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Korean medieval music employs syllable names of cognate relationship as Indian music, different from Chinese and European music which employs syllable names of parallel relationship. This paper deals with the reason why. The reason is related with the fact that Korean instruments such as geomungo and bipa and Indian instruments such as bina and sitar have frets, open and resonant strings playing key note in drone while Chinese and European instruments don't have. Because of this, in the music of Korean medieval times and that of Silk Roads, modes are arranged in cognate relationship as follows. Arrangement of Korean Medieval Mode Pyeongjo in Hwangjong Gyemyeonjo in Hwangjong Arrangement of Indian Raga c : Kalyan c : Bilaval c : Khamaj c : Bhairay Arrangement of Iranian Dastgah c : Kalyan c : Bilaval c : Khamaj c : Bhairav In contrast to this, in music of Chinese and European music, modes are arranged in parallel relationship as follows. Arrangement of Chinese mode Hwangjong : Gungjo Taeju : Sangjo Goseon : Gakjo Imjong : Chjo Namryeo : Ujo Arrangement of European Mode c : Ionia d : Doria e : Phrygia f : Lydia g : Mixo-lydia Therefore, Korean medieval music and Indian music employ syllable names of cognate relationship. Syllable Names of Cognate Relationship in Korean Medieval Music Pyeongjo in Hwangjong - Hwang, Tae, Jung, Im, Nam Gung, Sang, Gak, Chi, U Gyemyeonjo in Hwangjong - Hwang, Hyeop, Jung, Im, Mu Gung, Sang, Gak, Chi, U Syllable Names of Cognate Relationship in Indian Music Bilaval...Sa, Ri, Ga, Ma, Pa, Dha, Ni C, D, E, F, G, A, B Khamaj...Sa, Ri, Ga, Ma, Pa, Dha, Ni C, D, E, F, G, A, B flat Kafi...Sa, Ri, Ga, Ma, Pa, Dha, Ni C, D, E flat, F, G, A, B flat Asavari...Sa, Ri, Ga, Ma, Pa, Dha, Ni C, D, E flat, F, G, A flat, B flat And, ancient Chinese and European music employs syllable names of parallel relationship. Syllable Names of Parallel Relationship in Ancient Chinese Music of Han People Hwangjong : Gung Mode - Hwang, Tae, Go, Im, Nam Gung, Sang, Gak, Chi, U Taeju : Sang Mode - Tae, Go, Im, Nam, Hwang Sang, Gak, Chi, U, Gung Goseon : Gak Mode - Go, Im, Nam, Hwang, Tae Gak, Chi, U, Gung, Sang Imjong : Chi Mode - Im, Nam, Hwang, Tae, Go Chi, U, Gung, Sang, Gak Namryeo : U Mode - Nam, Hwang, Tae Go, Im U, Gung, Sang, Gak, Chi First Example of Mode Arrangement of Western European Music c : Ionia... c d e f g a b do re mi fa sol la si d : Doriac...d e f g a b c re mi fa sol la si do e : Phrygia...d e f g a b c d re mi fa sol la si do re f : Lydia...f g a b c d e fa sol la si do re mi g : Mixo-lydiac...g a b c d e f sol la si do re mi fa In conclusion, from the fact that Korean medieval music employs syllable names of cognate relationship as music of Silk Roads, Korean music is regarded to be related with the music culture of Silk Roads.

The "Imported Dance Music" in this paper mainly means the Latin American(the area, generally called Middle America) music and dance that rooted to African culture. The reason I choose a dance music from this area is that the African music and dance have conquered all cultures of the world in spite of the severe racism against their ethnics. This happens in my country too. In our traditional culture, there were several traces that dance cultures from other countries imported into Korea and penetrated into indigenous Korean dance cultures. Nowadays, more foreign dance music rushes for the door of Korean culture, and therefore the cultural border has been collapsed before a long ago. In this situation, my conception, which makes relations between the Latin dance music and Korean traditional music, can be a little bit strange. However, in the dance or music performances the body of the human beings roles as a media. Therefore, I try to find any similarities between them. Above all, it is very important that we inspect imported culture closely based on the self- consciousness in these days, when even imported jazz culture encroach upon the traditional folk music. In this paper, the reason I focus on the blues is that the blues is placed in the middle of jazz culture. Also, the blues is that Korean enjoy the most at the moment among the imported dance patterns but also the Korean do not understand the most. Therefore it roles very badly in the current Korean society. I examine such blues with p'yong sijo(平時調) in my paper. This thought is started based on the notion that foreign culture should be imported correctly only based on the right understanding of our traditional culture. In this paper, all dance music, which are tried, have such meaning above(translated by Gyewon Byeon).

