지원사업
학술연구/단체지원/교육 등 연구자 활동을 지속하도록 DBpia가 지원하고 있어요.
커뮤니티
연구자들이 자신의 연구와 전문성을 널리 알리고, 새로운 협력의 기회를 만들 수 있는 네트워킹 공간이에요.
초록· 키워드
오류제보하기
Some players or composers raise continuously the improvement of Korean musical instruments. It is not recently raised that Korean musical instruments should be improved. It is well-known that from 1960s musical institutions including the National Center for Korean Traditional Performing Arts or musical groups or individual players have made effort to improve the musical instruments, tried to change the shapes, and made the new types of musical instruments.
It is my opinion that to change the shapes or refix the systems is not improvement, but the change of musical instruments. I propose that we should not use the term "improvement" before it is proved that the remodelled musical instruments are improved in function and effectiveness compared with the present musical instruments.
In other words, it is not proper for us to use the terms that the new instruments are under test for our playing the traditional music or new one after many players agree on the advantage of the new instruments.
In this paper, the term "remodel" includes all the change of the traditional instruments.
The chamber music which was played in the guest room, or garden, or outdoor was not emphasized the increase of volume, because it matched well with the small spaces or noisy places. But recently volume is very important, because it is played at public stage. Therefore, the increase of volume was very important to remodel the musical instruments - without considering quality or tone, loud speakers were unhesitatingly used or echoing barrels were used to increase the volume. The traditional musicians with other players is keenly interested in coping with the limit of volume.
To enlarge the musical range should be also solved with increasing the volume.
For us to play existing compositions with the existing instruments didn't matter because they were made within the range of existing instruments. But, the existing instruments couldn't be properly used to play the new music in the range. To solve these problems, the strings have more strings and the winds have more holes or adjust the strength of bamboo tube.
What happened to the original tone or quality of the existing instruments to increase the volume or to enlarge the range? We should discuss these problems with discretion.
This paper covers the followings on these matters :
- What is the background of remodelling the instruments?
- What do they(the National Center for Korean Traditional Performing Arts, provincial institutes of Korean traditional music, or individual players) do?
- What should be considered to remodel the instruments?
- To recommend how to approach to solve the above-mentioned. etc.
The summary of this paper is as follows :
1. The background of remodelling Korean musical instruments or converting them to have more musical effectiveness is basically attributed to the change of performance environment. The keypoint is to improve increase of volume, enlargement of range, tone or quality of sound. The aspiration after improvement of those is the background to the attempt of these changes.
2. In 1960s, the National Center for Korean Traditional Performing Arts(국립국악원) had made their first effort to reform 36 kinds of Korean musical instruments - 20 strings, 11 winds, 3 yulkwans, and 2 percussions, etc., but that had little result.
In the middle of 1980s, they made second effort to remodel the Korean musical instruments with the Korean Culture of Arts Foundation(한국문화예술진흥원). They remodelled the Korean traditional musical instruments which were mostly consisted of by daechita and the instruments which were lost how to play such as gong-hu or Korean mandolin(lute). It was timely attempt, but the remodelled instruments were out of use at public performance or on-the-spot and even by the players.
3. In 1990s, Chullabukdo Provincial Institute of Korean Traditional Music(전북도립국악원) had made their effort to improve three kinds of Korean musical instruments - 12 strings sanjo-kayakum, 24 strings kayakum, and Korean fiddle to have more natural sound and utilize the electric apparatus with the structural remake or subsidiary devise.
In case of Korean musical instrument with strings(kayakum), they got good repute on the followings :
○ setting ceramic sound equipment by picking up electrophone or using brace.
○ 24 strings kayakum.
○ making increase of volume or enlargement of range without changing traditional figure or tone on choosing the model of instruments.
○ increasing the volume with using the sound board or supporter of Korean fiddle. But, there were some problems on the tone of electrophonic picking-up.
4. Lee Jae Wha's arched strings have the following features : with adding new melodic string and open string, it has enlarged the range of high sound or low sound, and can change the tune. Also, it has the unique homophony in conformity with each string and each method of divination.
Choi Jee Ae's strings(kayakum) increase the volume and have spare sounds with adding plate over floor and driving string nail into the floor.
Lee Chang Hong's Korean fiddle increases the volume and removes the noises, and enhances the efficiency of the sound board with using separate-type wonsan, slanting style juah, wooden string pin on sansung parts and mending the cross-stick.
5. The followings should be taken into consideration to remodel the Korean musical instruments :
1) On the volume of the traditional music instruments, we should be careful in choosing the materials, setting sound board or structures and adding the up-co-date sound systems. But the unique cone of the traditional music instruments should be maintained.
2) On enlarging the range, co expand the range with adding strings or attaching side keys on the winds or augmenting beats on percussions, we should cautiously handle the instruments not to lose the specific technique or unique method of playing them.
3)We should not copy the foreign instruments except for reference.
