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커뮤니티
연구자들이 자신의 연구와 전문성을 널리 알리고, 새로운 협력의 기회를 만들 수 있는 네트워킹 공간이에요.
초록· 키워드
오류제보하기
During the twentieth century, another major change took place in traditional music. Local musics from various regions starred to spread widely beyond their original geographical areas. Of course, even before the twentieth century music had been transmitted beyond its native region, and the interaction between regions had existed. But, facilitated by urbanization and industrialization, especially centering on Seoul, and accompanied by the expansion of human and cultural exchanges, the active cultural and musical exchanges that took place during the first half of the twentieth century were unprecedented.
By focusing on the result of exchanges among musics with different tori, this article intends to examine how one indigenous Korean folksong with unique local characteristics has been transmogrified as a result of such cultural exchanges among different regions in Korea.
Through the analysis of modal representations in various versions of Gaeseong nanbongga, I intended to trace different patterns of changes that took' place in Korean folksong during the twentieth century. Starring out as an indigenous folksong of a specific region, Gaeseong nanbongga became a repertoire piece for professional musicians specializing in folksongs of other regions, and the original mode of the song was transmogrified to reflect their own musical sensibility and background. Moreover, even the influence of Western music appears in the transcription and performance of the song because of the participation of musicians with Western musical training. It seems that such a change took place throughout the whole twentieth century. Of course, a limited examination of only one song--Gaeseong nanbongga--would not lead to a generalization of all different types of changes that took place in the overall Korean folksong repertoire during the twentieth century. Yet, if we apply the methodology illustrated in this study--degree of importance for structural notes--to other folksongs in Korea, we may be able to understand partially the impact of industrialization, urbanization, and Westernization on the body of Korean folksong.
By focusing on the result of exchanges among musics with different tori, this article intends to examine how one indigenous Korean folksong with unique local characteristics has been transmogrified as a result of such cultural exchanges among different regions in Korea.
Through the analysis of modal representations in various versions of Gaeseong nanbongga, I intended to trace different patterns of changes that took' place in Korean folksong during the twentieth century. Starring out as an indigenous folksong of a specific region, Gaeseong nanbongga became a repertoire piece for professional musicians specializing in folksongs of other regions, and the original mode of the song was transmogrified to reflect their own musical sensibility and background. Moreover, even the influence of Western music appears in the transcription and performance of the song because of the participation of musicians with Western musical training. It seems that such a change took place throughout the whole twentieth century. Of course, a limited examination of only one song--Gaeseong nanbongga--would not lead to a generalization of all different types of changes that took place in the overall Korean folksong repertoire during the twentieth century. Yet, if we apply the methodology illustrated in this study--degree of importance for structural notes--to other folksongs in Korea, we may be able to understand partially the impact of industrialization, urbanization, and Westernization on the body of Korean folksong.
목차
Ⅰ. 머리말
Ⅱ. 연구대상 : 개성난봉가
Ⅲ. 개성난봉가의 음악양식
Ⅳ. 맺는말 : 개성난봉가의 변화 양상
〈참고문헌〉
〈참고자료〉 개성난봉가 악보와 구성음별 중요도 산출표 및 도표
참고문헌 (0)
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UCI(KEPA) : I410-ECN-0101-2009-673-017603329