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.
논문 기본 정보
- 자료유형
- 학술저널
- 저자정보
- 저널정보
- The Academy of Korean Studies THE REVIEW OF KOREAN STUDIES THE REVIEW OF KOREAN STUDIES Vol. 6 No.2 DECEMBERune 2003
- 발행연도
- 2003.12
- 수록면
- 191 - 231 (41page)
이용수
초록· 키워드
오류제보하기
During the first half of the twentieth century, a remarkable major change took place in traditional music. Local musics from various regions started 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 this time were unprecedented.
By focusing on the result of exchanges among musics with different tori witch means a specific music style of a specific region, 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.
The subject of this study is “Gaeseong nanbongga”, which means a “nanbong song” sung in Gaeseong area. The word “nanbong” in Chinese characters means “hard to meet”. Mainly expressing the love between a man and a woman, “nanbongga”, a folksong, was sung widely in the Hwanghae Province area, which lies in the northeast to Gaeseong. Thus, the very structure of the title “Gaeseong nanbongga” testifies that this folksong belongs to a type of “nanbongga” songs that were transmitted in Hwanghae Province region, and that the center of this specific song was the city of Gaeseong.
Since this song exhibits different modes depending on the version, it would be hard to conclude that the song only possesses musical characteristics of one specific region. Instead, such a variety seems to have come from the fact that it has been influenced by folksongs of various neighboring regions. This article intends to examine an aspect of such a variety through the analysis of modal structure of “Gaeseong nanbongga”.
The following materials were used for the analysis of this study: scores and SP recordings from the Japanese Occupational period (1910-45), scores published in South and North Koreas after the Korean War (1950-3), recordings produced in South Korea after the 1980s, and scores published in a part of China where Koreans who immigrated to that region during the first half of the twentieth century have formed a big Korean Diaspora. The transcription of recorded songs and the translation of the Chinese number-notation were all done by me. The following is the list of the material used in this study.
The main technique I would like to adopt for the analysis of the tonal structures of these various versions is called “the degree of importance for structural notes”. My hypothesis is that a specific note may not have exactly the same functional importance in all versions. One way to demonstrate the degree of difference is through the use of objective numbers. The following is the description of such an analytical method.
The formula for the combination is:
Degree of importance for structural note (%) ={duration for each note + frequency of appearance +(frequency of the application of words to a note×2) } ÷ 4
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. Starting 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 witch means a specific music style of a specific region, 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.
The subject of this study is “Gaeseong nanbongga”, which means a “nanbong song” sung in Gaeseong area. The word “nanbong” in Chinese characters means “hard to meet”. Mainly expressing the love between a man and a woman, “nanbongga”, a folksong, was sung widely in the Hwanghae Province area, which lies in the northeast to Gaeseong. Thus, the very structure of the title “Gaeseong nanbongga” testifies that this folksong belongs to a type of “nanbongga” songs that were transmitted in Hwanghae Province region, and that the center of this specific song was the city of Gaeseong.
Since this song exhibits different modes depending on the version, it would be hard to conclude that the song only possesses musical characteristics of one specific region. Instead, such a variety seems to have come from the fact that it has been influenced by folksongs of various neighboring regions. This article intends to examine an aspect of such a variety through the analysis of modal structure of “Gaeseong nanbongga”.
The following materials were used for the analysis of this study: scores and SP recordings from the Japanese Occupational period (1910-45), scores published in South and North Koreas after the Korean War (1950-3), recordings produced in South Korea after the 1980s, and scores published in a part of China where Koreans who immigrated to that region during the first half of the twentieth century have formed a big Korean Diaspora. The transcription of recorded songs and the translation of the Chinese number-notation were all done by me. The following is the list of the material used in this study.
The main technique I would like to adopt for the analysis of the tonal structures of these various versions is called “the degree of importance for structural notes”. My hypothesis is that a specific note may not have exactly the same functional importance in all versions. One way to demonstrate the degree of difference is through the use of objective numbers. The following is the description of such an analytical method.
The formula for the combination is:
Degree of importance for structural note (%) ={duration for each note + frequency of appearance +(frequency of the application of words to a note×2) } ÷ 4
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. Starting 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
1. Introduction
2. Subject of this Study: “Gaeseong nanbongga”
3. Musical Characteristics of “Gaeseong nanbongga”
4. Conclusion: Changes in “Gaeseong nanbongga”
Reference
참고문헌 (0)
참고문헌 신청함께 읽어보면 좋을 논문
논문 유사도에 따라 DBpia 가 추천하는 논문입니다. 함께 보면 좋을 연관 논문을 확인해보세요!
-
사회주의 도시 ‘개성’의 연속과 변화 연구
역사와현실
2015 .12
-
조선후기 開城의 지방군 운영의 변화과정 : 操鍊과 收米 문제를 중심으로
한국사연구
2009 .12
-
개성의 3·1운동
역사와현실
2019 .09
-
1920년대 개성의 사회운동과 비밀결사 개성공산당 -사회운동과 지역성의 관계를 중심으로-
역사연구
2019 .12
-
해방 이후 충남 강경(江景)의 ‘개성상인’과 면직물 직조업
역사민속학
2019 .06
-
고려말・조선초 개성부의 위상
동방학지
2015 .01
-
1930년대 백삼 통제의 전개와 개성상인 간 갈등 연구
역사연구
2019 .12
-
조선후기 구례 개성왕씨가의 고문서 검토- 구례 개성왕씨가의 성장과 顯祖顯揚活動을 중심으로-
古文書硏究
2007 .01
-
開京學의 成立 및 實學과 連繫
역사와실학
2001 .01
-
1920~1930년대 개성 ‘지방의회’의 특징과 인삼탕 논의
역사연구
2019 .12
-
A Note on Korean Culture
Korea Journal
1977 .04
-
북한 어업노동요의 음악적 특징
공연문화연구
2019 .01
-
19세기 전반의 가곡과 『歌譜』의 존재 양상
우리문학연구
2002 .12
-
윤치호와 미국 남감리교 선교 : 개성지역을 중심으로
사학연구
2016 .12
-
二十世紀中大陸宋人小究綜論
중국어문학
2005 .01
-
한국전쟁 이후 개성주민의 삶의 변화 연구
통일인문학
2016 .06
-
한국 현대 민중가요의 통계적 분석과 그 의미 - 1945년부터 2000년까지
비평문학
2005 .11
-
A Song of Life (9)
Korea Journal
1980 .06
-
20세기 전반기 대중가요계의 ‘대중성’ 담론과 민요수용 문제
어문학
2008 .09
이 논문의 저자 정보
이 논문과 함께 이용한 논문
최근 본 자료
댓글(0)
0
UCI(KEPA) : I410-ECN-0101-2020-911-000956483