Earticle

In the 200 year long history of Korean Catholicism, Catholic music has been developed in the style of Western music. However, 'Yeondo(煉禱),' which is a song for mourning dead souls, is one of representative types of Korean Catholic hymns that has been handed down with Korean unique style and melody. The musical structure of Yeondo is divided into initium, mediation and terminatio. Initium is based on reading out the text(dokseoseong), mediation on the Gregorian chants, and termination on pansori and dokseoseong. The Sigimsae of Yeondo is not violent but follows the Menari style or the style of classical music (正樂) and the function of sound and the sequence of melody have been influenced by the Gregorian chants, but Yeando developed into a unique genre by receiving Korean musical tradition popular in those days. The characteristics of Yeondo are summarized as follows. 1. Yeondo collected from different areas are all based on the Gyemyeonjo, and adopt the Menari style, which is a characteristics found in the eastern area. This is understood to result from the systematically planned distribution in the Catholic Church. 2. The one tone one beat style of Yemdo emphasizes the importance of language (word), and the repetition of the same tone gives lyricism for empathy. 3. Delicate changes caused by the length of the words, the beginning part of songs, singers' breathing and local characteristics can be regarded as the beauty of flexibility appearing in the community. 4. Three types of Sigimsae-pushing tone, gliding tone and vibrating tone-give a calm and comfortable feeling like traditional classical music(正樂). This appears to express the expectation of resurrection and the consideration of the community. 5. Words of long verses are not developed musically, but mediation(A), cadence(B) and litany(C) melody compose the basic form. 6. Rhythm is the combination of ♩ and ♪♩, expressing the rhythmic beauty of golden ratio, and gyohwan chang expresses collectivism that considers others rather than individualism. Yeondo, which has been handed down through the 170 year long history of Korean Catholicism, is a representative genre of Korean Catholic hymns that has been nationalized in combination with traditional music in the Joseon Dynasty. It is noteworthy as a cultural asset in the history of Catholicism and as a cultural heritage of Korean people.

This is a paper about music style of Shichang, which literally means 'poem singing'. The poems in Shichang actually means those made by Korean literatus, using Chinese characters, with the form of Chinese poetry. Several Shichangs sung by scholars of Chinese classics and professional musicians were analyzed, and musical range, mode, rhythmic structure, Buchimsae(text setting), etc. were examined. The range of Shichang is very wide, which amounts to an octave and a half. It has pentatonic scale and sol-mode that sol, the lowest tone in scale, is used as a final tone. Its tempo is very slow, rhythm is irregular, and a unit of a phrase is supposed to have a relationship with breath. As fat as Buchimsae is concerned, It has a style of 'Eodan seongjang 語短聲長', which literally means that 'pronunciation is short, melodic line is long'. One phrase in Chinese poem has 7 characters, but it is divided into 4 units (2-2-2-1) in Shichang, and a vowel of the second character is lengthened, so become melismatic. The Shichangs sung by professional musicians are regarded as refined music in comparison with those of Chinese classics scholars. Some Shichangs of professional musicians have been recorded on discs, others have been inserted in Pansori, but they all have same melody. Shichang originally was a music that one melody has various words. However, Yulchang(also a kind of poem singing) 〈Gwansan Yungma 關山戎馬〉 of Seodo province(contemporary Pyeongyang province) is a separate one from Shichang. It is a song singing only a poem 〈Gwansan Yungma〉 which was made by Shin Gwangsu 申光洙(1712~1775). They are different from each other, also in that Yulchang has a symmetrical structure in melody. Shichang can be considered as a ruling class music in Joseon Dynasty because its texts were poems using Chinese characters, which contrasts with Shijochang(Shijo singing), using poems by Korean characters.

