향가와 한국의 전통음악

Hyang-ga and Korean Tradítional Music

This treatise refers to a σeative succession of a subjective national music culture. The sti ective understanding of cultual heritage, which inc1udes a peculiar value and special quty， Îs indis야nsible to creative succession of national culture. However, we have been made mistake about this point. For example, Korean music culture, which continues to exist before the influx of the Westem Civilization in late nineteen æntury, had been hold in common Chinese music culture that leads the East-Asian musÎc culture. Henæ, Korean traditional music is a reflection of Korean culture and the same time owns a trend of connection jointly with the East-Asian music culture. In those days a viewpoint about the East-Asian music was connected with ‘Li-Ak ssu-hsiang’(禮樂思想) that means social code of etiquette and music, and a high degree reign culture as welL ‘Ak’(樂) inculdes songs, music and dance. Since our traditional music is different from the westem s, we should understand ours with the East-Asian music culture. Esπx::ially Silla Hyang-ga(popular songs of Silla dynasty), which is the crystal or essence of Silla music culture, have I:x~n disregarded from the historγ of Korean music. Since the respectable scholars who described the history of Korl많n music understand Hyang-ga as a literature, not music. Therefore, Korean music culture will be subjectively established in the view of the ‘Li-Ak ssu-hsiang’(禮樂思想) and ‘Ak’(樂).