음악학회 간행물 : 음악과 문화 23권 0호 발행 연도 : 2010 페이지 : pp. 109-130 (22 pages)

다운로드

(기관인증 필요)

초록보기

The famous Gyeonggi folk song `Gunbam Taryeong` is known to have been created during the Japanese colonial period of Korea. However, unlike most new folk songs, who wrote and composed the song is not known, except that it is just identified as a folk song of Gyeonggi. Therefore, this study explores when the folk song started to become popular among people and what changes it has undergone while being passed down until today. The study found that Gunbam Taryeong is composer Jeon Su-rin`s creative work written in 1932 during the Japanese colonial period. The words of the song were originally created under the influence of "Mangok Gunbam Taryeong" which resulted from a combination of two different folk songs, "Yeonggam Taryeong" and "Bamyeot Taryeong." The folk song Mangok Gunbam Taryeong took a form in which two people exchange melodies with each other, giving out vowel sounds or short words of encouragement, called chuimsae, and thus such sounds and words were also used in Jeon Su-rin`s Gunbam Taryeong. Today, however, it has been transformed into a song being sung by a single person. Gunbam Taryeong was originally written in four-quarter time but later translated into a measure of 8/g"time to the play of janggu (atraditional Korean musical instrument) as it was often enjoyed by famous folk-song singers. The original way to song the folk song is characterized by making its refrain one-beat shorter than the length of the part.

5누구를 위한 음악제인가: 20주년을 맞은 대구국제현대음악제(1)

저자 : 신혜수 ( Hye Su Shin )

발행기관 : 세계음악학회 간행물 : 음악과 문화 23권 0호 발행 연도 : 2010 페이지 : pp. 131-158 (28 pages)

다운로드

(기관인증 필요)

초록보기

Taking the opportunity of the 20th anniversary of Daegu International Contemporary Music Festival (DCMF) this study diagnoses for its future development its main problem that can be summarized in the question: for whom is this festival intended? The result shows that DCMF was originally a kind of universiade where students around the country could present their compositions and discuss on music in a free atmosphere, but it slowly lost this special quality that is still unique in Korea. But instead of being nostalgic, the festival should look forward and redefine its target audience. For it becomes more and more difficult to support a festival of art music with government or other public subsidies, even in Germany, DCMF should attract sponsors and a larger public including people without any musical education or any experience with contemporary music. The festival could also commission compositions for this new audience and develop programs for young persons who will be its future `customers`.

6국악관현악단의 운영상 문제점과 발전방안: 국,공립 단체를 중심으로

저자 : 김중현 ( Joong Hyun Kim )

발행기관 : 세계음악학회 간행물 : 음악과 문화 23권 0호 발행 연도 : 2010 페이지 : pp. 159-181 (23 pages)

다운로드

(기관인증 필요)

초록보기

The main purpose of this thesis is to suggest structuring and development direction of managing structure of Korean traditional orchestra. Korean traditional orchestra is genre created in the early 1960s in the western form of orchestra on basis of Korean traditional music. Most Korean traditional orchestras have been founded and run by public institutions since they were classified as a non-profit pure arts organization. In this regard, the public duty for traditional Orchestra is clear: it is responsible for helping the public enjoy quality art activities and reflect various demands from people on its performance. The state-run system have a positive effect of providing a stable environment for performance yet it is also attributable to the public traditional Orchestra`s failing to meet expectations such as expanding the audience and responding proactive to satisfy cultural patrons` needs with various programs. With its fast growth and drastic changes, modem Korean society earned a new responsibility for meeting various needs from a wide range of cultural patrons. Arts administration, however, has not advanced enough to keep up with these new trends and needs. The old-fashioned administration is unable to provide quality art activities and productions, which is seen as the main purpose of art organizations. Problems in the operations of Korean traditional orchestra is the wrong relationship with theaters. Because real property worth in Korea is very high, theater is perceived as value of real property. Thus organizations creating art works are dominated by the theater`s owners. Theaters are a place to produce performance. But in Korea building theaters is considered to be a great achievement of governors. In fact, Korean traditional orchestras are belong to public theaters. Accordingly they can`t be in charge of orchestras`s human resources and execution of the budget. Expenditure of theaters are also operating and personnel expenses. For example, the National Center for Korean Traditional Performing Arts spent 83% of total budget on operating and personnel expenses. Above all the members of Korean traditional orchestras try to keep their job stability. Because of this reason labor unions in these orchestras are invigorated and they exist for only extremely few national and public artists. Positions as members of Korean traditional orchestra guarantee them a permanent job. It causes that they look down on temporary staffs and they have only their pride, not try to offer service to public. Thus, many art organizations are now striving to foster the ability to stand on its own through management restructuring. In such trends in cultural and art circle, each national and public art organizations are aware of the need for research on how to accurately examine the current situation and come up with solutions for improvement. In order to figure out effective management solutions for the public traditional Orchestras, this study looked into the history and founding ideology of the public traditional Orchestra of Korea as well as its current management and operation status. In addition, by examining the operations of similar national and public traditional orchestras, comparative analysis of public traditional Orchestras were conducted. Through the analysis and comparisons, this research found out what kinds of management problem the public traditional Orchestras of Korea is facing now. Based on findings from the case studies of other art organizations home and abroad, management solutions for the public traditional Orchestras of Korea were presented. As a result, Korean traditional orchestras should be separated from theater to finish this master-servant relationship. Also the producing team should be a leader and headhunt artists and musicians.

