인도음악에 대한 음악학의 전개와 현황 그리고 그 전망

Abstract

This paper aims to describe the evolution of Indian musicology by means of examining various view according to historical and social changes of the times and to present my view point toward the future prospect on further development. The research proceeds through 5 chapters: 1. Introduction, 2. The evolution of musicology on Indian music, 3. Indian musicology during the period before 20th century, 4. Indian musicology during the period after 20th century, 5. Future prospect and task of Indian musicology, and 6. Conclusion. The evolution of musicology on Indian music could be largely divided into two period, before and after 20th century. This division is caused by the fact that Western musicology (especially ethnomusicology) and Indian musicologists educated in Western country have come up on the late 19century and consequently after 20th century various approach and perspective reflect Indian music to contribute partly for building up the present state of Indian musicology. The main object for Indian musicologist in the early Indian musicology is the very pursuit of unity of the contents of ancient literature with musical performance. Therefore Indian musicology has evolved by ancient literature historically authorized in philosophy and arts, reinterpretation and analysis of music theory applied by various point of view and methodology, and researches in line with other engaged studies. Accordingly in Indian musicology has performing arts been included in the main theme of research in the aspects with verification over continuous theoretical interpretation and practical application in music performance. The main object and consequent research-subjects stated in the above have expanded into more diverse subjects and topics. Especially from 15th to 17 century after emerging two division, Northern Indian music and Southern Indian music, Indian musicology began to include the focus by social aspect such as relationship between patronage of Muslim ruler and Indian music performers. With the historical and social researches up to 18 century that has studied mainly on the area of Indian classical music, had the researches from 19 century begun to deal with non-classical music genre and folk music genre chiefly by Western musicologist (so-called ethnomusicologist). As nationalism and national pride has risen on the early 20th century, literati in India made an effort for independence movement with taking pride in the own culture against England. And the same time Western musicologist came to and many Indian scholors studied abroad return to India. With the accumulation of previous researches, Indian musicology has evolved through diverse dimension and more fluent categories for research by Indian musicologists with Indian traditional educational background, with having studied abroad, and Western musicologist. Moreover by virtue of recording technique being introduced in India on the early 20th century recording data and music performing had provided musicologist with a new phase for researching Indian music multi-dimensionally. The own musicology in non-Western musicology including Indian musicology should stand the point not just being compared with Western music or researched by means of one-sided application of method of Western musicology into non-Western music research. According to cultural characteristics and the way to speculate music, diverse musicologies in the world should be reinforced by individual evolvement and progress and accept critically research method and perspective of Western musicology. The music of India could be claimed to show practical and theoretical research evolution in conformity with religious and philosophical history. With this aspect, it may be considered that this paper discussing the evolution and prospects over Indian music present a field in which each own musicology in non-Western music area could be formulated and speculated on its own identity.