Earticle

Okbogo was known as a person who studied Geomungo for 50 years in Jilisan Unsangwon. The location of Unsangwon can be traced as the surroundings of Namwon city Unbong province Okgye village. However, in another side, it is also recorded that if you go up the mountain from Hadong Ssanggyesa, there is Chilbulam (Chilbul temple) and it is also called Unsangwon. There are many related literatures about Okbogo who is well known player for Geomungo (hyunkeum) in Sinla Dynasty and through these literature, I have found out that there might be some relations between Keumdo and Sundo in the Okbogo period. Therefore, in this paper I will summerize all the problems of Keumdo and Sundo in Okbogo. The relationship between the Sinla Dynasty, the Seonga ideology and music is recorded on Cha Ju Hwan's 『Study of Korean Taoist Ideology』. However, the demonstrative material is still not enough. From the above seven historical materials, 『Sinjeungdonggukyeojiseunglarn』 and 『Akhakpyeongo』 shows that the sources that shows about Okbogo's period is 『Sejongsilrok Jiriji』 and according to this historical documents, the Okbogo's life period is traced as Sinla Kyoungdeuk King Period(742~764). Also, the record about Keumsongjung which was located on top of Keomoh mountain is not clear. At present, after the result of the fieldwork, I could not find any trace about Keumsongjung. Also according to Hong Young Seung, there was Keumsongjung in Wolsung but it is not sure. Therefore, the assumption that Okbogo lived in the period of Kyoungdeok King period is to a certain degree have credibility and propriety but Seo Geo Jung thought Okbogo was a person in the period of Jinheong King Period(539~575) and Nam Hyo On described as person in Jinpyoung King Period(579~631), so it is impossible to conclude him as a person who lived during Kyoungdeok King Period because of the difference of the historical dates. Until this time, the period of Okbogo was known as Kyoungdeuk King Period (742-762)based on the recordings of 『Sejongsilrok Jiriji』 and 『Sinjeongdongguk -yeojiseungram』. However, in the 『Samkuksagi』, Yi Chan Yoon Heung's death period was clearly stated and if you look at that year as a center for looking at Okboko's period, the record of Sejongsilrok is no doubtful historical material but it also needs to be reexamined. Even though, if we look at the age of Okbogo's existence period to Kyoungdeok King Period, the problem is that how, when and through what method the Geomungo of Gokuryeo passed down to Sinla and again how it has been connected as Keumdo by Okbogo can not be clearly understood by any historial materials. It is only important to reexamine rather to look at Keumdo as tradition of Keomungo or if there is another meaning inside the word "Keumdo."

The aim of this paper is to compare these two types of ensembles according to the instrumentation, repertoire, method of variation, texture, aesthetics and the circumstances in which they are played. The comparison reveals many similarities and differences between Korean julpungryu and Chinese sizhyue. The instrumentation of the two different musical types are both dominated by wind instruments and string instruments. The types of variation used are 'melodic and rhythmic extension and extraction. The musical texture of julpungryu and sizhuyue is characterized by its heterophonic structure. The heterophonic melodies are created by chance, different parts perform the same tune at the same time. Jin Zuli has identified four important elements that contribute to the beaury of sizhuyue, they are the following : a small sized ensemble, a light atmosphere, a delicate musical structure and a dignified performance. These terms and expressions can be used to describe the aesthetics of Korean Julpungryu.

The characteristics of Korean Traditional Music can be researched through aesthetical, philosophical, ideological, historical, cultural and social studies. The results of all these studies will help us a lot to understand the characteristics of the music. But the results of the studies have some metaphysical meanings of the music. Apart from the metaphysical meanings, what can be found as the Korean properties in the music? As a result of my study on them, I can conclude as follows. The Korean Traditional Music can be called the music of musical dots. It is based on the musical dots by percussion instruments like the bak, the janggu, the kkwaenggari, and drums. All most all the music is starred and finished by the musical dots of the bak or sometimes drums, and is performed to the accompaniment of percussion instruments. Especially the music of Samulnori is the representative one of dots by four percussion instruments. The melodies of all the Korean Traditional Music are based on the curve line of typical Korean style in the micro-tonal system. The Korean Traditional Music is mainly composed of so many kinds of triple time with triple rhythm in it. These three are confirmed Korean properties in the music itself. The hardness and softness in the musical elasticity, and the musical shades or gradations of the music are Korean properties which are found in the expression of the performance of the music. The performance in succession without limitation and discontinuation is Korean property which is found in the framework of the music. The functionality and the diversity are confirmed Korean property in its use. The versatility, the transformation, and the variety of the Korean Traditional Music are another Korean properties which are based on the spirit of respecting and creating new style of music.