Three of the current 12 Gasa(歌詞), that is, Sangsabyeolgok(相思別曲), Cheosaga(處士歌), and Yangyangga(襄陽歌) are quintuple beat, which discriminates these 3 Gasa from the rest. In this study, two issues were discussed. In chapter Ⅱ, the derivative relationship of Sangsabyeolgok, Cheosaga, and Yangyangga was investigated. And in chapter Ⅲ, the relationship between these 3 Gasa and Sijo(時調) was looked into. Here is the summary of the contents discussed in this study. First, there were two opening melodies in Sangsabyeolgok of Samjukgeumbo(三竹琴譜); The left melody led up to the current Sangsabyeolgok, and the right melody led up to the current Cheosaga. Second, according to the study on the 19th century's songbook, Cheosaga in Geumbo(琴譜) was recorded with man's melody and Yangyangga in Ayanggeumbo(峨洋琴譜) was recorded with woman's melody, basically sharing the same melody. Third, Sangsabyeolgok in Samjukgeumbo recorded in sixtuple beat has changed into quintuple beat due to the influence of Sijo. In addition, the opening melody and the ending part of Sangsabyeolgok also have changed into those of Sijo. Forth, the melody of the first phrase of Cheosaga, taking over the right melody of two opening melodies of Sangsabyeolgok in Samjukgeumbo, adapted the melody of the first phrase of Sijo. And the last phrase of Cheosaga newly added a lyric similar to the last phrase of Sijo. Therefore, the musical structure of Cheosaga became the same structure of Sijo and this structure leads to the present time. Finally, Yangyangga which shares the melody with Cheosaga, doesn't use the phrase similar to the last phrase of Silo and this aspect discriminates Yangyangga from Cheosaga. From the results of this study, the relationship among these 3 Gasa became clearly established, and the fact that these 3 Gara were strongly influenced by Sijo was found out for the first time.

In this paper, I tried to examine the current status of music related-museums in Korea. As a musicologist, I believe for our scholarship, musicology to develop and establish firmly in Korea, we need full-fledged museums dedicated specifically to music. We have only a handful of museums dedicated to music: National Center for Korean Traditional Performing Arts' Museum(Seoul), National Center for Korean Folk Performing Arts' Museum(Namwon), Nangye Korean Music Museum(Yondgdong), Pansori Museum(Gochang), Chamsori Gramophone & Edison Museum(Kangnung), Museum of Musical Instruments of the World(Paju) are the few museums specialized in music in Korea. As music is essential part of everyday life and culture, a few museums of folklore, arts, religious ceremonies or rite of rituals, have some collections of musical instruments or performance practices' artifacts. Good such examples are Kongju Folk Drama Museum, mask Museums(Hahoe and Galchon), Museum of the Center for Latin America, Global Village Folk Museum, Global Village Hinterland Folk Museum, African Art Museum and Tibet Museums(Taewonsa and Seoul). Most of the museums mentioned above, even the large one, have less than 3-400 items in one category. Most of the music-related museums in Korea are preoccupied by exhibition while lacking such research functions as pursuing own speciality and enriching their collections with scholastic efforts. The ratio of the items exhibited to the items held in storage is extremely low and the informations offered for the visitors is not systematically organized or scholastically approached. Lacking professionalism, many of the musical instruments and items are exhibited and illustrated by non-music professionals, thus being mistreated in terms as classification, language, and other informations. These conclusions then lead us to our future tasks: the most important among many is establishing of educational infrastructure to foster museum specialists trained in musicology and organology, equally and substantially.

