한국 전통 성악음악의 현대적 창작 가능성에 관한 소고 - 수행성과 구술성의 관점에서
Reflections on the New Pathway of Traditional Korean Vocal Music in the Contemporary Compositions
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Voice must be the best instrument to express the human being’s inner world and to embody unlimited musical expressions. Sounds delivered by the human throat convey multi-layered significance in itself, and are something intuitive that is hard to explain or analyze. Traditional Korean vocal music has developed the various facets of the human voice, however there have been few explorations of traditional vocal practices in contemporary music. This paper examines how traditional vocal music idioms have been appropriated and transformed in the new works by contemporary composers: In the 1970s Dong-Jin Kim’s “shin chank-ak”, representing a westernized/modernized circumstance of traditional music where vocal idioms and gestures of p’ansori are fused with western tonal music; whereas Sukhi Kang’s Buru(1976) and Byung-ki Hwang’s The Labyrinth(1975), both associated with shamanistic rituals, showed reminiscence of the sound of disappearing origin. These experiments were merely temporary diversions to find new sounds or unique timbres, but during the past decade, a search for the possibilities of new vocal expressions has been seriously made, utilizing traditional vocal genres such as kagok, p’ansori, kut and pomp’ae, as exemplified in the compositions of Joon-Il Kang, Man-Bang Yi, Donoung Lee, and Sung Ho Hwang. It suggests that new compositoinal methods that can enliven the performativity and orality (the essential elements of traditional Korean vocal music) need to be more explored in contemporary compositions, especially in the current situation when the Western-centered modernity is critically reconsidered.
Abstract
Voice must be the best instrument to express the human being’s inner world and to embody unlimited musical expressions. Sounds delivered by the human throat convey multi-layered significance in itself, and are something intuitive that is hard to explain or analyze. Traditional Korean vocal music has developed the various facets of the human voice, however there have been few explorations of traditional vocal practices in contemporary music. This paper examines how traditional vocal music idioms have been appropriated and transformed in the new works by contemporary composers: In the 1970s Dong-Jin Kim’s “shin chank-ak”, representing a westernized/modernized circumstance of traditional music where vocal idioms and gestures of p’ansori are fused with western tonal music; whereas Sukhi Kang’s Buru(1976) and Byung-ki Hwang’s The Labyrinth(1975), both associated with shamanistic rituals, showed reminiscence of the sound of disappearing origin. These experiments were merely temporary diversions to find new sounds or unique timbres, but during the past decade, a search for the possibilities of new vocal expressions has been seriously made, utilizing traditional vocal genres such as kagok, p’ansori, kut and pomp’ae, as exemplified in the compositions of Joon-Il Kang, Man-Bang Yi, Donoung Lee, and Sung Ho Hwang. It suggests that new compositoinal methods that can enliven the performativity and orality (the essential elements of traditional Korean vocal music) need to be more explored in contemporary compositions, especially in the current situation when the Western-centered modernity is critically reconsidered.
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