Gyeonggi Chapga, twelve songs sung in Gyeonggi area, is known to be originated and transmitted in Seoul and Gyeonggi area. While some of the twelve songs show musical feature found in Seodo area, a few other songs possess tonal structure of songs found in Gyeonggi area. This paper analyzes tonal structure of the twelve songs respectively. The approach adopted is called "degree of importance by musical notes". In this approach, duration of each note, frequency of appearance, and the times of application to words of a note are measured for each note respectively in a specific song. The three figures, obtained from the calculation of the three features, are added up together. The total is divided by the number of the features, three here, and the final number will represent the degree of importance of each musical note. A graphic illustration of analysis will provide visual aids to understand the results. The formula is as below : Degree of Importance for musical notes (%) = (Duration of each note + Frequency of appearance + the times of application to words of a note ) ÷ 3 The result based on the analysis method shows : Susimga Tori represents the musical characteristics of Seodo area. Four of the twelve songs - Bangmul-ga, Shipjang-ga, Hyeongjang-ga, and Jeokbyuk-ga - fall into this Susimga Tori. Gyeonggi Tori pertains to musical characteristics of Seoul and Gyunggi area. Three of the twelve songs Pyongyang- ga, Sunyoo-ga, and Dalgeori - has musical features belonging to Gyeonggi Tori. The songs of Jebi-ga and Chulin-ga have musical structure of Susimga Tori in some parts and Gyunggi Tori in other parts in each song. The songs of Yoosan-ga, Chipjang-sa and Sochunhyang-ga shows a combined musical structure of the two regions.

Chesok-kut, in which a shaman epic is recited, is performed in the first part of two-part scheme in the ssikkim-gut, the washing ritual for the dead in Chindo island. Among all the ritual sequences of ssikkim-gut, ches?k-kut is the longest(one hour) and the most complex one. Chindo sikkim-gut in general, and ches?k-kut in specific, have been considered poor in the textual integrity. In terms of its musical quality, however, they have shown very high standard. Especially the ches?k-kut, being one of the longest of all, contains a complex musical construction. Ches?k-kur is performed to invite and entertain ches?k, a god of fortunes and in return to receive many blessings, this-worldly fortunes from him. Its ritual procedures are in some sense contained in a series of individual songs, all connected. Each is complete in its own terms, having its poetic and musical characteristics. Each, having its own characteristics, is well articulated and thus gain independency as a piece. From the musical point of view, thus, it can be considered as a suite, which contains various styles in its parts. Its stylistic varieties are revealed in its form, changdan(rhythmic cycle), tempo, melodic style, performing style, performing media, and from these various songs in chesok-kut, we can connect to more specific concepts of musical style, such as strophic, through- composed, call-response, variation, improvisation, unison, heterophony, recitative, sprachstimme, counter-melody, synchopation, polyphony, monophony, and so on. In spite of the variety, we can categorize the songs of ches?k-kut three types, one being strophic song with call-and-response, variation, and heterophony style, second song in recitative or sprachstimme style, and third through-composed song with improvisation and polyphony. These three types of songs rake turns each other and dance music, making this one-hour-long ritual sequence interesting, complex, and dynamical. From the analytical approach to ches?k-kur, we observe not only its beauty out of complexity and variety, but also the stylistic idiosyncrasy of the performers (shaman). They keep the order and content well according the tradition, but show difference in detail, and artistic quality. Especially in the song of improvisational style, the performers are differentiated in their virtuosity and expressional fluency.

