Earticle

본 논문은 한국의 민요 ‘아리랑’이 미국에서 어떻게 공연되고 수용되었는지를 연대기적으로 고찰하며, 이 과 정에서 아리랑이 한국 민족의 상징으로 자리 잡게 된 경로를 추적한다. 1896년 워싱턴 D.C.에서의 첫 박물관 녹음과 20세기 초 하와이에서의 한국 디아스포라 문화부터 시작하여, 한국전쟁 전후 아리랑이 미국 대중문화 에서 어떠한 역할을 했는지 분석한다. 또한 공연자들이 미국의 ‘백인주의’ 대중문화에 맞추어 변형하고 적응시 킨 방식과, 그 과정에서 인종, 정체성, 정치적 이슈가 매카시즘과 냉전이라는 시대적 배경 속에서 어떻게 다루 어졌는지에 주목한다. 또한, 자본주의, 제국주의, 반전 운동 등 다양한 이념적 관점에서 아리랑이 해석된 방식 과, 젠더(gender and sexuality)와 관련된 냉전 오리엔탈리즘의 복잡성을 주의 깊게 탐구한다. 아울러, 현대 할 리우드 영화에서 아리랑과 한국 정체성이 어떻게 고정적이며 진부한 방식으로 묘사되었는지도 분석한다. 마지 막으로, 글로벌 문화적 맥락에서 아리랑의 변화와 발표 동향을 살펴보며, 아리랑이 세계적인 문화적 현상으로 변모해가는 과정을 조명한다.

This paper is a preliminary examination of the military music tradition in East Asia from the perspective of global music history. The long history of military music in East Asia can be understood in terms of four periods: (1) the age of bronze percussions and drums(before 3rd century B.C.), (2) the age of drums and horns(from 2nd century B.C. to 13th century A.D.), (3) the age of conical-shaped shawm (suona/ taepyeongso)(from 14th to 19th centuries), and (4) the age of Western-style military music(after second half of the 19th century). I also offer the following four perspectives as clues to understanding the East Asian military music tradition in an integrated and comparative manner. (1) The tradition of music performance by soldiers and military personnels. In East Asia, the tradition of playing music by military officers has long been maintained because the soldiers were expected as persons who exercise physical prowess just like other practitioners of performing arts such as music, dance, and drama. (2) Representing the sound of military music as “exotic” one. The custom of associating exotic or foreign ethnic images with the wind instruments of military music originated from Middle East and Central Asia, such as the jiao/gak/kaku (horn), hujia/hoga/koka (double-reed pipe), and suona (conical-shaped shawm), has been maintained for a long time. In Japan the suona was called charumera, whose name was derived from Portuguese, and it has always captured the imagination of foreign countries, China or Korea in particular. (3) Military music and musicians as mediators of urban music. The military musicians seaksu of the late Joseon period contributed to the development of urban music by providing musical accompaniment for several cultural activities developed in the urban socio-cultural circumstances. (4) Traditional military music as an invented tradition after the global spread of Western-style military music. After the 1960s Korea, a traditional piece of military band music Daechwita was revived through the intangible cultural heritage system and national events, and it functioned as a symbol of national unity. The revived Daechwita has now become a new source of imagination of Koreanness and power in Korean and global popular culture.

A folk song has emerged as a quintessential emblem of national culture, even transcending borders to become a universal musical heritage. Despite its profound attachment among many, its widespread dissemination carries a wealth of cultural heritage. Not every culture achieves recognition through legal prescription; hence, it is through the collective efforts and wisdom of many, akin to the “Miyang Arirang” and “Arirang,” that we attain this newfound sphere.