It may be true that many studies on the musical history of the late Joseon Dynasty have been taken by researching the streams of musical styles through the old musical notes, and the musics themselves played in capital areas has been the main subjects of them, in accordance, the studies on the musical players have been concentrated on those of the court's musicians, and not so much of local ones. To make scrutinization on the studies established yet, making out many things which are essential to musical history such as the old military system called Bongjok(奉足) and Bobeop(保法), the musicians and their "Bo(保)" systems for the government service out of the Local Chronicles published after Yeongjoera(1724~1776), and many kinds of musical descriptions are efficient indeed. But I'd like to start with my study by studying on the musical descriptions of Town Chronicles Type around Chungcheong area's, south west of Korea. The Town Chronicles, being the main object of this study, come true in such a books as the Chungcheong part of 『Yeojidoseo 與地圖書』, 『Hoseoeupji 湖西 邑誌』, the Chungcheong part of 『Sachaneupji 私撰邑誌』, and 『Chungcheongdo-eupji 忠淸道邑誌 』 out of the collectionbooks in 'Gyujang' the Court Library of Joseon Dynasty. In those Town Chronides as such 『eupji 邑誌』's, we can verify the items of the musical descriptions in the chapters of "customs 風俗", "public halls 公廳", "military taxations 軍額", and we can also see them in "eupsarye 邑事例" chapter out of one Town Chronicle published in Gojong era(1863~1907) too. Only in those Town Chronicles from Gongju area in south Chungcheong, we can certify the descriptions in the chapters of "customs" among those of all Chungcheong area's. Out of the chapters of "public halls", we can infer that there were kisaeings' halls or kyobangs(敎坊) all around Chungcheong area. In the analysis of the chapters of "military taxations", we can see the court musicians and its pupils under the Jang-agwon(掌樂院, the musical agency), a brass bands under the Byeongjo(兵曹, the military agency), government musician, bands, brasses and their pupils under the control of local government. And in the "eupsarye" chapter, it can be inferred that those musicians and pupils would not only get the payments of their playings, but also they should pay for their compulsory services by money or hemp clothes. To think more over, the number calculated out of the chapters of "military taxations" seems to be the one of sum total those who under the compulsory services. actually and those who in the use of exploit not in reality, even if in the area of Chungcheong not all around the nation. In considering the fact that one musician in charge of compulsory service by person should work for military service too, we can confirm that they were slaves in government employment, and they took double the pains of compulsory services and payments. None the less, besides the points of this study I'd like to make additional remarks that my interpretation of those lives of the musician by the descriptions in the late Joseon Dynasty will be complemented by those studies of other scholars on the regions than Chungcheong area sooner or later, and the documents of the above "eupsarye" shall be studied more in details and scrupulously from now on.

The purpose of this paper is to bring out the ideas about how Korean traditional children's songs should stand in the 21st century of the world. Due to the various movements of populations and fast dissemination of culture through mass media, the boundary of nation is becoming blurred. At the same time, the globalization of the world requests people to understand other cultures and minds as well as understanding their own culture. In this situation, we should think about exporting our traditional music culture to the other worlds. Teaching traditional children's songs to not only Korean children but also to children in other countries is the most important issue at the moment in the multicultural music education field. This will, of course, help for the globalization of Korean traditional music culture in the 21st century of the world. Therefore, in this paper, the teaching guide of the Korean traditional children's songs to foreign students is introduced as one of the schemes for the globalization of Korean traditional children's songs. I hope that a number of more improved teaching materials for Korean traditional children's songs would be developed in the future and many discussions concerning this issue would be conducted by many scholars in the field of the music education.

This study treated the style of pansori in Chungcheong province which were differentiated from that of Jeonla province, with focus on Chunhyangga of Shim hwayoung, second daughter of Shim jungsoon, a great singer from Chungcheong province. Shim hwayoung is the only channel alive through whom we can get close to the CHungcheong style music. She is not an active professional singer of pansori currently, but she has her own family background that had representative Yulbang (a place where musician or Yangban gathered and played romantically), and thorough her we can peep into the musical expression of Chungcheong province such as Yanggeum, Seungmu(monk dance), pansori she learned at that time, even though now it had disappeared. When we compare with pansori that has been developed and continued in Jeonla province with weight on Chunhyangga of Shim hwayoung, we can find some differences as follows. ① The beginning part, 〈when a woman of unsurpassed beauty carne up〉, is normally filled up by song here, but in other pansori. it is by verse. ② There are big differences in song verse and melody from those of a Chunhyangga of other roots. ③ Similar melody is repeated in one song. ④ A simple melody form and Buchimsae are used. For Buchimsae, Daemadidaejangdan (a form that attached verse in first beat) is used most often. ⑤ A down Melody is used often in the song of Wujo, and it is most peculiar melody in the pansori of Chungcheong province. ⑥ A long-long, but raising three step, and short and strong stopping form in song sound is often used, offering impression of being not clear in archetypal distinction of gyemyenjo, wujo, pyeonrjo. The distinctions appeared in Chunhyangga of Shim hwayoung is somewhat similar with the conclusion of my preceding study that compared the sound of singer of dongpyeonjae, seopyeonjae with Kim changryong, Bang jingwan, Shim jeongsoon etc. That is to say, Chunhyangga of Shim hwayoung had distinctive features appeared in Junggojae pansori overall, and could confirm that those distinctive features were the general musical specialties of pansori of Chungcheong area, that is Junggojae. As was talked by other famous people except Shim hwayoung, Chungcheong province music has quite different style, and it can be generalized that the music of Chungcheong province has more gentle mood compared with Jeonla province music in overall. These particular features, as was shown above, could be confirmed through the detail appearances of melody.

