창작 국악관현악 작곡기법 비교연구 : 20C와 21C의 작품을 중심으로

최강미 전북대학교 일반대학원 2016 국내석사

Creative Gugak orchestral music began in 1939. It started with many problems because of its organization and performance based on imitation of the western orchestra. But over about a century it has made many of the changes and developments. The works from 1940s to 1960s, which were the beginning of a new Korean traditional music orchestra to absorb the method of western music, mimicked the techniques of western music as it is, restructured traditional melody into orchestral and chamber music, and played variations. It was not until the 1970s that the development of creative Gugak orchestral music was made officially. In this paper, evolution of composition techniques for creative Gugak orchestral music is centered from 1970s up to 2000s by periods dividing each 10 year. And the purpose of the study is comparison of composition techniques for creative Gugak orchestral music in 20C and 21C. The instrumental musics analyzed by age are chosen as the representatives played the most and reflecting the era atmosphere. They are arranged as formats and techniques of musical structure, instrumentation and acoustic characteristics. The results are as follows. 1. The characteristics of composition techniques for creative Gugak orchestral music in the 1970s The materials of the 1970s’ Gugak orchestral music were mainly traditional musics such as classical music(Jeongak), Sanjo, and Shinawi etc. While the classical music style was mainstream in the early 1970s, creative elements have been added toward the late 1970s. Also, Gugak orchestral music carried out in simple arrangement of unisons used the unique ensemble effects such as distributed chords and heterophonic. In addition, creative movements could be seen as emphasizing the dramatics of Gugak orchestral music in detailed representation such as musical symbols and articulation. In placement and acoustic part, musical instruments in everyday life, and ones not often used in the orchestra were utilized rather than placement of traditional instruments as a simple accompaniment. And Daepiri was used and Daeajaeng part was divided for bass extension. So it can be said that a new direction was pursued trying traditional and modern techniques together in the 1970s. 2. The characteristics of composition techniques for creative Gugak orchestral music in the 1980s There was a lot of development of creative Gugak orchestral music in the 1980s. And the very important works were born at the same time. The existing Gugak orchestral music had been confined to western musical frame. But in the 80s, the music developed increasing many Korean elements in it. Out of composers working actively, there were professional composers majoring in western music composition, but musical instrument players, who began to make their musics studying composition. For example, Lee Sang-gu, Park Beom-hun, Kim Young-dong, and Kim Young-jae were their representatives. The materials of traditional music were the same as the previous orchestral music. But the point was that the popularity was added to the musics consciously. Nongak, which is traditional Korean music performed by farmers, was pulled up on the stage, considered as the only traditional play outside. Changgeuk(唱劇), which