Latter part of Chos?n(朝鮮) Dinasty period after King Injol Revolution(仁祖反正, 1623), neo- confucianism(性理學) took a firm root in the Korean society in. general. For example, sexual distinction(男女有別) was established by having young male dancers(舞童) put on a performance at royal court banquet(Woiy?n, 外宴) where king and subjects(君臣) participated and all the attendants (chabi 差備) who served the banquet were all males. At royal family banquet(Naey?n, 內宴) where Queen(王妃), Crown prince(王世子), his wife(王世子嬪), king's relatives by blood or marriage(親姻戚) and titled ladies(命婦) participated, attendants(chabi 差備) and entertainers were usually female. Attendants who held royal fans and banners or served the banquet were called Siwichabi(侍衛差備) which included court ladies(女官) and servants(女伶). Their working space(侍衛空間) include palace hall(殿內), make-shift floor(Bokye 補階), and court garden(殿庭) and performing space(呈才空間) is make-shift floor. Court ladies work in the palace hall and female servants work and put on a performance at make-shift floor. Female servants also work at the court garden. This paper tries to find whether the female entertainers(呈才女伶) were distinguished from female servants(侍衛女伶) or they did both jobs. It must have been very difficult for them to serve the banquet at court garden and then move to make-shift floor to put on a performance. Only attendants(chabi 差 備) at make-shift floor could serve the banquet and put on a performance at the same time and naturally they are the subject of this research. Following table shows the result. 〈표삽입〉 The rate of female entertainers also serving as a banquet servants was 31.8% at the ceremony performed in February, 29th year in the reign of Sunjo(純祖 29, 1829) and 36.9% in March 14th year in the reign of Hunjong(憲宗 14, 1848) and about 35% first half of 19th century. Meanwhile after the latter half of 19th century the rate rose dramatically to 90%-100% : 96.1% in December, 5th year(高宗 5, 1868), 95.3% in April, 10th year(高宗 10, 1983), 91.8% in December 14th year( 高宗 14, 1877). 94.7% in January, 24th year(高宗 24, 1887), 94.2% in September, 29th year in the reign of King Kojong(高宗 29, 1892), 90.9% in May 5th year(光武 5, 1901), 100% in July 5th year, 94.3% in April 6th year(光武 6, 1902), 98.5% in November 6th year of Kwangmu. The number of female entertainers at royal family banquet was 45 in February 29th year of King Sunjo period(1829), 41 March 14th year in the reign of Hunjong(1848) and less than 5 after December 5th year of King Kojong's reign (1868). Almost all the female entertainers nor only pur on a performance ar royal family ceremony but also served as banquet servants after the latter half of the 19th century.