There are some vocal genres with words in the form of Sijo which is short. They are Gagok and Sijo which belong to Jeong-ak(aristocratic music, 正樂) and Noraegarak that is a kind of shamanistic songs from Seoul. They not only share the words but also are in common jangdan(rhythmic pattern). Therefore in this paper, I name that type of rhythmic pattern as "Gagok-style jangdan". Jangdan is a technical term related with rhythm. It includes tempo, rhythmic cycle, characteristics of melodic rhythm and rhythmic pattern of janggu(hourglass shaped drum) accompaniment of the music. A rhythmic pattern of jangdan in Korean music often corresponds to two measures in Western music. I regarded the metric cycle of jangdan as a collective hierarchy structure of elements of composition of melodic rhythm and named it as "a synthetic structure of jangdan rhythm". In primitive songs such as children's songs, a type of synthetic structure of jangdan rhythm is repeated. However, music by professional musicians is composed of many different types of synthetic structure of jangdan rhythm. In most Korean music, a type of synthetic structure of jangdan rhythm is repeated. However, the music in Gagok style jangdan is composed of many different rhythmic patterns. In this paper, I clarified that rhythmic pattern of the music in Gagok style jangdan is composed of jangdan with two short patterns. In Noraegarak and Sijo, two different type of jangdan alternate. Gagok is composed of a few types of jangdan, differently according to its jangdan pattern. I investigated the process in which a synthetic structure of jangdan rhythm in primitive music became complicated in the course of being transmitted by professional musicians, leading to the creation of the characteristics of jangdan in Gagok style.

Assuming that Buddhist rituals such as Yeongsanjae began in the Goryeo Dynasty, this thesis presumes that Buddhist Chwita-ak also was created in the Goryeo Dynasty. The purposes of this thesis are to demonstrate that the creation of the Buddhist Chwita-ak was based on the Gi-ak (伎樂, a Buddhist ritual music) and the military camp Chwita-ak in the late Joseon Dynasty, and to reveal its significance in the music history. Although the background in the creation of the Buddhist Chwita-ak is complicated, the most typical origins are Gi-ak and the military camp Chwita-ak in the late Joseon Dynasty. The changes and features of Gi-ak are found through the musical instruments in Buddhist paintings such as Buddhist wall paintings in Dunhuang(敦煌), Buddhist paintings in the Goryeo, or Sinjungtaeng(神衆幀) in the Joseon Dynasty. It is known that Buddhist music and military camp music had been in dose relations from ancient times, and the relations were complicated. However, the objects at which this thesis aims are limited to the military camp Chwita-ak in the late Joseon Dynasty. Since the significance of Gi-ak in Korean music history is slight, it is not known how it was transmitted in the Goryeo Dynasty. However, considering that the Buddhist ritual music before Chwita-ak was Gi-ak, and Goryeo was also a Buddhist country following Silla, it is presumed that Buddhist music was not completely discontinued, and the tradition of playing Gi-ak remained in any form. It is considered that the reason why Goryeo's Buddhist Chwita-ak was newly created was because the Gi-ak at that time failed to meet the musical functions required by the then Buddhist society due to its slight role, and the formation of new Buddhist rituals required new ritual music. Furthermore, the reasons why it is deemed that Gi-ak was transmitted as Chwita-ak are that: first, Gi- ak and Buddhist Chwita-ak have been all played at Buddhist rituals; second, the Buddhist ritual music before Buddhist Chwita-ak was Gi-ak; and third, some musical instruments used in the initial Buddhist Chwita-ak existed only in Gi-ak. The military camp Chwita-ak in the late Joseon Dynasty is similar to the initial Buddhist Chwita-ak in features. Because the military camp Chwita-ak was created in the basic environment wherein Ming's military camp Chwita-ak had already been associated with Buddhist music. The reason why the military camp Chwita-ak, which was similar to the initial Buddhist Chwita-ak in features, backgrounded the creation of the Buddhist Chwita-ak is that the military camp Chwita-ak in the late Joseon Dynasty was being recognized as a new music with a focus on hojeok. Furthermore, as the clothing colors of players were changed to those of Naechwi (內吹, a kind of military band), not only the changes in music, the exterior appearance of the military camp Chwita-ak was also accepted. This means that the military camp music directly influenced the creation of the Buddhist Chwita-ak. Although Buddhist Chwita-ak was created after Goryeo Dynasty, it has developed as an independent music by incorporating Gi-ak, the preceding music, and accepting the military camp Chwita-ak, an adjoining music. The Buddhist Chwita-ak has its significance in Korean music history, in that it has succeeded to the tradition of Buddhist music, which has been transmitted from ancient times, it has succeeded to the ancient music culture, and it has succeeded to the music culture of Chwita-ak together with the military camp Chwita-ak.