Since the 1970s, scholars have developed the study of Korean music in the UK. Due to the number of scholars working extensively on Korean music research across various UK universities, Korean music studies was able to be well established in the UK under the field of Ethnomusicology. This study aims to examine the current state of traditional Korean music in the UK by dividing the investigation into two areas: the experts and the public/non-experts, to provide an overview of the current situation and to forecast and explore potential future directions for development of Korean music. In the expert side, the study examines the evolution and education of Korean music research from the past to the present in British universities. Through the efforts of scholars prior to the 2000s, such as the publication of numerous English-language monographs, a foundation for the Korean music research was established. The number of Korean music scholars currently active in the UK has increased compared to the past, which has made it possible to anticipate more divers opportunities for the education and research of Korean music in various setting. However, the decline in interest in traditional music within the broader field of ethnomusicology, and the absence of Korean music scholars in ethnomusicology at SOAS, could bring on significant challenges, potentially leading to negative changes in the future of Korean music studies in the UK. In the area of the non-experts, quantitative research methods were used to assess British perceptions of Arirang, a representative Korean folk song. The findings revealed that while most participants were aware of Arirang, they were unfamiliar with its various regional versions. Through analysing the descriptive words participants used to express their experiences of listening to each version, suggestions were made for promoting these different versions of Arirang. The study further highlighted the need for a more concrete approach to globalising Arirang, moving beyond simply raising awareness of it. With the global popularity of Korean culture, the number of foreigners interested in Korean culture has significantly increased. It can be inferred that more people than before may have developed an interest in traditional Korean music. Although the number of such individuals may be small, ensuring that they are not overlooked and providing opportunities for continued study and research in traditional music is crucial. Supporting their growing interest so that it develops into a deeper engagement will be the first step toward expanding the global reach of traditional Korean music.

한국의 대표적 민요 아리랑은 수많은 지역적 변주와 깊은 문화적 의미를 지니고 있으며, 전 세계 많은 현대 작곡가들에게 영감을 주었다. 본 논문에서는 다섯 명의 서양 작곡가—존 반스 찬스, 알란 호반네스, 크슈슈토프 펜데레츠키, 모세 베르트란, 에드워드(테디) 니더마이어—가 자신의 작품에 아리랑을 어떻게 통합했는지를 살 펴본다. 찬스와 베르트란과 같은 작곡가는 노래의 멜로디를 직접 자신의 작곡에 엮어 개인적 요소와 발전을 포 함하는 반면, 호반네스와 펜데레츠키는 추상적인 요소에 의존하며, 노래의 간격, 모티프 및 단편적인 기억들을 활용한다. 반면, 니더마이어는 직접적인 인용과 함께 해체된 자료 및 여러 아리랑 버전(북한 변주 포함)에서 영 감을 받은 아이디어를 혼합하고 있다. 이 논문은 이러한 작곡들에서 아리랑의 존재를 추적함으로써 한국 음악 유산과 서양 클래식 음악 간의 문화 교류에 대한 통찰을 제공한다. 또한 아리랑이 민요로서의 다재다능함을 강 조하며, 그 주제가 문화적 및 지리적 경계를 넘어 공명하는 방식을 보여준다.

This paper primarily investigates the issues surrounding the inheritance and development of ancient music in contemporary society. The first section provides a concise overview of the current state of ancient music’s inheritance and development in both China and Korea, emphasizing the significant gap between theoretical research and practical performances within this field, as well as numerous challenges faced in both theoretical and empirical studies. In light of these circumstances, academic communities in both Korea and China are actively seeking solutions to broaden possibilities. The second section begins with an examination of the ancient musical instrument “Jiahu Guye,” discussing the motivations for renewed attention to and study of “Guye” art today; specifically, that “Guye” holds a central position within traditional Chinese musical concepts such as the “Five Tones” and serves as a leading instrument among the “Ba Yin(Chinese musical instruments classification),” providing essential artifacts for establishing the theory of “Twelve Lü.” Furthermore, this instrument is capable of producing a complete seven-note scale, which represents a crucial symbol of ancient China’s ritualistic musical civilization. The final section presents case studies from Pingdingshan University regarding their practice with “Guyue”, summarizing pertinent practical methodologies and anticipate enhanced discovery and transmission of research on ancient art in the future.

This study explores the current state of the transmission and improvement of traditional instruments, specifically the gayageum and yatga-type instruments, passed down from ancient times. It examines the characteristics of the restored and modified versions of these instruments. Various forms and types of restored and improved yatga, which have been reported or presented so far, are comprehensively summarized, confirming that yatga instruments, with different appearances and numbers of strings, have been transmitted in various forms throughout history. While the gayageum has been passed down over a long period and its rules have been standardized, the yatga has developed multiple tunings as it has primarily been used for solo performances of vocal pieces or as an accompaniment instrument. Historically, Korea’s gayageum has preserved its original form while evolving, whereas Mongolia’s yatga has undergone changes depending on socio-historical circumstances. While Korea’s gayageum has maintained its form from its origins in the 6th century or earlier to the present day, contributing to the preservation and inheritance of traditional instruments, Mongolia’s yatga experienced a break in its tradition due to political ideologies, followed by a revival and restoration, reflecting the socio-political changes over time. These differences in the socio-historical environments of the two countries are mirrored in their musical cultures.

