모방과 창조의 역학: 국악관현악단 45년의 전개 양상
Dynamics of Imitation and Creation in the Modern Orchestra of Korean Instruments
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While Korea had a long ensemble tradition, cultivated mainly for various court functions and folk rituals, the large-scale modern orchestras of Korean traditional instruments were newly born around 1965. The orchestra was the obvious imitation of Western orchestra. The imitation was so explicit that not only its external appearance, but its basic arrangement and formation, including the conductor, were roughly set up. Considering the 2-300 years of steady and inevitable process toward its perfection in the West, it seems very difficult to understand the 45 years' survival beyond such seemingly reckless and superficially imitative beginning. During the similar period, the West-oriented orchestra of traditional instruments appeared in many other Asian countries, especially in those with strong musical traditions. Among those, Korean case can be accessed as one of the most successful. 45 years passed since its beginning, currently about 40 orchestras are publicly or nationally institutionalized, and all actively performing. Its successful survival can not be explained now by simple imitation theory. There must have been some creative capability working in it. This paper tries to analyze the dynamics of imitation and creation in the orchestral tradition, and search further the meaning of its existence in modern Korean society.
Abstract
While Korea had a long ensemble tradition, cultivated mainly for various court functions and folk rituals, the large-scale modern orchestras of Korean traditional instruments were newly born around 1965. The orchestra was the obvious imitation of Western orchestra. The imitation was so explicit that not only its external appearance, but its basic arrangement and formation, including the conductor, were roughly set up. Considering the 2-300 years of steady and inevitable process toward its perfection in the West, it seems very difficult to understand the 45 years' survival beyond such seemingly reckless and superficially imitative beginning. During the similar period, the West-oriented orchestra of traditional instruments appeared in many other Asian countries, especially in those with strong musical traditions. Among those, Korean case can be accessed as one of the most successful. 45 years passed since its beginning, currently about 40 orchestras are publicly or nationally institutionalized, and all actively performing. Its successful survival can not be explained now by simple imitation theory. There must have been some creative capability working in it. This paper tries to analyze the dynamics of imitation and creation in the orchestral tradition, and search further the meaning of its existence in modern Korean society.
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