창극의 서양음악 수용 양상과 그 의미

Abstract

This thesis traces the altered phases of ch'anggŭk's 唱劇 musical style and considers its meaning through accepting Western musical style and blending existing p'ansori 판소리 music and Western music. Because ch'anggŭk was rooted in p'ansori but originally started as popular theatre, it had developed splendor and enriched expression in musical aspects. The accompaniment of songs is extended from drum to susŏng accompaniment, to harmonic extensive kugak (Korean traditional music) orchestration, and to a fusion band which blends kugak and Western music and use various instruments. The mode of song is based on p'ansorii's singing methode but accepted diversifying musical accompaniment and several styles of Western music such as the rhythm, harmony and scale. These changes became active from the 2000's. It is very clear that creators from this time were aware of Western's musical play like a opera or a musical. However, as the problem that blending kugak and Western music is a modernization of kugak in new formation of kugak has been constantly brought up, the blend of kugak and Western music in ch'anggŭk causes both positive and negative responses. One claims that idioms and instruments of Western music enrich ch'anggŭk, and the other insists that these damage ch'anggŭk's traditional beauty. Moreover, since ch'anggŭk is the musical play which the drama and music should be unified on the stage, the solution filled up the gap of differences from musical styles has not been found yet.