지원사업
학술연구/단체지원/교육 등 연구자 활동을 지속하도록 DBpia가 지원하고 있어요.
커뮤니티
연구자들이 자신의 연구와 전문성을 널리 알리고, 새로운 협력의 기회를 만들 수 있는 네트워킹 공간이에요.
초록· 키워드
오류제보하기
Yeongsanhoesang is estimated very highly in Korean traditional music in that it originally was the vocal music rune that had the words of 'Yeongsanhoesang-bulbosal', but words have disappeared as it has gone down to posterity and it becomes an instrumental music rune as it has been secularized.
As Yeongsanhoesang that is historical and that become the fundamental of 'Jeongak' has the form of suit that can not be found in different runes, it holds an important position in terms of the form of a tune, and especially Sangyeongsan is estimated very highly in that it is the mother of Yeongsanhoesang.
Yeongsanhoesang is handed down by form of music book as a vocal music rune has become an instrumental music rune. But we had a little difficulties in comparing the melody of Korean traditional music and making an analysis of the musical form, because different runes ate handed down by form of 'Hyeongeumbo'.
The while the activites and studies of writing and studying a music have been accomplished actively in order to decrease such difficulties. But the activties and studies of writing and studying a music ate unsatisfactory to studying and consulting the theory of practical music because the studies of musical melodious structure and form that is helpful not to bibliographic theory but to practical performance is relatively insufficient.
To examine a melodious structure and form of a rune for each musical instrument is also very important way to be helpful to easily understanding the historicity in the aspect of preservation and inheritance of our music, and will moreover be helpful to the development of Korean-musicology(about traditional music) and the study of the structure and form of newly created Korean traditional music tunes.
The purpose of this study is to be helpful to correctly understanding musical character through study activities of such melodious structure and form, and also to give notice of the reality and the present state.
I think that this purpose is necessary to systemical musical study and development of the field of each practical talent, and must be continued in that it is the way to understand the important historical fundamental in the aspect of preservation, inheritance and development of our music.
As Yeongsanhoesang that is historical and that become the fundamental of 'Jeongak' has the form of suit that can not be found in different runes, it holds an important position in terms of the form of a tune, and especially Sangyeongsan is estimated very highly in that it is the mother of Yeongsanhoesang.
Yeongsanhoesang is handed down by form of music book as a vocal music rune has become an instrumental music rune. But we had a little difficulties in comparing the melody of Korean traditional music and making an analysis of the musical form, because different runes ate handed down by form of 'Hyeongeumbo'.
The while the activites and studies of writing and studying a music have been accomplished actively in order to decrease such difficulties. But the activties and studies of writing and studying a music ate unsatisfactory to studying and consulting the theory of practical music because the studies of musical melodious structure and form that is helpful not to bibliographic theory but to practical performance is relatively insufficient.
To examine a melodious structure and form of a rune for each musical instrument is also very important way to be helpful to easily understanding the historicity in the aspect of preservation and inheritance of our music, and will moreover be helpful to the development of Korean-musicology(about traditional music) and the study of the structure and form of newly created Korean traditional music tunes.
The purpose of this study is to be helpful to correctly understanding musical character through study activities of such melodious structure and form, and also to give notice of the reality and the present state.
I think that this purpose is necessary to systemical musical study and development of the field of each practical talent, and must be continued in that it is the way to understand the important historical fundamental in the aspect of preservation, inheritance and development of our music.
목차
Ⅰ. 머리말
Ⅱ. 樂器別 旋律構造 및 形式 分析
Ⅲ. 管樂器의 相互 旋律構造 比較
Ⅳ. 맺음말
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