한국 선법 연구의 두 가지 접근 양상

Abstract

This paper aims at the historical and comparative research on the modes of Korean music which is divided into p’yŏngjo 平調 (p’yŏng mode) and kyemyŏnjo 界面調 (kyemyŏn mode) two categories, academic approach and pragmatic approach. Academic approach was studied by Yi Hye-gu 李惠求 [Lee Hye-ku], Chang Sa-hun 張師勛, Yi Po-hyŏng 李輔亨, Han Man-yŏng 韓萬榮, Kwŏn O-sŏng 權五聖, and Kim Yŏng-un 金英云. Their work is extremely precise and compact research to explain the diversity of the modes of Korea Music. The practical approach was studied by mainly composer group. The academic approach was so complex that it was very difficult to understand. The practical approach was aim to solve this problem and studied by Paek Tae-ung 白大雄, Chŏn In-p'yŏng 全仁平 [Chun In-pyong] and North Korea's Lee Ch’ang-gu. In the study of academic approach it was primarily used as the term of p’yŏngjo and kyemyŏnjo in two category so there were many confuse term were used in the process. Sometimes, same term contains different concepts and same concept have different meanings. The practical approach was primarily used for 5 classification which is using Western solmization. This research can arouse to a fundamental question, “Why do you explain the traditional music with western music theory?” In fact, it is best to describe and explain the Korean music by Korean terminology. However, there are many musicians have a lot of difficulty to understand the traditional terms of Korean music. So the practical approach adapted the Western music theory because many Korean musicians have basic understanding on the Western music theory through Western music education. I believe that the practical approach has the advantage of being easily understand to the who want to know the modes of Korean traditional music.