This paper analyzes musical features of weeding songs to see whether Eosayong-tori is found in the farming songs of chungcheongbuk-do. This paper also studies on the distribution of weeding songs of rice farming across the region. Bording on the many other provinces, farming songs in chungcheongbuk-do are very much likely to have musical interaction with the neighboring regions. This paper sets weeding songs as a window through which musical interaction of the regions in question to be reserached. To the end, weeding songs of chungcheongbuk-do excerpted from MBC Hankuk-minyo-daejeon (Great Series of Korean Folk Songs) are categorized by two areas such as Northeast and Southwest in chungcheongbuk-do. A number of musical aspects including singing style, lyrics of response, tonal texture and temporal structures were considered to find out the style and distribution of weeding songs in chungcheongbuk-do. Mainly two styles of lyrics are distributed geographically. Northeast chungcheongbuk-do has Bang-a sori with Daeheri, Sangsadaeya and southeast chungcheongbuk-do has Jerehane-sori with Jalhane- sori. In regard to tonal texture, Menari-tori is found across both northeast and southeast chungcheongbuk-do. Eosayong-tori is found only below the southern Han river. The results reveal that weeding songs found in chungcheongbuk-do are not inherent music style of chungcheongbuk-do but contain the musical characteristics found in farming songs of some areas of Gyeonggi-do, Gangwon- do, chungcheongnam-do, Gyeongsangnam-do, Jeollabuk-do. Distribution of weeding song in chungcheongbuk-do can be concluded as the result greatly influenced by the geographical factor.

The present paper evaluates transcriptional score of Yiwangjik Aakbu in the 1930s by examining Suyeonjangjigok recorded respectively in transcriptional scores of Baek Woo-yong(1929), Tokyo University of Arts(1933), National Center Korean Traditional Performing Arts(1939), and the most current publication(1981). The transcriptional score of Baek Woo-yong(1929) reflects certain influence of Western music, especially in the understanding of beat and Sigimsae(ornaments) of the wind instruments. Considering the fact that it is the first transcriptional score in Korean music, Baek achieved a surprising success in details. The transcriptional score of Tokyo University of Arts(1933) is in general similar to the others in melody. However, depending on the instrument, different melodies and octaves are used in parts. Furthermore, it lacks sufficient understanding of Korean music in Sigimsea(ornarnents) of the wind instruments, the beat, and jangdan(rhythmic pattern). The transcriptional score of National Center Korean Traditional Performing Arts (1939) successfully expresses the characteristics of Korean music, similar to the present score. A minor setback is that, by omitting triplet, the total beat of measure appears irregular. Each of the transcriptional scores examined in the present study contains its own problems. However, they stem from different standards and ways of expression. Today's transcriptional score of Korean music has undergone various stages of development since 1929 to achieve its advanced form.