오행론에 근거한 전통 태교음악의 구성

Abstract

Traditionally in the East, many academic fields have been based on yin and yang and five elements. When it comes to life activities, the energy of the five elements is the key to the five elements theory. Music as a genital short with long low, high clear and turbid, ‘voice and spint[聲氣]’ and ‘marrow[精氣]’ and fine and the sound that forms the fetus are both energy, and the five elements theory is established as a category that deals with this energy. As can be seen from the music hall of 『禮記』, humans, including fetuses, respond between foreign objects and inner objects, and traditional music theory was formed based on this sensitivity logic. The same goes for prenatal music. When music affects one’s ‘body and mind[身心]’, and conversely, when sound comes out from within a person and is regularized, interactive interaction and action, which becomes music, are also premised on prenatal music. There are content and forms of mutual response. In the case of prenatal music, it will be important to classify the energy of music’s rhythm, rhythm, and solicitations into five elements, and to write or select songs suitable for the five elements. However, as long as it is based on the five elements theory, what is no less important is its formal composition. Existing studies on the composition of prenatal music based on the five elements theory argue that prenatal music should be divided into five equal parts for 10 months in the order of ‘Mok[木], hwa[火], to[土], geum[金], su[水]’ and number and applied in turn. In this paper, a different order is presented at the theoretical level. Essentially, it is based on the fact that the formation of the fetus is a process of being created rather than a concept in which completion is operated. In addition, in theory of dynamics, the application of misadventure was different in terms of generation and operation, so in this case, it was considered reasonable to apply the perspective of generation rather than the perspective of operation. In this way, it would be reasonable for 1, 2, 3, 4, and 5 months when the fetus is created to complete the process of life by linking the music energy and the music and instruments corresponding to ‘Su[水], hwa[火], mok[木], geum[金], to[土]’ respectively, and for 6, 7, 8, 9, and 10 months, it would be reasonable to complete the process by linking the music energy and the music and instruments corresponding to ‘Su[水], hwa[火], mok[木], geum[金], and to[土]’ Since the specific composition of traditional prenatal music is a part that requires the expertise and experimentation of music, this paper only presents theoretical principles, and therefore, it is necessary to conduct clinical trials on this.