is a kind of musical combining Pansori and drama, appeared. Genre of Gayo style, which is Korean popular song style, turned up accepting Gugak’s scale and rhythm, and melody and harmony of popular music. They attracted the attention of the mass. It was an evolutionary time the music was free in the form and a variety of works were born. 3. The characteristics of composition techniques for creative Gugak orchestral music in the 1990s Gugak orchestral music was established as Korean its own one out of the western frame in the 1990s. Creative transformations in rhythm appeared, not simple forms given the melody in traditional rhythm. The creation of transformational rhythm in percussion instruments showed the genre possibility of percussion performance. Function and role of the percussion group have increased than melodic and homophonic songs. Instrumental improvement started to compensate for the shortcomings of Gugak instruments that volume was insufficient. For example, 12-string gayageum was improved to 22, 25 and 33-string gayageum. In addition, the synthesizer was frequently used in Gugak orchestral music for creative effect of popular music and supplementation of the lower register. It was the golden days of creative Gugak in materials and use of musical instruments to the form of performance. 4. The characteristics of composition techniques for creative Gugak orchestral music in the 21c In the 21st century, a unique harmony of sounds has been created with exotic percussion sounds and western composition elements in traditional Gugak orchestral music. Diverse materials were used freely. The composer’s preferences and philosophy were represented in the music by classical music(Jeongak), folk music, folk songs, art, novel, epic, and so on. Also, the social atmosphere was reflected in the music. As to rhythm, percussion performance was classified as a independent genre by colorful variations and performances of traditional rhythm. 25-string gayageum, which is considered as successful instrument improvement, was settled down in Gugak orchestral music. Also, considerable efforts have been made to instrumentation taking acoustic part into account. Comparing Gugak orchestral music organized with only traditional Korean instruments in the 20c, now western percussions, and bass instruments such as cello and double bass are used familiarly. Adding western instruments and improving traditional Korean instruments have made up for acoustic weak points of Gugak orchestral music. As domestic composers who studied abroad have created their works, and western composers have gotten interested in traditional Korean music, new techniques and scale were represented in musics. As a result, players’ ability has been cultivated noticeably. Creative Gugak orchestral music has undergone a remarkable development in the 21st century. Simple classification such as classical music(Jeongak), folk, and creative has been changed to diverse genres that have popular appeal. Traditional music, creative orchestral, concerto, duet, percussion performance, Gugak Gayo, fusion chamber music, New Age, Gugak cantata, creative Gugak musical and so on, they were too numerous to enumerate. Creative Gugak orchestral music has continued to develop. But certain challenges still must be overcome. There are a number of limitations to analyze all works of creative Gugak orchestral music in a century by only several theses. But this paper would be used as baseline data for the development of creative Gugak orchestral music, I hope. 1939년부터 시작된 창작 국악 관현악은 서양관현악의 모방에 따른 편성과 연주법으로 그 출발부터 문제점을 안고 출발하였다. 