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초록· 키워드
오류제보하기
When a race does not gain their own unique cultures and traditions, they will be considered as a one those who lose their authenticity.
And it's very easy for those ones to be assimilated by others.
In the wide territory of china, there are 56 races living in.
In this circumstance, korean-chinese had been built their own charaereristic cultures.
I'd like to claim that the fundamental reason for this could be explained by their own traditional cultures.
Because of they were gaining these traditions, so that they could adopt those traditions to a new tendencies.
In this sense, in a new form of written runes called (chang-jak-gayo), we still can find the factors of traditional folk songs and that is breathing with alive masses.
The summarization of this text is as written below.
First. Among the pentatonic scales, songs on 'la' as a tonal center, was composed on 〈menari mode〉in most of cases. ("mi₁-sol₁-la₁-do-re-mi", "la₁-do-re-mi-sol-la" mode)
The songs composed on the basis of (kyung-gi) province's folk song such as (sabalga), (betlga)are found often as well. ("la₁-do-re-mi-sol-la" mode)
And some of the songs were composed on the foundation of mixed factors of musical traditions from various areas.
However, the composition on the 〈yookjabaegi mode〉and the scale used in (hwang-hae) province is comparatively rare.
Second. In the cases of the song on the "mi₁-sol₁-la₁-do-re-mi" or "la₁-do-re-mi-sol-la" mode, with starting in 're' or 'sol', these tones used to have afunction as an ornament and (연류음)in front of 'mi' and 'la' or be one of the three tone-serial constructed variously
Third. The reason why the songs based on 〈yookjabaegi mode〉 and (hwang-hae) province's scale are rare could be explained by the low percentage of immigrants from that area.
Because of songs on 〈yookjabaegi mode〉 makes sad and elegiac sound, it is possible to guess that those tunes were regarded as a violent of china's governmental policies.
And the other reason for this is, if the composer does not understand the authentic meaning of these modes, it could be turned out as a song based on the 〈yonanuki minor scale.〉
Fourth. In this pentatonic scale, 'si' used to appear but this tone does not mean the westernization of (chang-jak-gayo).
This note does have a specific function as a passing note to support the climax of the music and appears rarely than other five notes.
Therefore this tone must be interpreted as a distinguished musical factors of korea than a symptom of westernization.
Probably numerous deficiencies and incorrect parts must be existing in this text.
in spite of those defects, it will be a great honor for me to contribute to the studies of regional music of koreans.
After of all these, I wish I could have many schorlars' indications and corrections without any hesitation.
And it's very easy for those ones to be assimilated by others.
In the wide territory of china, there are 56 races living in.
In this circumstance, korean-chinese had been built their own charaereristic cultures.
I'd like to claim that the fundamental reason for this could be explained by their own traditional cultures.
Because of they were gaining these traditions, so that they could adopt those traditions to a new tendencies.
In this sense, in a new form of written runes called (chang-jak-gayo), we still can find the factors of traditional folk songs and that is breathing with alive masses.
The summarization of this text is as written below.
First. Among the pentatonic scales, songs on 'la' as a tonal center, was composed on 〈menari mode〉in most of cases. ("mi₁-sol₁-la₁-do-re-mi", "la₁-do-re-mi-sol-la" mode)
The songs composed on the basis of (kyung-gi) province's folk song such as (sabalga), (betlga)are found often as well. ("la₁-do-re-mi-sol-la" mode)
And some of the songs were composed on the foundation of mixed factors of musical traditions from various areas.
However, the composition on the 〈yookjabaegi mode〉and the scale used in (hwang-hae) province is comparatively rare.
Second. In the cases of the song on the "mi₁-sol₁-la₁-do-re-mi" or "la₁-do-re-mi-sol-la" mode, with starting in 're' or 'sol', these tones used to have afunction as an ornament and (연류음)in front of 'mi' and 'la' or be one of the three tone-serial constructed variously
Third. The reason why the songs based on 〈yookjabaegi mode〉 and (hwang-hae) province's scale are rare could be explained by the low percentage of immigrants from that area.
Because of songs on 〈yookjabaegi mode〉 makes sad and elegiac sound, it is possible to guess that those tunes were regarded as a violent of china's governmental policies.
And the other reason for this is, if the composer does not understand the authentic meaning of these modes, it could be turned out as a song based on the 〈yonanuki minor scale.〉
Fourth. In this pentatonic scale, 'si' used to appear but this tone does not mean the westernization of (chang-jak-gayo).
This note does have a specific function as a passing note to support the climax of the music and appears rarely than other five notes.
Therefore this tone must be interpreted as a distinguished musical factors of korea than a symptom of westernization.
Probably numerous deficiencies and incorrect parts must be existing in this text.
in spite of those defects, it will be a great honor for me to contribute to the studies of regional music of koreans.
After of all these, I wish I could have many schorlars' indications and corrections without any hesitation.
목차
Ⅰ. 머리말
Ⅱ. 창작가요에 나타나는 성격음조
Ⅲ. 맺음말
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