This study concerns the research of the various kinds of music used during military ceremonies in the Joseon dynasty (1392-1910) and also explores its distinctive characteristics. As we shed some light on the character of this music, rather than thinking of this music conceptually within the general category of military music (gunak, 군악), it is the intent of this study to look at the specific circumstances in which this music was used. Just as military rituals in the early Joseon period differed considerably from those performed in the later Joseon, the same was the case for its music. In the early Joseon period, performance groups were not formed in military camps, instead ensembles formed out of the Jangakwon performed Korean court music(a-ak 아악), court music of post-Tang dynasty China (rang-ak, 당악), and a kind of processional or ceremonial music referred to as kochwi-ak(고취악), literally "drumming and blowing music". However by the late Joseon, military bands called the Chwikosu(취고수), Saeaksu(세악수), and the Naechwi(내취 ) were formed within military camps and mainly performed hyangak(향악, literally, "native Korean music"). In the early Joseon military ceremonies called the Sawusadanui(사우사단의) or "archery ceremony" and Kwan-sawusadanui(관사우사단의) or "public viewing archery ceremony," musical bands such as the Deung-ga(등가), Heon-ga(헌가), and Kochwi(고취) were set up to perform. During the ceremony called Daeyeolui(대열의), music called Kochwiak was performed. During the ceremony called Kyedongdaenaui( 계동대나의) a Jangakwon(장악원) ensemble court musician would perform on an instrument called the koㆍjaengㆍjeok (鼓ㆍ錚ㆍ笛) while someone played the ceremonial role of changsu(唱帥) who performed all the necessary gestures and incantations. In this type of ceremony, military bands did not participate. In one exceptional military ceremony called Chwigakryeong(취각령), the Chwigakin(취각인), who was a member of the military, participated in the ceremony by playing an instrument called the gak( 角). In addition, during an solar/lunar eclipse musicians would play blue, red and white drums and during other types of archery ceremonies called the Hyangsaui and the local musicians would play keumseul ( 琴瑟) instruments. During the archery ceremonies called Sawusadanui and Kwan-sawusadanui, the Deung-ga band played a piece called Seonganjiak(성안지악), while the Heon-ga band played the Seonganjiak piece in addition to Hwa-anjiak(화안지악), Yunganjiak(융안지악), etc., as well as other types of court music. However, after the reign of King Sejong, Seonganjiak, Hwa-anjiak and Yunganjiak were no longer played and instead, the pieces Yeominlakryeong(여민락령), Yeoseong(역성) were performed. As part of Royal processions the front and rear kochwi bands played the pieces Yeominlakman(여민락만), Seongsumugangman(성수무강만), Yeominlakryeong(여민락령), Boheojaryeong(보허자령) and Hwangungak(환궁악) as well other types of tangak (post-Tang dynasty court music) and kochwiak (processional music). What is important here is that the genres of music that were used in the military music of the early Joseon period were a-ak (court music), tangak, and kochwiak. In the case of one of the late Joseon military ceremonies called Daesaw (archery, 대사의), the Deung-ga, Heon-ga and Kochwi bands were formed out of the Jangakwon. In the Yeonsaui(연사의) archery ceremony and in a special military award ceremony and banquet called Chinlimhogweui(친림호궤 의), the Chwikosu(취고수) and Saeaksu(세악수) military bands performed a type of music called koak ( 鼓樂). In the ceremonies called Chinlimyungmudaeshisaui (archery ceremony performed in the Yungmudae, 침림융무대시사의), Daeyeolui, Seongjoui, and Yajoui (military training ceremonies, 대열의, 성조의, 야조의), the genre of chwita (daechwita and sochwita, 취타) was performed. In the archery ceremony called Chinlimshisaui(친림시사의) only the ko(鼓) drum and the jaeng(錚) gong was played. During Guwuolshik(구월식), a ceremony performed to ward against an eclipse, the jaeng(錚) gong was played. In addition, in the military ceremonies of the late Joseon, chwita (daechwita and sochwita) was mainly played during military camp training exercises, where each instrument had a role in skillfully signaling the transmission of orders to the troops. Though it is difficult to know exactly what daechwita and sochwita was like at the time, now the Muryeongjikok(무령지곡) musical score is commonly thought of as daechwita. During the Chinlimhogweui (military award ceremonial banquet), the Saeaksu band played Yeominlak(여민락), Yongsanhoesang(영산화상) and Gunak(군악). Currently, Chwita(취타), Gilgunak(길 군악), Giltaryong(길타령), Byeolujotaryong(별우조타령), Gunak(군악) and other types of haengak (processional music, 행악) are in transmission but there is no record of these exact pieces being be used in the military ceremonies that have been examined in this study. With this in mind, in the late Joseon hyangak (native Korean music) was the primary rype of music used during military ceremonies. In the early Joseon military ceremonies, the performing bands of the Jangakwon mainly played a-ak, tangak, and kochwiak while on the other hand, in the late Joseon the Chwikosu, Saeaksu and Naechwi bands appeared to have performed hyangak (native Korean music). These musical bands also participated in several activities outside of the military camps, thus creating a sphere of activity that was quite broad. Because of this, these bands had a strong influence on the musicians of the late Joseon period. In the future, there is a need to further research the formation, background, origins and music of these late Joseon military camp bands.