그 후로 한 세기에 가까운 시간을 보내면서 창작 국악 관현악에도 많은 변화와 발전을 이루었다. 1940년대부터 1960년까지의 작품들은 서양음악의 음악 어법들을 흡수하여 새로운 국악 관현악 시작한 시기로, 서양음악의 기법들을 여과 없이 모방하고, 전통 선율을 관현악곡이나 실내악곡으로 재편, 변주해 보는 작품들이 많았다. 70년대에 이르러서야 본격적인 창작 국악 관현악의 발전이 이루어진다. 본고는 70년부터 2000년대까지를 중심으로 하였으며, 10년을 단위로 구분하여 창작 국악 관현악 작곡 기법의 변천을 연구해 보았다. 20C와 21C의 창작 국악 관현악 작곡기법 비교 연구를 목적으로 하였으며, 년대별로 분석한 곡들은 다수의 연주 횟수를 가진 곡들 중 임의로 3곡씩 선곡하였다. 악곡구조의 음악적 형식과 음악 기법, 악기 편성과 음향적 특징에 관해 정리해 보았으며 그 결과는 다음과 같다. 1. 1970년대의 국악 관현악 작곡 기법적 특징 1970년대의 국악 관현악의 소재를 정악, 산조, 시나위들 전통음악의 소재를 주로 다루고 있다. 70년대 초반에는 정악풍의 곡들이 주류를 이루고 있고, 70년대의 후반부로 갈수로 창작적인 요소가 더해지는데 ,유니즌의 선율배치로 단순하게 진행되던 국악 관현악은 분산화음과 헤테로포닉과 같은 독특한 합주효과등도 흥미롭게 사용된다. 또한 악상기호와 아티큘레이션의 표시 같은 디테일한 표현으로 국악 관현악의 드라마틱을 강조하는 등 창의적 움직임을 볼 수 있다. 악기의 배치와 음향적인 부분에서도 전통악기의 단순한 반주의 개념적 배치보다는 관현악에서 잘 사용하지 않은 악기들과 생활속의 악기들의 활용하였으며, 저음역대의 확장을 위해 대피리의 사용과 대아쟁의 성부를 나누어 기보하는 등 70년대는 전통적 기법과 현대적 기법을 시도하고, 새로운 방향을 모색했던 시기라 하겠다. 2. 1980년대의 국악 관현악 작곡 기법적 특징 1980년대는 창작 국악 관현악의 많은 발전을 가져온 시기이며, 주옥같은 작품들이 탄생한 시기이기도 하다. 서양음악의 틀 안에 갇혀 있던 기존의 국악 관현악곡은 80년대에 들어와서 한국적인 요소가 강하게 주입된 발전적 형태를 보이고 있다. 80년대에 활발히 활동하는 작곡자들은 서양음악작곡을 전공한 음악가들도 있지만 악기연주자들이 작곡을 공부하면서 만들어진 곡들이 생겨나기 시작하였다. 대표적으로 이상규, 박범훈 김영동 김영재가 그 대표적이다. 전통음악의 소재를 사용한건 80년대 이전의 관현악들과 같지만 대중성을 가미한 곡들이 의식적으로 만들어 졌다는데 의의를 둔다. 야외의 유희적 전통놀이로만 생각되었던 농악을 무대로 끌어올리고, 판소리의 창법과 극적인 요소를 결합한 뮤지컬 형태인 창극의 등장과 국악적 음계와 장단에 대중음악적 선율과 화성을 대입해 가요풍의 노래장르가 나오며 대중을 관심을 끌어 모았다, 형식면에서 자유로워지고 다양한 작품들이 탄생한 발전적 시기 이다. 3. 1990년대의 국악 관현악 작곡 기법적 특징 1990년대의 국악 관현악은 서양의 관현악 형태를 모방하던 틀을 깨고 한국적인 국악 관현악의 모습을 정착화 하였다. 장단의 사용면에서도 전통장단에 선율을 입히는 단순한 개념에서 변형장단의 형태로 창의적 도입이 보이고 있다. 타악기군의 변형장단의 창작은 타악 퍼포먼스의 장르적 가능성을 열어 보이기도 했다. 멜로디나 호모포닉적인 위주의 곡들보다는 타악기군의 기능과 역할이 증가하였다. 음량이 부족한 국악기의 단점을 보완하고자 악기개량의 움직임도 서서히 이루어 졌다. 90년대의 대표적 개량악기는 12현 가야금을 22현,33현 25현 가야금등 개량과 보급을 이루었다는 것이다. 또한 부족한 저음역대와 대중적인 음악의 창작 효과를 위해 신디사이저를 국악 관현악에 자주 사용하였다는 것도 90년대의 특징이라 하겠다. 90년대는 창작의 소재부터 연주의 형태, 악기의 사용에 까지 창작국악의 전성기라고 볼 수 있다. 4. 21C의 국악 관현악 작곡 기법적 특징 20C에 정악이나, 민속악, 굿등의 국악적 소재를 많이 사용했다면 21C의 창작 국악 관현악은 전형적인 국악 관현악 편성에 이색적인 타악 음향과 서양 작곡어법의 요소를 가미하여 독특한 소리의 어울림을 창조하고 있다. 소재면 에서도 정악, 민속악, 민요, 미술, 소설과 서사시 등 작곡자의 취향과 철학이 곡에 표현되고, 사회적 분위기를 적극적으로 반영하는 등 작곡가들의 꾸준한 노력으로 다양하고 자유로워 졌다. 장단과 리듬 면에서도 전통 장단을 선율에 입히는 반주적 개념보다는 전통장단의 다채로운 변주와 퍼포먼스를 가미해, 타악 퍼포먼스라는 장르를 독립적으로 분류되기도 한다. 또한 성공한 악기개량의 결과로 보여 지고 있는 25현 가야금이 국악 관현악에 정착화 되었다. 음향적인 부분을 고려한 악기 편성에도 많은 고민의 흔적들이 보이고 있다. 국악 관현악이기에 국악기만을 고집했던 20C 국악 관현악 편성에 비해 서양 타악과 베이스 악기인 첼로와 콘트라베이스 편성은 이제 생소하거나 낯선 무대는 아니다. 서양악기를 편성함하고, 국악기의 개량으로 관현악에서의 음향적인 단점을 보완해 나가고 있다. 연주법면에서도 연주자들의 스케일은 21C에 접어들면서 눈에 띄게 향상되었다. 이는 국내 작곡가들의 해외유학파들의 곡들과 해외에서 활동하던 서양음악작곡가들의 국악작곡에 대한 관심이 높아지면서 새로운 연주법과 스케일을 곡에 표현됨으로써 연주자들의 기량도 함께 발전 하였다고 하겠다. 이 처럼 창작 국악 관현악은 21세기에 접어들면서 괄목할 만한 발전을 이루었다. 정악과 민속악, 창작음악 등의 3분법적인 단순분류에서 대중들이 선호할 수 있는 장르의 다양성을 이루어 내고 있다. 전통음악, 창작관현악, 협주곡, 중주곡, 타악 퍼포먼스, 국악가요, 퓨전 실내악, 뉴에이지, 국악 칸타타, 국악 창작 뮤지컬 등 일일이 나열하기도 힘들 정도 이다. 창작 국악 관현악은 점점 발전하고 새로워지고 있지만 아직도 여러 아쉬운 점은 풀어야할 과제로 남아 있다. 몇 편의 논문만으로는 한 세기의 창작 국악 관현악의 모든 작품을 분석하는데 부족하고 많은 한계가 있다. 하지만 본고가 미약하나마 창작 국악 관현악의 발전을 위한 기초연구 자료로 활용되기를 기대해 본다.

