풍류모임 사례를 통해 본 무형문화유산의 재생산 과정
Reproduction Process of Intangible Cultural Heritage Viewed through the Cases of Pungnyu Groups
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It is believed that a cultural-anthropological approach to “Hyangje Joolpungnyu” can provide a new paradigm to the research methodology and data analysis of intangible cultural heritages and help better understand traditional music including “Hyangje Joolpungnyu”. To understand “Hyangje Joolpungnyu,” above all, it is necessary to understand the behaviors and consciousness of those who play the music. And then it is also needed to learn the skills to play it directly or study the scores of the music. Many musicologists understand music, recording it by ear and analyzing the scores However, it is hardly true that the subjects of transmission of “Hyangje Joolpungnyu” only play music, no matter who they are, amateurs or professionals. They emphasize that it is the spirit of Pungnyu and the culture of Pungnyubang that are of importance. Therefore, what integrates with ‘intangible’ and ‘cultural values’ are externalized into the operating principles, purpose, and esthetic diversity of Pungnyu groups. The present study started with paying attention to the point. Restoring the culture of Pungnyubang where music and spirit are united is to symbolize the appropriateness of the continuance of Pungnyu and becomes the base for the reproduction of it through practice. The author would like to stress that this change is one of the original distinctions of Pungnyu. In other words, Pungnyu is handed down from generation to generation, preserving its characteristics, while changing.
Abstract
It is believed that a cultural-anthropological approach to “Hyangje Joolpungnyu” can provide a new paradigm to the research methodology and data analysis of intangible cultural heritages and help better understand traditional music including “Hyangje Joolpungnyu”. To understand “Hyangje Joolpungnyu,” above all, it is necessary to understand the behaviors and consciousness of those who play the music. And then it is also needed to learn the skills to play it directly or study the scores of the music. Many musicologists understand music, recording it by ear and analyzing the scores However, it is hardly true that the subjects of transmission of “Hyangje Joolpungnyu” only play music, no matter who they are, amateurs or professionals. They emphasize that it is the spirit of Pungnyu and the culture of Pungnyubang that are of importance. Therefore, what integrates with ‘intangible’ and ‘cultural values’ are externalized into the operating principles, purpose, and esthetic diversity of Pungnyu groups. The present study started with paying attention to the point. Restoring the culture of Pungnyubang where music and spirit are united is to symbolize the appropriateness of the continuance of Pungnyu and becomes the base for the reproduction of it through practice. The author would like to stress that this change is one of the original distinctions of Pungnyu. In other words, Pungnyu is handed down from generation to generation, preserving its characteristics, while changing.
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