The question of how to transmit the Korean traditional Music to next generation is very important issue even though the works of instrumental teaching method has been stagnant compare to other accomplishments that the studies on Korean Traditional Music has made today. Considering the matter of teaching how to play the Korean traditional musical instruments, I think it should not be a simple transmission that repeats the music score itself bur should be an inclusive educational method that includes the aesthetic sentiments, the beauty and even the original esprit inherent in the Korean traditional music. In this point, I consider teaching performance the traditional instruments does not only mean training the melody and rhythm but it does understanding the more essential element of the music. To develop a fundamental study for establishing teaching method for Korean traditional instrument, I took gayageum for the case of this study because I found that gayageum has had some of the most urgent and significant reasons than any other Korean traditional instruments. The first reason is that gayageum has the largest population any other Korean traditional instruments. Secondly, today, gayageum players are demanded to keep up with new performance style to be able to digest the abundant creativity of contemporary music pieces, not to mention of keeping practice the classics such as Jeong-ak and folk music. Additionally, the recent invention of the new instrument improved by the old style of gayageum pressures the players to make up new performance method. For this study, I started from the beginner's course for gayageum and developed a preliminary stage that a person first handles gayageum, discovers the main features the instrument has, learns the performance skills step by step such as understanding reading scores, making oral sounds, recognizing rhythm and finally mastering playing a small exercise piece by him/herself. Through this, I ultimately intended to demonstrate a basic process that a person raises his/her ability of appreciation of the gayageum music and furthermore, comprehension the essential part of Korean traditional music. To summarize, I emphasized the need of an establishing theoretical foundation for teaching gayageum performance for the beginners, which is to be combined with the way of learning traditional music and the new methodology attempted by modern educational sectors. Secondly, I suggested building up a unified educational method which is able to provide the three integral elements of Korean traditional music so called Ak (music), Ka (song), Mu (Dance). Thirdly, I considered the fact that the text books currently used in the fields were neglecting the importance of the basic knowledge of instruments, keeping a right posture and gaining rightful performing skills and so on. In this point, I asserted the need of an analysis of the renowned master's teaching methods not clearly arranged yet and also suggested a comparative study on the text books published in both the South and North Korea to take advantage of each side has have.

Epic folk songs (seosa minyo), epic shaman songs (seosa muga), and pansori are examples of epic music, which combines a story-a feature of an epic-and musical elements such as melody and rhythmic cycle. This paper will investigate the shared characteristics of the structure of these examples and the examples' individual features. The similarities of epic musics can be examined from two perspectives : the perspective of musical features and of performance style. As to the musical features, first, song and speech (or sori and aniri) alternate. The speech releases the tension of the audience, which has been immersed in the songs, in the performer's narration of the story. Also, the performer gets to rest during speech. As a second feature, inserted songs (sabip gayo) are adopted. Since sabip gayo appears in genres such as epic shaman songs and pansori, it can be seen as a tool to develop a genre into an artistic one. For instance, art music pansori can be regarded to have developed through the adoption of various sabip gayo, elevating pansori's artistic level and dramatizing its scenes. Third, in epic music, music functions as a container of the narration, thus, basic melody and rhythmic cycles are used. However, by the professional singers' efforts to avoid simplicity, pansori developed to exhibit various rhythmic cycles and dramatic melodic lines as shown in roday's performance. As for the second aspect of the similarities of the epic musics, the performance style, epic musics share songs and chuimsae. Since performing a long epic music requires that the story be well-delivered to the audience, chuimsae expressed by the audience members or the drummer functions as a sign of satisfaction.

