한국음악학에서 용어의 개념정의와 해석(2)

Defining and interpreting terminology of in Korean Traditional Musicology

The purpose of this writing is to review concepts of terminology of Korean Traditional Musicology established during the last century and to trace how those terms have been interpreted. This is truly meaningful work in two points. First is that not only becomes the terminology an indispensible tool for studying and educating, it also has a significant influence on people in understanding traditional music. Second is that the process of trial and error during the 20th century in the Korean Traditional Music should be overcome to set a milestone for a NEW Korean traditional music. Though initially intented to be put into one paper, the amount of study became too big to adhere to the original plan. Thus, it has been published into two volumes, As mentioned in the first volume, the principles of setting terms are presented before terms for 잡가, 민요 and others are explained. They are as below. 1) Principles of setting terms are as follow. First, customs of performers are most respected. Second, terms are decided according to universal theoretical system. Third, it is based on the existing traditional music. It is my perspective that musical theory founded upon these principles should be practically applied into performing and composing traditional music to make Korean Music . In this regard, musical works shown in the traditional scores such as 『시용향악보』 but no longer played contemporarily are not considered and the musical theory of early 조선 is treated to emphasize its limit to be used for current traditional music. 2) It is never too much to say the importance of 채보, the process of putting orally-transmitted music into score, to build up the theoretical system based on existing music. 채보 is a way to find a framework of performing by professional artists of traditional music and also is directly related to decide the theory of the musical system of traditional music. Theory of the musical system is, in other words, the written description of what is found from analyzing the musical structure captured through the process of 채보. The practical theory achieved through the above procedure can exclude possible errors from bibliographic research done in the early stage of establishing Korean traditional music as a science. It can be described as correcting the wrong fastened buttons from the top. The practical theory can be used as basic concept to explain the evolution of musical styles in the history of Korean traditional music. 3) Terms of 잡가, 민요, chamber music (영산회상) are reviewed in this paper. Though 잡가 is rarely studied, likely to be evaded by scholars as a research topic due to its implications from meaning, 잡가 is also a part of music performed by professional artists. In this respect, terms of 잡가 should be considered seriously for further review. 잡가 of 경기 region, 서도잡가 of Northwest region, 남도잡가 of south region are important in that they are closely related to 판소리 in terms of epic structure of lyrics of the songs. 4) Terms of falk songs has been the issue of constant dispute among scholars ever since the beginning of academic study on falk songs including the topic of how to categorize falk songs. It is true that theoretical framework of falk songs is inseparably linked to the overall systematic theory of Korean traditional music and yet its consensus has not been agreed. With this in mind, folk songs are classified into seven groups according to geographical location and the musical characteristics and the tonal structure of each region has been explained in this paper. 5) Lastly, terms of chamber music such as 영산회상 are reviewed. In the tradition of orally-transmitted music instrumental music was not been newly composed, therefore works of vocal music were adapted for instrumental music.