Following facts were found based on the aforementioned changes in the education of Korean Traditional Music after the twentieth century. The professional education of Korean Traditional Music was started at the Institute of Joseon Classical Music(朝鮮正樂傳習所), the Lee Wang-Jik School of Classical Music(李王職雅樂部員養成所), and the Institute for Joseon Vocal Music(朝鮮聲樂硏究會) under the Japanese colonial rule over the Korean peninsula. Since the end of the colonial rule, the National High School for Classical Music (國立國樂高 等學校) (whose predecessor is the Training Center for Teachers of Classical Music under the National Center for Korean Traditional Performing Arts) and Korean Traditional Arts High School(國樂藝術高等學 校) founded in 1960 played a pivotal role in educating folk music. Based on those schools, the major of Korean traditional music was launched in Seoul National University in 1959, and the related courses of the major were opened in the graduate school of the university in 1963. Finally, doctoral courses were set up in the Academy of Korean Studies in 1980. The number of these kinds of institutes for professional education of Korean traditional music has increased to twenty-odd middle schools, twenty-three universities, and twenty graduate schools, and the quality of their education has also been improved. Especially, the doctoral courses opened in the Academy of Korean Studies, Seoul National University, Hanyang University, Ewha Womans University are expected to have other universities follow suit, and the increased number of such courses are expected to play an important role in professional education of Korean traditional music afterwards. Although the history of general education for Korean traditional music is relatively short, the weight of the general education for it in schools has become bigger than before as the proportion of Korean traditional music in curricula has been higher with reorganizations or curricula through seven phases. The general education has been improved both in quantity and quantity as postgraduate courses for Korean traditional music were launched in educational and musical colleges. Furthermore, the curricula for elementary school students and secondary school students have been divided as teachers colleges nationwide opened postgraduate courses, and it is an positive effects. It seems that the human resources and research results were behind the conspicuous growth in the general education of Korean traditional music. In sum, the education of Korean traditional music has been inherited in the two forms of professional education and general education, based on the tradition of the professional education under the Japanese colonial rule. And the dose collaboration between the two types of education is necessary more than ever. In this vein, framing pedagogy and producing teachers for professional education are needed as soon as possible.