Showing upon the paintings during the late (bosun dynasty between the 18th and 19th century, the music formation is much more precious to take along with the historical literary sources. And, as important historical documents, those music formations in the paintings show either solo or ensemble performances consisting of Samhyunyuggak and Taechwita. Particularly, Samhyunyuggak, the wind music ensemble, is shown as one of the most general ensembles of palace music and civil music in the genre paintings. It was also shown as a general ensemble not only in the small number of musical instruments but also in the accompaniment for dancing. But, the formation of instruments and the style of music were differently changed by place and position. Concerning of Taechwita, music instruments were double formed, and its formation and cloches were differently appeared accordingly with the social status of musicians. Dangbipa and Saeng were more often played either in solo or in accompaniment than any other musical instruments during the late Chosun dynasty. Particularly, Dangbipa was popular among the Confucian scholars. Saeng is a music instrument for solo and it is also indicated in the Samhyunyuggak. Especially, we could see that Saeng was played with other musical instruments in 「the painting of Banquet for the Governor of Pyeongyang 」 and 「the painting of Lives and Customs of the People in a Citadel」 which are considered as documentary paintings. As it was shown in the genre paintings, Geomungo and Gayageum were popular as the most representative instruments among the Confucian scholars as well as official kisaeng during the Chosun dynasty. Although the Korean iconographic paintings have been considered as the symbolic historical documents borrowing the Chinese idiomatic phrases and music instruments, we should take a practical consideration on the music instruments and materials for the research of music in the paintings which draw Korean figures and customs.

Scholars usually refer to Zhuangzi as the source of the spirit of Chinese art. But there are little studies that explore the relationship between Zhuangzi and Chinese art in detail. While there are some works that deal with Zhuangzi's idea of art in relation to Chinese pictorial art, there are not enough studies to examine specifically Zhuangzi's idea of music in relation to its influence on the East Asian history of art. In fact, the concept of yue/le (樂論) is considered the most original and important one in the history of East Asian philosophy of art. Considering that Confucianism and Daoism constitute the backbone of Chinese culture and thought, it would be very difficult to understand fully the spirit of Chinese art without a detailed examination of Zhuangzi's concept of yue/le. Although Zhuangzi does not give a full account of his theory of music, we can reconstruct his theory of music out of the fragments found in the "Zhuangzi." We can understand Zhuangzi's concept of art only if we approach his philosophy of art via his concept of yue/le. The most distinctive features in Zhuangzi's theory of music can be summarized as follows ; first, Zhuangzi attempts to liberate music from the mannerism of form and to let music express authentic human feelings and emotions. Zhuangzi also argues that music should not be subjected to politics ; for he thinks that creative mind of art can exist only when freeing music from political influences. Zhuangzi maintains that music is not to be considered a tool to unite people but to be deemed "opening" that leads people to respects diverse, idiosyncratic personalities. He also insists that music should not be listened only by ears, and that one should appreciate the essence of music to reach "aesthetic horizon." This article particularly attempts to find the trace of the Zhuangzian ideas in the traditional Korean theory of music. Zhuangzi's philosophical position that does not encourage a sectarian succession makes it difficult to find hard evidence by which to confirm Zhuangzi's influence. Seen from the fact that scholars in the Chosun dynasty stick to Confuian ideology, it is even more difficult and tricky to unearth the Daoistic elements in their writings. However, only when we carefully explore Zhuangzi's influence on the traditional Korean concept of music, it would be possible to understand fully the characteristics of Korean culture and music and to grasp firmly the Korean sense of beauty.

20세기 90년대에 중국 호북성(湖北省) 형문(荊門) 곽점촌(郭店村)의 一號墓에는 많은 죽간(竹簡)이 출토되 었다. 이 죽간들은 대략 기원전 310년과 기원전 300년 사이에 제작되었다는 것이 고증되었다. 이 죽간에는 「치의(緇衣)」, 「오행(五行)」, 「성지문지(成之文之)」, 「성자명출(性自命出)」, 「당우지 도(唐禹之道)」, 「노자(老子)」, 「태일생수(太一生水)」등 문장이 기록되어 있으며, 특히 「성자명출(性 自命出)」에는 천(天)-명(命)-성(性)-정(情)-도(道)의 순서로 인성(人性)의 본질과 작용을 논술하고 있다. 필자는 「성자명출(性生自命出)」에서의 성(性), 정(情), 덕(德), 도(道), 예악(禮樂)등 다섯 가지의 문제를 가지고 『악기(樂記)』와 비교하였고, 「성자명출(性自命出)」과 『樂記』는 모두 유가의 저서로써 같은 음악사상을 가지고 있다는 점을 논술하고 있다. 또한 「성자명출{性自命出)」을 통하여 『樂記』는 전국 시대(戰國時代)에 작성되었다는 유력한 증거도 제공하고 있다.