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KCI등재 학술저널

동아시아 樂舞의 國家 間 疏通樣相

International communication aspect of East Asian music and dance

East Asian music and dance was established by accepting 「Baekheegamu」 of several countries based on 「yukdaeakmu」 of historic central districtdynasty. It was expanded into Gubuak from Chilbuak and was completed as 「Sipbuak」. Palbuak except for Yeonak and Cheongsanak among sipbuak are the music and dance of Sayi. Yukdaeakmu which was the gukjoakmu of the central district authority became nominal, some of the Baekheegamu renamed as 「Sanak」 remain in the central district and East Asian countries. Korean lion dance and all kinds of mask dances are the East Asian inherent music and dance, and 「Sinlaogi」 described in 「Hyangakjapyeong」 by Choi Chiwon is one of the Baekheegamu. 「Munmu」, 「Mumu」, and 「Palilmu」 played at Jongmyojerye and Munmyo are the dance/music that come down through the communication among East Asian countries. The reason that China embraced East Asian music/dance and performed it and spread to each country is attributed to the music/dance imperialism awareness, a part of Chinese imperialism. It was a strategy to bind East Asia as feudal domain country. Baekheegamu was passionately accepted regardless of the hierarchy of East Asian empire and Japhee and dance remain everywhere until now so people are enjoying them. Music/dance was the most active contents among the communication culture fields of East Asia. On the other hand, Sipbuak and Sanak Chinese ambitiouslyestablished throughout the history during socialism system for about 60 years almost went out of existence. Myoak and Sanak that were handed down through the medieval music/dance communication were usually enjoyed by Koreans. It is a result that Korean people loved the music and dance diachronically.

1. 問題의 提起

2. 四夷樂과 百戱歌舞의 展開와 疏通

3. 中原 「六代樂舞」의 傳承과 疏通

4. 結論

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