창작국악의 신분 연구 2-김기수를 통해 본 국악의 근대화 양상

Abstract

This paper is about the aspect of modernization in the Korean traditional music with the composer Kim Ki-Su, who is the first generation of the Changjak Gukak. This study proceeds in two sections; the first two chapters are summarized the musical growth and the important works of Kim Ki-Su. Thereby this study deals with the compositional style <Seuyoung>(1941), which Kim regarded it as his first work. The third chapter describes the relation between the transcription and composition, and under this aspect examines the process of modernization in traditional Korean music. Kim Ki-Su was a performer who transcribed Aak to staff notation in the Lee Wangjik Aakbu under the Japanese colonial government. He was also a composer, and an administrator in education of Korean traditional music. Especially an eye-catching achievement is his staff-note transcription of Aak and folk music. An Performer of Aak, composer, and human cultural assets, Kim Ki-Su is a good example of Korean composer, who reflects the situation of Korean music in the period when the tradition mingled with the modern. According to tempo, <Seuyoung> is divided into three movements. Surely Kim used Western metric unit, but the melodic and rhythmic patterns are based on the constitutive element of the traditional Korean music Chôngak. The melodic structure is generally in C hwangjong pyôngjo, and sometimes it shows Western major scale. The register is from low c up to a2. <Seuyoung> is modified the fundamental Changdan of <Youngssan hoessang>, that is Seryôngssan, Doddri, and Taryông. With this modification of Changdan, the composer used different notations: staff notation for melodic instruments, Jôngganbo for Janggu, and the notation which he created his own style. Marks for expressions have important roles in musical form; they frequently appear a lot in the beginning and ending part of each movements. Using different notations is concomitance with 'translation' of traditional Changdan to Western rhythmic notation, and mingling C hwangjong pyôngjo with F major scale is concomitance with 'translation' Korean traditional scales to Western harmonic notation. These mixture of musical languages and notation types is just superficial phenomenon in the progression of musical 'translation' which expresses the Korean traditional musical elements in the form of Western modernization. Eventually Kim Ki-Su's experience of transcription to staff notation which started under Japanese colonial government, influences to his desire of musical composition, it also contributed to Changjak Gukak which is a newly born tradition in the early of 20th century Korea.