7존 윌리엄스의 영화주제곡 "레이더스 행진곡"에서의 관현악법 연구

저자 : 정길 ( Jung Kil )

발행기관 : 세계음악학회 간행물 : 음악과 문화 23권 0호 발행 연도 : 2010 페이지 : pp. 181-218 (38 pages)

다운로드

(기관인증 필요)

초록보기

This study standardized the Instrumentation and Voicing structure, which were shown in the film score titled "Raiders of the Lost Ark: Raiders March" by John Williams (1932~), into the structure suggested by a writer, comparatively analyzed how they are operated by each passage and phrase, from the horizontal perspective, and then examined about principle of progression in orchestration based on this. Above all, in operating the instrumentation structure, some of the operating techniques, which become the important standard, were discovered as follows. Every phrase(4~8 measures), which was suggested the basic paragraph in each theme, is intentionally pursued consecutively a change in instrumentation structure. And the Fore Ground in the phrase, which is repeated the same theme, is maintained unity with the consecutive instrumentation. On the contrary to this, the Middle Ground or Rear Ground is operated the instrumentation structure that is weak in a change of timbre due to adding, omitting or replacing the supplementary instrument for reinforcing diversity. Nextly, the phrase, which is shown new theme, aims to strengthen diversity. Thus, the change of timbre in the Middle Ground and Rear Ground including replacement of musical instrument in the Fore Ground leads to being operated the big instrumentation structure. Also every transition is given a change in timbre and tone volume by adding, omitting or replacing the musical instrument by each functional part. Thus, the instrumentation structure is indicated that forms a sense of paragraph of each phrase. Lastly, even basic operating techniques are applied differently every passage. In other words, it is distributed fully to the operating technique in the prior phrase. Otherwise, new instrumentation structure is operated on the basis of the changed operating technique. Next, even in operating the voicing structure, a few operating techniques, which become the important standard, were discovered. Every phrase(4~8 bars), which was suggested the basic paragraph in each theme, is distributed so that thinness and thickness in voicing concentration can be contrasted vertically between functional parts in each (Fore Ground-Middle Ground-Rear Ground), and also is intentionally pursued consecutively a change in the voicing structure. And the phrase, which is repeated the same theme, is operated the voicing structure with a small change by overlapping or adding part in the middle ground or rear ground in order to reinforce diversity in addition to the basic voicing structure in exposition. And also, the phrase, which is shown new theme, is operated the voicing structure with a big change in voicing concentration from thin part to thick part and from thick part to thin part in order to emphasize diversity. Finally, every transition is shown the voicing structure, which forms a sense of paragraph in each phrase, by giving a change such as adding or omitting part and replacing thickness and thickness over each functional part. This study aimed to establish on the standard point in the principle of progression in orchestration by having sample as the operating technique, which was used in this work. In conclusion, a method of approaching the completion of the balanced orchestration is what considers relationship of horizontal progression based on the technique of vertical perspective. Also, it will be a good learning method even to practice the orchestration performance technique in the whole of this music as one sample, along with the contents of general conclusions that were suggested in the above. An analytical research in this aspect is desired to become an opportunity of new development in theoretical system and educational establishment in the orchestration technique.

1
주제별 간행물
간행물명 수록권호

KCI후보

미래음악교육연구
3권 1호 ~ 3권 1호

KCI등재

음악이론포럼
25권 1호 ~ 25권 1호

KCI등재

음악학
34권 0호 ~ 34권 0호

KCI등재

이화음악논집
22권 2호 ~ 22권 2호

KCI등재

한국음악사학보
60권 0호 ~ 60권 0호

KCI등재

음악이론연구
30권 0호 ~ 30권 0호

KCI등재

서양음악학
45권 0호 ~ 45권 0호

한국음악사학회 학술발표논문집
10권 0호 ~ 11권 0호

한국음악사학회 학술발표논문집
12권 0호 ~ 13권 0호

한국음악사학회 학술발표논문집
14권 0호 ~ 15권 0호

한국음악사학회 학술발표논문집
16권 0호 ~ 17권 0호

KCI등재

이화음악논집
22권 1호 ~ 22권 1호

KCI등재

음악교수법연구
19권 1호 ~ 19권 1호

KCI후보

음악과 민족
55권 0호 ~ 55권 0호

KCI등재

음악과 문화
38권 0호 ~ 38권 0호

KCI등재

음악교육연구
47권 1호 ~ 47권 1호

KCI등재

음악이론포럼
24권 2호 ~ 24권 2호

한국음반학
27권 0호 ~ 27권 0호

피아노음악연구
11권 0호 ~ 11권 0호

KCI등재

이화음악논집
21권 4호 ~ 21권 4호
발행기관 최신논문
자료제공: 네이버학술정보
발행기관 최신논문
자료제공: 네이버학술정보

내가 찾은 최근 검색어

최근 열람 자료

맞춤 논문

보관함

내 보관함
공유한 보관함

1:1문의

닫기