중국 오페라 보급의 활성화 연구

장붕 전북대학교 일반대학원 2022 국내박사

As long as excellent opera works are performed publicly and widely disseminated, they can leave a very deep impression on people, convey unstoppable spiritual power to people, burst out indelible and inspiring internal energy, and produce a transcendence of time and space. Influence has a long-term impact on people's outlook on life, values, and world outlook. Therefore, the artistic value of an excellent opera is immeasurable. Excellent opera works must be actively promoted and disseminated if they want to achieve good results. Because music and music communication are connected, the two are inseparable. "The promotion and dissemination of music is a prerequisite for the popularization of music. Music dissemination has produced music audiences, and the form of music realizes the social function of music through the promotion of music. Only in-depth promotion of Chinese opera arts will be more beneficial to Chinese opera. Arts research and creation. The development of opera in our country has a very special historical situation and musical characteristics. Under the actual conditions of our country's music, arts, society, etc., a more in-depth, meticulous, practical and effective research on opera arts is beneficial to opera arts and Chinese opera arts. Positive development. From the perspective of artistic practice, research on the promotion of Chinese opera arts is helpful to understand the development of the Chinese opera market from a historical perspective and in many aspects. At the same time, explore the historical basis, social basis, and aesthetic basis of the changes and development of Chinese opera promotion methods, and explore the reasons for the changes from a macro perspective. This article is divided into five parts. The most important part of the introduction is to organize and summarize the domestic and foreign literature and provide a rich theoretical foundation for the promotion and dissemination of Chinese opera arts in this article. This is useful for the writing of the following thesis. Very important role: The first chapter outlines the development of Chinese opera arts, introduces opera and related theories, Chinese opera and related theories, and various stages of development of Chinese opera arts, and discusses the promotion methods of various stages of Chinese opera arts; The second chapter discusses the historical significance of the promotion of Chinese opera arts, mainly expounding the promotion of the development of Chinese opera itself, the promotion of international status and the promotion of the diversity of world opera culture; the third chapter is about the Chinese opera from the background of globalization. The research on a series of problems that emerged in the promotion process is one of the key points of this article. It is dialectical from multiple angles. The last chapter proposes countermeasures for the promotion of Chinese opera from the macroscopic and future development perspectives. This is the study of this article. The key part. The road to promotion is long and difficult, but it is worth fighting for and paying for it. Therefore, from a macro perspective, this article explores and studies the context of the development of Chinese opera arts promotion, summarizes the artistic experience precipitated by the changes and development of the promotion, and finally reveals the artistic laws behind these phenomena.

중국 초등 방과후학교 피아노 교육 활성화 방안 연구 : 광저우(广州)시를 중심으로

마박홍 전북대학교 일반대학원 2023 국내박사

Music not only affects a person's body, mind, and emotions, but also makes desirable changes in human behavior or emotions, allowing many of the things inherent in subconcious to be expressed externally. In terms of education, music has been recognized as an important subject by recognizing the educational value of emotional, intellectual, and social development. As China has achieved rapid social, economic, and cultural development since its reform and opening, fierce competition among students for entrance exams is also emerging. In this environment, students' anxiety and stress are extremely high, which is currently adversely affecting the psychological and physical development of Chinese students. To this end, this study examines whether students' positive after-school piano learning motivation and participation in classes are influencing students' social anxiety, and attempts to revise and supplement existing studies on the effectiveness of music classes on elementary school students' anxiety. To this end, a survey was conducted on students at Gwangju Elementary School, and based on the data, the positive effects of students' participation and satisfaction in music classes on anxiety were verified through empirical analysis. As a result of the study, first, the stress or anxiety of Chinese elementary school students was low below the intermediate level, and the motivation for music learning and participation in music classes were high. Second, social anxiety was different depending on whether or not high school students participated in music activities, and it was found that high school students who participated in music activities felt less social anxiety than students who did not participate. Third, the 'significant negative correlation between learning motivation and social anxiety' set as the research hypothesis was adopted with statistical significance in the research results. It was also found that there was a negative correlation between class participation and social anxiety. This means that students who actively participate in music classes feel less social anxiety. It can be seen that social anxiety and psychological anxiety can be reduced through participation in music classes. Fourth, the 'significant positive correlation between class participation and social anxiety' set as the research hypothesis was adopted as statistically significant in the research results.

