고전소설 음악 관련 장면의 변화와 그 의미

Abstract

Music related scenes in classical novels in general have a tendency to be treated as decoration or illustration. However, because music can transmit various meanings as a non-verbal message, looking into what music elements are related with which persons and how they get introduced into classical novels has a significance in understanding a flow of the history of novels. Firstly, exploring the change of musical elements, the onset of music introduced into classical novels is ‘cípái songs (詞牌)’ or the words of cípáisongs. Characters free vent to their innermost feelings in these songs, and in late works, the focus was on character’s act of performance other than these songs. The act of performance described with responses of audience is utilized as a means to show character’s special disposition and dignity, but the works more focusing on music lay greater emphasis on non-verbal communication between performers and listeners. Characters related with music in early works of the history of novels are the main current of those people who belong to the transcendental world. And as they are substituted for human beings in the reality in the next generation, music is emerged as an exchange means between remarkable features. In this process, beings of Ginyeo(妓女) rise to the surface while women from the high class are excluded gradually. In this change, works endeavor to have a specified meaning within a work of music introduced scenes, and try to find various methods of communicating non-verbal messages with readers as well at the same time. However, because those works written after Kuunmong employ music only as accessories or don’t pay enough attention to increasing reader’s comprehension, they fail to embody functions that music has as a message.