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From National Music to Pan‐Chinese Music: The Modern Chinese Orchestra and its Surviving Contexts

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주제분류음악학

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중국이 계속해서 서구의 힘에 패배할 무렵, 서구 심포니 오케스트라 는19세기 후반의 음악전반에 영향을 주었다. 중국인들에게 그것은 엄청나게 "조직적"이었고 각 성부의 구성과 완벽하게 구별된 현, 목관, 금관, 타악기 섹션들은 서구의 진보된 과학과 기술의 상징이었다. 서양 오케스트라와의 단순하고 수량적인 비교 후, 중국전통앙상블에 없는 금관악기군의 결핍의 인식은 특히 중국음악연주인들 사이에 뿌리깊은 열등감을 더욱 자극하였다. 구오야웨(guo-yue 國樂)즉, 국악(국가음악)이라는 용어는 처음으로 현대적 중국 오케스트라에 사용되었다. 20세기 전반에 "국가음악"으로 홍보되었던 서구식 오케스트라화된 중국음악은 현대화된 중국을 강조시키는 상징이 되었다. 그러나 같은 현대적 중국오케스트라는1949년 이후 중화인민공화국 에서 민유웨 (minyue 民樂)라는 새로운 이름을 갖게 되고, 대만에서는 계속해서 원래의 용어인 구오야웨(guoyue 國樂)를 지키게 되었다. 더 나아가 같은 오케스트라였어도 1997년 이전 영국의 식민지였던 홍콩에서는 "국악" 이라는 이름을 사용할 수 없었다. 따라서 홍콩에서는 쫑유웨 (zhongyue 中樂) 즉 중국음악이라는 이름을 사용하였다. 이 논문에서는 특 별히 서구로부터 유입된 범-중화적 음악언어로 야기된 피할 수 없는 내적 동질화의 문제와 중국 안에서의 지역적 다양성에 관심을 두고, 중화 인민공화국, 대만, 홍콩에서의 현대 중화오케스트라의 정치성과 정체성의 문제들을 논의한다.

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