4)We should protect the following characteristics of the traditional music instruments from mixing-up with foreign instruments :
-natural sound effects, that is, feeling of familiarity with the materials.
-softness like a warm breeze.
-waning sound after main sound.
-roaring as the dragon howls.
-fineness like minute sound.
It is my opinion that to change the shapes or refix the systems is not improvement, but the change of musical instruments. I propose that we should not use the term "improvement" before it is proved that the remodelled musical instruments are improved in function and effectiveness compared with the present musical instruments.
In other words, it is not proper for us to use the terms that the new instruments are under test for our playing the traditional music or new one after many players agree on the advantage of the new instruments.
In this paper, the term "remodel" includes all the change of the traditional instruments.
The chamber music which was played in the guest room, or garden, or outdoor was not emphasized the increase of volume, because it matched well with the small spaces or noisy places. But recently volume is very important, because it is played at public stage. Therefore, the increase of volume was very important to remodel the musical instruments - without considering quality or tone, loud speakers were unhesitatingly used or echoing barrels were used to increase the volume. The traditional musicians with other players is keenly interested in coping with the limit of volume.
To enlarge the musical range should be also solved with increasing the volume.
For us to play existing compositions with the existing instruments didn't matter because they were made within the range of existing instruments. But, the existing instruments couldn't be properly used to play the new music in the range. To solve these problems, the strings have more strings and the winds have more holes or adjust the strength of bamboo tube.
What happened to the original tone or quality of the existing instruments to increase the volume or to enlarge the range? We should discuss these problems with discretion.
This paper covers the followings on these matters :
- What is the background of remodelling the instruments?
- What do they(the National Center for Korean Traditional Performing Arts, provincial institutes of Korean traditional music, or individual players) do?
- What should be considered to remodel the instruments?
- To recommend how to approach to solve the above-mentioned. etc.
The summary of this paper is as follows :
1. The background of remodelling Korean musical instruments or converting them to have more musical effectiveness is basically attributed to the change of performance environment. The keypoint is to improve increase of volume, enlargement of range, tone or quality of sound. The aspiration after improvement of those is the background to the attempt of these changes.
2. In 1960s, the National Center for Korean Traditional Performing Arts(국립국악원) had made their first effort to reform 36 kinds of Korean musical instruments - 20 strings, 11 winds, 3 yulkwans, and 2 percussions, etc., but that had little result.
In the middle of 1980s, they made second effort to remodel the Korean musical instruments with the Korean Culture of Arts Foundation(한국문화예술진흥원). They remodelled the Korean traditional musical instruments which were mostly consisted of by daechita and the instruments which were lost how to play such as gong-hu or Korean mandolin(lute). It was timely attempt, but the remodelled instruments were out of use at public performance or on-the-spot and even by the players.
3. In 1990s, Chullabukdo Provincial Institute of Korean Traditional Music(전북도립국악원) had made their effort to improve three kinds of Korean musical instruments - 12 strings sanjo-kayakum, 24 strings kayakum, and Korean fiddle to have more natural sound and utilize the electric apparatus with the structural remake or subsidiary devise.
In case of Korean musical instrument with strings(kayakum), they got good repute on the followings :
○ setting ceramic sound equipment by picking up electrophone or using brace.
○ 24 strings kayakum.
○ making increase of volume or enlargement of range without changing traditional figure or tone on choosing the model of instruments.
○ increasing the volume with using the sound board or supporter of Korean fiddle. But, there were some problems on the tone of electrophonic picking-up.
4. Lee Jae Wha's arched strings have the following features : with adding new melodic string and open string, it has enlarged the range of high sound or low sound, and can change the tune. Also, it has the unique homophony in conformity with each string and each method of divination.
Choi Jee Ae's strings(kayakum) increase the volume and have spare sounds with adding plate over floor and driving string nail into the floor.
Lee Chang Hong's Korean fiddle increases the volume and removes the noises, and enhances the efficiency of the sound board with using separate-type wonsan, slanting style juah, wooden string pin on sansung parts and mending the cross-stick.
5. The followings should be taken into consideration to remodel the Korean musical instruments :
1) On the volume of the traditional music instruments, we should be careful in choosing the materials, setting sound board or structures and adding the up-co-date sound systems. But the unique cone of the traditional music instruments should be maintained.
2) On enlarging the range, co expand the range with adding strings or attaching side keys on the winds or augmenting beats on percussions, we should cautiously handle the instruments not to lose the specific technique or unique method of playing them.
3)We should not copy the foreign instruments except for reference.
4)We should protect the following characteristics of the traditional music instruments from mixing-up with foreign instruments :
-natural sound effects, that is, feeling of familiarity with the materials.
-softness like a warm breeze.
-waning sound after main sound.
-roaring as the dragon howls.
-fineness like minute sound.
목차
1. 들어가며
2. 변개작업의 양상이 나타나기 시작한 배경
3. 변개작업의 현황
4. 변개작업의 방향
5. 나오면서
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