There are 20 melodies of Sakdaeyeop(數大葉. Korean traditional lyric song), Chosudaeyeop(初數大葉), Isudaeyeop(二數大葉), Junggeo(中擧), Pyonggeo(平擧), Dugeo(頭擧), Samsudaeyeop(三數大葉), Soyong(騷聳), Banyeop(半葉), Urong(羽弄), Pyeongnong(平弄), Eollong(言弄), Urak(羽樂), Eollak(言 樂), Gyerak(界樂), Huangyerak(還界樂), Eonpyeon(言編), Upyeon(羽編), Pyeonsakdayeop(編數大葉), Eonpyeon(編樂), Taepyeongga(太平歌). These 20 melodies divided into the male song(男唱) and the female song(女唱), the major mode(平調) and the minor mode(界面調). These songs have evolved out of one piece, a Sakdaeyoep(數大葉) for 400 years. This paper is a study on the evolution of the Sakdaeyoep(數大葉) on the basis of 52 music books of the Sakdaeyoep(數大葉), which published for 400 years. The result is ; 1) The Sakdaeyoep(數大葉) is appeared at Siyonghyangakbo(時用鄕樂譜), Hyeongeumdongmunyu-gi( 玄琴東文類記 1620), Namhunyubo(南薰遺譜), Jeungbogogeumbo(增補古琴譜) first. There are t-wo melodies in these books, the first melody begin first upper tone(上一), the second begin first down tone(下一). 2) There are 3 melodies of Sakdaeyoep(數大葉), Sakdaeyoep 1(數大葉 第一)ㆍSakdaeyoep 2(數大葉 第 二)ㆍSakdaeyoep 3(數大葉 第三), at Sinjeunggeumbo(新增琴譜 1680), Unmonggeumbo(雲夢琴譜 1707). 3) At Yeondaegeumbo(延大琴譜), Hangeunsinbo(韓琴新譜 1724), Nangongsinbo(浪翁新譜), Eoeunbo( 魚隱譜), Sakdaeyoep 4(數大葉 第四) have appeared. The Sakdaeyoep(數大葉) 1ㆍ2ㆍ3ㆍ4 begin each the first down tone(下一), the upper second rone(L -), the upper fifth tone(上二), and the second down tone(下二). The second down tone(下二) of the Sakdaeyoep(數大葉) is come down two octaves from the eighth upper tone(上八) because it is so high. And so, On the beginning tone of the Sakdaeyoep(數 大葉) 1ㆍ2ㆍ3ㆍ4, the first down tone(下一), the upper second cone(上二), the upper fifth tone(上二), the eighth upper tone(上五), is connected with the fifth interval. fifth fifth fifth 下一 上二 上五 上八(下二) (G) (e b) (b b) (f)(F) 4)Sakdaeyoep(數大葉) The name of Sakdaeyoep(數大葉) 1ㆍ2ㆍ3 have changed into the First Sakdaeyoep(初數大葉), the Second Sakdaeyoep(二數大葉), and the third Sakdaeyoep(三數大葉) at the music book, Geumjo(琴調), Sinjeunggeumbo(新增琴譜), Sinjakgeumbo(新作琴譜), Godaegeumbo A (高 大琴譜A). And There is no the Sakdaeyoep 4 (數大葉 第四). 5) At the music book, Eoeunbo(魚隱譜 1779), Jolonggayageumbo(拙翁伽倻琴譜 1786), Geumhakjeonyo( 琴學切要), Geyrak(界樂) and Urak(羽樂) have appeared, which begin tonic(宮). And the two melodies are not connected with the system of the fifth interval of the Sakdaeyoep 1ㆍ2ㆍ3ㆍ4(數大葉 1ㆍ2ㆍ3ㆍ 4). 6) At the music book, Yuyeji(遊藝志), Eollong(言弄) and Pyeonsakdaeyeop(編數大葉) have appeared. 7) At Gangoegeumbo(江外琴譜), Eonnaksijo(言樂時調) have appeared. 8) At Ayanggeumbo(峨洋琴譜 1820), Soeongi(쇠옹이), Yuldangyeop(栗糖葉), Pellak(펠락) have appeared. 9) Dansakdaeyeop(短數大葉), Urong(羽弄) and Eollong(言弄) have appeared at Ilsageumbo(一蓑琴譜). 10) At Samjukgeumbo(三竹琴譜 1841), Soi(騷耳) and Cheongseonsakdaeyeop(淸聲數大葉) have appeared. 11) At Hyeonhakgeumbo(玄鶴琴譜 1852), there is a classification of female song, and Junggeodaeyeop(重擧大葉) have appeared. 12) The Pyeonggeo(平擧) and Eolpyeon(?編) have appeared at Gagokwollyu(歌曲源流 1876). 13) At Hyeongeumoeumtongnon(玄琴五音統論 1886), Hoangyerak(還界樂) have appeared.

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.

As the way of life that people live exists in diverse aspects, so is the culture. Therefore, approaches from various stands for understanding the culture is needed. This article is to find the musical identity of folksongs among various other cultures of JeollaNamdo and to discuss its universality and distinctiveness. The category of folksongs of JeollaNamdo can be divided into two sections, that is, the geographical category that include a vast area of Chungcheong, Kyungsang, and Jeolla province and the cultural category that uses Yukjabaegitori predominantly. Since this article is written in the position that comments on the universality and characteristic of folksongs of JeollaNamdo, it is most certainly that we are going to use the cultural notion of 'Namdo'. The particularities of folksongs of JeollaNamdo can be traced in Yukjabaegitori. Also, the progressive assimilation of Yukjabaegitori and Kyungtori, the formation of southern Kyungtori and the progressive assimilation of Yukjabaegitori and Menaritori is understood as one of the characteristics that distinguish it from other regions. The 4beat of 3 small beat and the 6 beat of 3 small beat are the universal type of rhythmic structure that occur to a very extent. Especially, the 12 beat of 2 small beat is a particular form of rhythmic structure that can be found particularly around and in Jeonnam region. Besides the musical characteristics as the most influential element in folksongs of 'Namdo', there are some other remarkable elements that influence the folksongs of 'Namdo', i.e. the sounds that reflect life (rough but refreshing tone-color), the manifestation of sentiment in a more active and direct way (emphasizing more on music than lyrics and melodies than rhythms), the various expressions of emotions by women, and the active and voluntary open-hearted acceptance.

