젊은 국악작곡가의 시각을 통해 본 국악작곡의 문제의식 ― 윤혜진과 이태원을 중심으로

Abstract

..There have been so many 'newly composed Korean traditional music' in South Korea after Gisu Kim. However, those works were almost 'fusion music making' rather than 'newly composed Korean traditional music', because they have been made by combining the western notion of composition with the elements of Korean traditional music. The 'new traditional music' using western notion of composition should be so-called 'fusion music' rather than 'Korean traditional music itself'. Therefore, the modernization of 'Korean traditional music' also should be a term which have justified the westernization of it. In this point, we can give attention to the two remarkable young composers, Hyejin Yoon and Taewon Lee. The core of their minds about 'newly composed Korean traditional music' is 'what should be the composition of Korean traditional music?' The 'newly composed Korean traditional music' so far might be a 'non-Korean traditional music making' or 'fusion music making'. The elements of Korean traditional music have been found in the majority of newly composed music, but those elements were the parts of works. Other parts except those elements should be non-Korean elements, nevertheless, we have called the works 'new Korean traditional music'. The works of the two composers can be regarded as 'fusion music' in this point of view, but they inquire continually 'what is newly composed Korean traditional music in modern Korean society?, 'the modernization of Korean traditional music might be a violence to Korean traditional music', 'the elements of Korean traditional music might be a notion that is connected with the elements of non-Korean traditional music. The rethinking of the justification and the concrete meaning of 'newly composed Korean traditional music' should be necessary through their works. Their introspection and inquisition should be connected with a question for all who concern about 'newly composed Korean traditional music'