Earticle

초록

영어

This is the collection of the records related with my seven pieces of composition that were criticized not favorably but severely. Since l believe that a history of Music begins with the accurate records of the composers and their ideas, I collected the records of my composition. The reason why I collected only the composition criticized severely is on purpose to take an objective view of my composition, to identify my existence while discussed lively and to acquire the strong incentive and the desire to create. Here we have seven pieces of composition; A chamber music The dance of the wind(바람의 춤), a traditional orchestra Haedongsin'gok(海東新曲 The new music from sunrise) and The Dance, and the Words of the Wind for the Young(젊은이를 위한 춤, 바람의 말), a dance music Galsup(갈숲 The field of reeds), two solos for gayago Julpuri No. 2(줄풀이 No. 2 The untie for strings No. 2), and Huktam(흙담 The clay wall), a solo for geomungo Gopuri(고풀이 The untie for chords). The records related with these works consist of the notes for the composition, an explanation about the composition, an introduction of LP and CD, information of the published notes and several articles and criticism etc.. Through these records, we can help understand the background and the idea of my music. lt is common that music is for listening. The expressions such as ‘going watching concerts’ and ‘calling audience as spectators’ are of appreciating music with sight not with hearing. Watching is still closer than hearing to our life so that we may acquire much more information. Accordingly the title of this essay is not “How does the audience appreciate my composition with hearing?” but “How does the audience appreciate my composition with sight?” Moreover we can more accurately recognize things by watching them than hearing. Related with an appreciation in that way, this essay deals with arguments: How to appreciate composition such as shaman music(playing, ritual ceremony) and dance music. There are comments about Haedongsin'gok, Julpuri No. 2 and Huktam in the last part of this essay. Of the compositions, particularly l assert the criticism about Huktam to be reconsidered correctly. Since Huktam contains an ethno- logical meaning from the composition, they made a mistake even if they regard Huktam(흙담, The clay wall) as Doltam(돌담, The stone wall). Of course l'd like to call it a mistaken criticism. As criticism affects the players and the audience, a critic should be a good executive who criticizes the composition itself and he or she should be a good narrator who uses the sentences composed of proper words. l hope this essay can help us live happily and freely with music. Through this essay “How does the audience appreciate my composition with sight?” we'll be able to seek. Good answers for many questions, too. How can composers accomplish their works? How can players perform actively? And could they expect the intellectual and penetrative criticism?

한국어

본문은 나의 작품 일곱 편에 관련된 호평보다 악평쪽의 비평 모음이다. 이러한 비평을 모은 까닭은 나의 작품에 관한 객관적인 견해를 가지며 활발한 논의로써 내 작품에 관한 확인과 강한 인센티브, 그리고 창작을 위한 신선한 의욕을 얻기 위해서다. 일곱 편의 작품은 실내악 <바람의 춤>․관현악 <해동신곡>․<젊은이를 위한 춤 바람의 말>․무용곡 <갈숲>․가야금 독주곡 <줄풀이 제2번>․<흙담>․거문고 독주곡 <고풀이> 등이다. 이런 비평에는 관련 작품인 LP․CD의 해설(작곡노트)도 포함되어 있다. 본문을 통하여 내 작품들의 배경과 시각적인 악상(樂想 musical idea)을 이해하는 데 도움이 될 것이다. 우리가 사물을 듣기 보다는 봄으로써 더욱 정확하게 인식할 수 있는 것처럼(百聞而不如一見) 본문은 “나의 작품을 남이 어떻게 듣는가?” 가 아니라 “어떻게 보는가?”이다. 특히 본문 후반에서 <흙담>을 <돌담>으로 오역 비평함에 관하여 번역 비평이 정확할 것을 언급한다. 비평은 연주자․독자․청중에게 지대한 영향을 주기 때문에 비평가는 작품을 비평하는 선량한 행위자여야 하고 좋은 언어와 문장을 구사하는 나레이터야 함을 강조한다. 본문은 청중이 나의 작품을 보는 눈을 통하여 “어떻게 들을 수 있는가?”와 함께 작곡가들은 어떻게 자신의 작품을 완성하는가? 연주자․독자들은 어떤 활동을 하는가? 이들은 지적이며 궤뚫어 보는 비평을 기대할 수 있는가? 라는 명제를 남긴다.

목차

<국문요약>
 Ⅰ. 처음
 Ⅱ. 중간
  1. 실내악 ｢바람의 춤(風舞)｣
  2. 무용음악 ｢갈숲｣
  3. 18줄 가야고독주곡 ｢줄풀이 제2번｣
  4. 관현악 ｢젊은이를 위한 춤 ‘바람의 말’｣
  5. 和絃거문고독주곡 ｢고풀이(琴解)｣
  6. 論外: 인터넷 게시판 －1－ㆍ인터넷 게시판 －2－
 Ⅲ. 나중: 12현금 독주곡 ｢흙담｣－비평론
 <참고문헌>
 Abstract

키워드

인센티브 실내악 관현악 악상 보는가? 나레이터 with sight?ㆍshaman chamber music orchestra the idea of my music usic Doldam narrater

저자

• 이해식 [ Lee, Hae-Sik | 작곡가, 영남대학교 명예교수 ]

참고문헌

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