Generally, the formative period of p'ansori is known to be the eighteenth century. However, there are disagreements among scholars on the date when the early p'ansori singers performed and the exact date of its formation. Further, there are no research materials on the characteristics of the early-period p'ansori. Through the study of written records of the eighteenth-century p'ansori performances and the orally transmitted stories of the p'ansori singers, one can find out that the p'ansori performers of this period were U Ch'un-rae, Choe S?n-tal, and Ha Han-tam. This paper has revealed that these singers actively performed after the 1750s and that their approximate birth and death date is as follows--U Ch'un-tae (?-1780s), Choe S?n-tal (1726-1805), Ha Han-tam (1740s-1825). The year 1754 is when Yu Chin-han wrote Kasa Ch'unhyang Yibaekku after watching "Ch'unhyangga" in the honam region. Thus, one can assume that it was during the mid-eighteenth century Y?ngjo period that the short kwangdae songs such as y?ngsan and t'ary?ng and the like had developed into a whole p'ansori, It is inferred that there were many professional p'ansori singers besides U Ch'un-tae, Choe S?n-tal, and Ha Han-tam, and it seems like those singers' specialties were gesture, voice quality, and particular sections of p'ansori, which were all part of the vocal tradition of the ch'angu. Performing this tradition resulted from the co-existence of the pre-eighteenth century vocal tradition, such as sohakchihui, of the kwangdae. The eighteenth-century p'ansori originated from the whole area of the shinawi-muak circle during a similar time period and not from a particular region. This conclusion is grounded on the fact that U Ch'un-rae performed in the Seoul area, Choe S?n-tal and Ha Han-tam came from the Gi'ungch'?ng province, and Yu Chin-han watched the whole p'ansori of "Ch'unhyangga" in the honam region. Thus, it is in the early nineteenth century that p'ansori began to form a musical system similar to that of today.

〈P'aekkusa〉 of Ayangkumbo(峨洋琴譜) seems to be played in the story of existing 〈P'aekkusa〉 since Chung'guyongon(靑丘永言) period in reducing and choosing it fit for some musical form except 1st Maru of current words in 〈P'aekkusa〉. Like this, 〈P'aekkusa〉 of Ayangkumbo is connected to current words 〈P'aekkusa〉, front parts are omitted, and that musical scale composition have changed. As it became similar to the scale used in Shijo(時調) or Gakok(歌曲) In the other side, scale of 〈P'aekkusa〉 in Ayangkumbo has been preserved but rhythm has been reduced and as many latter parts was omitted, 〈P'aekkutaryung〉 of Yangjoo Byulsandaenory has been made from it and it affects 〈P'aekkutaryung〉 of Pongsan Talchum also. In transmitting process of song, 〈P'aekkusa〉 existing in 19th century, it became today's words of 〈 P'aekkusa〉 affected by Shijo and Gakok and some of it affected by Mnyo became today's 〈P'aekkutaryung〉 of Yangjoo Byulsandaenory and of Pongsan Talchum.

Folk song is great pride to be able to represent the customs, usual practice, and tradition of Korean race. It is needless to say that it should be conserved and inherited well without the degeneration of original form, and nation or local autonomous entity or broadcasting station etc. will have to hasten collection, record and conservation by entering upon excavation positively. In addition, it is urgent to conserve and inherit folk song to be the song of people by finding the people who is possessing folk song which has already disappeared or which is not sung well in addition to the function retainer of current folk song and designating him(or her) as important cultural assets newly. For it, family who is conserving folk song should be protected. By giving life to the peculiarity of Eastern folk song and groping for the method of new traditional music, the position should be established firmly at this period when Western music forms almost all the mainstreams. Thus, it can be said that the scheme groping of traditional music which knows, expresses and appreciates folk song well is required keenly, and much more study and efforts for it are necessary. For it, the efforts of policy is required. To present the direction of improvement as part of scheme for the designation of cultural assets for Eastern folk song, the necessary of traditional music education, the establishment of desirable direction, and the activation of folk song education is as follows : ⓐ We will have contribute toward succeed to the original form of folk song and develop it by conserving it with scientific method through the common efforts of scholars of Korean literature and musicologist. ⓑ The education institutions of schools and the education institutions of society should make political consideration that many people may attend by compiling the balanced program of traditional music and Western music, so that they may be the base manure for the development of traditional music. ⓒ We should spread the social and historical value of folk song, and academic study and encouragement such as society movement, designating the family which conserves folk song as cultural assets et, is required, and there should be the political support to commercialize Korean folk song as international traditional music in parallel with culture period. The inheritance of music which exists on this earth is rich really. I feel comfort in my own way in that those who have academic progressive nature performed discussion with more developmental and comprehensive appreciative eyes for future through similar discussion subject from this down and thinks that there may be moe rational and scientific subsequent study on the basis of this study. This researcher feels pride only with the fact that the study on Eastern folk song plays the role to open sluice, though it is weak from this theoretical background. And, this researcher is convinced that the settlement of Eastern folk song as one school of folk song in Korean traditional music will contribute toward the establishment of great development form, as this weakness becomes great fruit someday. Besides, this researcher tries to give motive, the conservation of traditional music and leave something that we should do as subject for the study and development of traditional music for future.