After the reform of Ming and Qing Dynasties, the attitude of the Joseon Dynasty towards China changed from the initial “admiring and despising China” to the later “China and the West are one”, and the important turning point was the Northern Learning Thought, which advocated learning from the Qing Dynasty. In terms of music, the Joseon Dynasty carried out a series of activities to revive classical music and ancient music, including King Yeongjo’s revival of classical music with the Sheng-huang; Hong Darong’s practice of ancient music with the Tang-qin; Park Ji-won’s discussion of ancient music with the Qing literati in the form of written talks. The trend of retrospection was specifically reflected in the musical exchanges between China and the Joseon Dynasty in the late 18th century.

In order to find out the musical features of the Ci Yue works of women writers in the Song Dynasty, this paper confirms all the wo rks of women writers in the Song Dynasty that have survived as c i collections and music scores, and interprets the music features of women writers in the Song Dynasty. This manuscript identifies the features of the Song Dynasty femal e writers’ Ci Yue works, identifies all recorded Song Dynasty femal e Ci Yue(詞樂) writers and their works, and analyzes the musical features of Song Dynasty female Ci Yue. All kinds of word sets and music sets of Ci Yue were statisticall y sorted out, and the development process of Ci Yue was sorted ou t. 〈Song of Bai Shi Dao Ren〉by Jiang Kui in Song Dynasty is t he only Song Dynasty ci score that has been preserved, but it does not include female works. In the collection of Poems in the Grass Hall, there are many female works, and many female works were a dded in the Ming and Qing Dynasties. Based on the female ci recor ded in 〈Cao Tang Shi Yu〉 and the study of various ancient music scores, it can be confirmed that there are four kinds of music score s for recording female Ci Yue, which are left over in China and Jap an in the 17th century, 〈Wei’s Music〉, 〈Jiugong Dacheng North-S outh Ci Gong Music〉 and 〈Sui Jin Ci Music〉, 23 female Ci Yue works of the Song Dynasty, 16 writers and 25 scores can be seen. In order to understand the meaning of lyrics and music in the wo rks of female writers, the authors were first divided into upper clas s, common class, and lower class according to their identities, and t he worldview of the lyrics in the works of each class was observe d. Taking advantage of the education and social environment of the ruling class, women of the upper class left a relatively large numbe r of works, as well as many works with themes of love and patriot ism. The works of common women, based on the education they received in their families, generally express the personal emotions of men and women in love and family life. In addition, the lower-class female writers who used to be geisha or maidservants mainly expre ss their resistance to fate and longing for free love in their works d ue to the particularity of their status and occupation. In order to grasp the characteristics of female ci music works, th e composition, rhythm, rhythm and music category are observed. Th e result shows that the female works mainly use the FanZi(凡字)k ey (1=e) and the XiaoGong(小工) key (1=d). The works of the uppe r class women are mainly in seven-tone mode, with the most “Ling” and the second most “Man”. The Meter(節拍) are mainly 2/4 and 4/4. The works of civilian women are mainly in pentatonic mode, a nd the Meter(節拍) are mostly in 2/4 time and Senza Misura(自由節 奏). The number of “Ling” and “Yin or Jin” is more. The works of lower-class women are mainly in pentatonic mode, and the Meter is Senza Misura(自由節奏). There are a large amount of “Ling” and “Y in” in the works. As mentioned above, this manuscript is a translation and musical analysis of ancient music scores from the 17th century, and attempt s to reinterpret the results in the development of Song Ci Yue. The result proves that female Ci Yue in Song Dynasty developed in vari ous forms, and its musical characteristics were developed to the extent that it was clearly distinguished by class. Through this study, we got rid of the previous research on female ci music and proved that it is possible to study music. This paper puts forward the nece ssity of changing the perspective and method of Chinese women’s music research in the future.

wrtin duu, folk songs in Inner Mongolia. It is an intangible cultural heritage of Inner Mongolia Autonomous Region. The Mongolian chieftain tune folk song was declared successfully by China and Mongolia in 2005, becoming the first Chinese intangible cultural heritage to be declared successfully by other countries. In this paper, we analyze the different classification styles of folk songs and the representative folk songs, and put forward some opinions on the protection and inheritance of folk songs.