중국 남음과 한국 가곡의 철학적 배경 연구

Abstract

On the Philosophical Background of Chinese Nanyin and Korean KagokChun In PyongI have observed that there are many points of similarity between the Chinese Nanyin and the Korean Kagok. And this paper is an attempt to research the background of these two genres of music. I feel that in Korea few people understand Chinese Nanyin. So, first, I have made a detailed study of the Chinese Nanyin and compared it with the Korean Kagok. And then I have made a study of the philosophical and aesthetical background of the two genres.To mention a few of the similarities between Chinese Nanyin and Korean Kagok--both are a musical suites, both genres are played not by specialists, but by amateurs and both are literati music(文人音樂).In order to discuss the philosophical background of the two genres, I have first tried to make an aesthetical comparison. And then taking this as the basis, I have made a study of their philosophical background. Though there is a difference in technical terms, the two genres have a common point in the fact that they both are Seonbiui Eumak(literati music). In China, Nanyin is described as Naguei Bulryei Aeieui Bulsang(樂而不流 哀而不傷). In Korea, in Yi Deukyun's book (李得胤) Hyeonguemdongmunreuigi(玄琴東文類紀), Kagok is described as same idea(與亂世亡國之音絶不相似). This is an expression of the Confucian philosophical thought common in East Asia. Accordingly, I will say that Chinese Nanyin and Korean Kagok are musical genres which have the East Asian Confucian Ideology as their background.