Earticle

초록

영어

This thesis is to discuss over composer's creative thinking on musical composition of Korea at the standpoint of a composer rather than to lean upon the previous theoretical discussion done in the two areas, Korean music and Western music of Korea. I have examined here as follows : the discussion over musical composition in carrying on co-research of the two paradigm in Korea, Korean and Western musical academic areas; the evolvement of musical composition in each of the two; composer's thinking according to such proceedings in the 70ㆍ80's and after that time; and composer's creative thinking on musical composition of Korea. 'Of Korea' could be defined as implies the significance on pursuit to Korean identity. In order to approach into Korean identity and individual identity of a composer, did I present three dimensions such as 'music of Korea', 'creative musical work of Korea', and 'musical composition of Korea'. The term of 'identity' is, although extremely abstract, what a fundamental inquiry on a thing always tends to consider with: Identity could be given an appropriate definition as 'the sustainable trait in the changes or orthodoxy constituting a tradition.' This signifies not only a distinctiveness or an own characteristics revealed individually according to persons, culture, various spheres but also a homogeneity among them. It has been maintained here that 'Music' of Korea contains the Korean identity and presents a sort of Korean musical culture coming into being by the constructive form of creative musical works by composers. Accordingly musical identity of Korea could be found through the homogeneity among the whole creative musical works of Korea. On the other hand in discussion over the identity of Korean music, the individual identity of a composer would be easily partial to cultural homogeneity among individuals rather to be recognized the own peculiarities of each composers. Therefore as a new 'creative musical work' of Korea comes our it may be got faced with that a music However Korean identity established by the previous musical works and composer's individual identity are to confront and become to make mutual stimulation, through such a course, not only a new creative musical work can be produced but also Korean identity possibly filtered in the future music be continuously formed. Most of all, 'musical composition' of Korea is the domain composer's individual identity and contains the process of reflecting Korean and composer's individual identities toward creative musical work by virtue of composer's creative thinking and working. The most important matter in musical composition of Korea is claimed in this thesis what musical element or what point of view a composer can consider as Korean orthodoxy in the working process of musical composition. For this the core activator is the creative thinking of a composer in musical composing. If there are the changeable and the unchangeable through the ages, the former is 'a Korean orthodoxy', the latter, 'a view and way(a tradition) according to times' on how to consider and reflect the former'. Korean orthodoxy could be hold as Korean identity that has been consistently succeeded and kept in through times and ages even in the course of arising a new ideology or phenomena in a certain time. And a tradition of times is supposed to be considered as a current view and culture on the promise of flexibility(the changeable) as to gripping of an orthodoxy. It is to establish the future of musical composition that the speculation over a tradition of times and individual thinking of a composer confront and interact each other for the purpose of recognizing Korean orthodoxy. That is the fundamental principle which can surmount a contradictive relationship in keeping 'the unchangeable' through 'the being changed'. Then what is the core in making a recognition on the result over having been such surmounted. It is the very creative musical works which would continuously constructively formed up. It can be certain that music of Korea contains Korean identity and that creative musical works of Korea is the constructive form which make us to be able to recognize Korean identity. For this musical composition of Korea is the process of musical creation(composition) in which a composer's creative thinking is energetically working toward the significance of music itself. We stand on here and now after 100years since Western music had been flowed in Korea. All of us are participating in the course of extracting synthesis through antagonism and interaction between thesis and antithesis such as a people and individual, creation and tradition, and Korean and Western.

목차

Ⅰ. 머리말
 Ⅱ. 국악학과 양악학의 공동연구에 있어서 음악창작에 대한 논의
 Ⅲ. 한국의 양악계와 국악계 음악창작의 전개
 Ⅳ. 음악창작의 전개에 따른 작곡자의 사고
 Ⅴ. 한국의 음악ㆍ한국의 창작음악ㆍ한국의 음악창작
 Ⅵ. 맺음말
 Abstract

키워드

저자

• 윤혜진 [ Yoon, Hye-jin | 서울대학교 강사 ]

참고문헌

발행기관

간행물

표지보기 관심저널 등록

• 간행물명

  한국음악연구 [STUDIES IN KOREAN MUSIC]

• 간기

  반년간

• pISSN

  1975-4604

• 수록기간

  1975~2026

• 등재여부

  KCI 등재

• 십진분류

  KDC 679 DDC 780