필봉농악 설장구 연구 : 춤과 장단을 중심으로

고정석 전북대학교 일반대학원 2019 국내석사

설장구는 시간과 공간, 연주자 구성원에 따라 다소의 차이가 있고 연주자마다 가락 기보에 있어 다양하고 많은 가락보가 존재한다.예술은 예술가의 사고와 행위의 덧붙임을 통해 예술적 완성도를 높여간다. 따라서 예술은 완성이 아니라 완성하고자 하는 미래 지향적 의지이기 때문에 현대적 관점에서 이해와 해석이 필요하다. 설장구 역시 예술의 한 장르이며 한 예술가의 끊임없는 덧붙임에 의해 완성되어 가는 과정의 것이기에 현재의 산물을 두고 연구되어야 한다. 이에 지금까지 '필봉농악'에 대한 연구는 많이 진행되었지만, '필봉농악 설장구'에 대한 연구는 진행되지 않은바 '필봉농악 설장구'를 춤과 음악적 연희의 관점에서 살펴보고자 한다. 연구자료는 먼저 가장 최근에 진행된 2018년 필봉농악 설장구 심화교육자료 영상과 본 논자가 양진환 전수조교로 부터 학습을 받으며 채보한 자료 그리고 인터뷰 자료을 중심으로 연구를 진행하였다. 필봉농악 설장구의 구성 장단인 다스름- 굿거리 -휘몰이- 자진모리장단을 채보, 분석한 결과 첫째 기본호흡과 함께 2박, 3박 등을 엮어 호흡하는 역음 호흡을 사용하고 있음을 확인했다. 둘째 허튼걸음, 재주걸음, 잰걸음, 까치걸음, 연풍대, 반대방향 연풍대, 옆걸음, 갈지자걸음 등 다양한 걸음걸이가 사용되고 있음을 알수 있었다. 셋째, 장단은2소박, 3소박 (1.5소박, 2소박-3소소박, 3소박-2소소박, 3소박-3소소박)무속형 가락 등 다양한 장단들이 연주되고 있으며, 겹장단 ․ 단순겹장단 ․ 대비겹장단 소리의 강약 등 섬세하고 세밀한 연주 형태를 가지고 있음을 확인하였다. 넷째, 장단 수와 마루의 수가 비교적 많으며, 순서에 구애받지 않고 다양한 연결가락을 가지고 순서에 있어서 첨가, 삭제가 자유롭도록 구성해 두었고 이로 인해 즉흥 연주가 가능한 것을 알수 있었다. 이를 통해 알 수 있듯이 필봉농악 설장구는 한 장단 속에서도 마루를 구성하여 동작되며 그 마루속에서도 기-경-결-해 의 구성 원칙에 따라 유기적으로 구성되어 있음을 알 수 있었다. 또한 연결가락이나 연결장단을 사용하여 나열하는 방식(다스름-굿거리-자진모리- 휘몰이)이 아닌 연주자가 시간과 공간에 따라 직흥적으로 연주할 수 있는 것을 알 수 있었으며, 필봉농악 설장구는 1인 개인뿐만 아니라 2인, 3인,4인, 8인 등 여러 사람이 함께 연주할 수 있었다. 1인 연주시에는 다스름, 굿거리, 자진모리, 휘몰이 등 장단 순서와 관계없이 연주가 가능하며, 단체 설장구의 경우 설장구의 구성원, 상황 (공간과 시간) 에 맞춰 구성하여 연주할 수 있는 것이 특징적이라 할 수 있었다. '필봉농악 설장구'는 춤과 음악적인 방법을 아울러 다양한 방식으로 장단을 고조시키며 춤 적인 연희 음악적 연희 및 탄력적 운영과 즉흥성, 개인 및 단체 연주 등 설장구를 연주하는 시간, 공간, 연주 방식 및 형태 등을 고려하여 동작하는 연주자의 선택에 의해 연주가 되는것을 알 수 있었다.

박귀희제 가야금병창 연구

서태경 전북대학교 일반대학원 2021 국내박사

This thesis deals with the characteristics of Gayageum byeongchang sung by Bak Gwihui with her representative contemporarily-composed folksongs and five repertoires from pansori. To determine what had happened over the years about the melodic analysis, and gayageum techniques as well as the comparison of lyrics from pansori and gayageum byeongchang, such a study is required. This process studies the unique characteristics found in Gayageum byeongchang developed by Bak Gwihui and to develop methodologies for future educational use. Bak Gwihui realized the needs to broaden its repertoires for firmer systemized education and popularize the music among people. After that, she composed many contemporarily-composed folksongs and arranged many different songs that were originally derived from the genres of pansori and danga, taught by her teachers. Throughout the analysis of her 12 folksong melodies, Sol scale in G key takes the most cases over the others: namely, 8 works out of 12. Consequently, a scale in Mi key, and Mi scale in G key are followed by. Therefore, her music were a bit offset from those of Southern style’s melody. Of the scenes from pansori, there are many different modes such as Sol scale in G key, Re scale in G key, Mi scale in G key, La scale in A key, Mi scale in A key, and La scale in E key. From the fact, a conclusion could be made as they are mainly in G key and A key overall, except some transition cases in the middle. By studying the techniques of gayageum accompaniment, there are mainly 7 roles listed. First, a role to fill the last beat at the end of the song. Second, a role to fill the first beat when the vocal doesn’t exactly come on the first beat. Third, a role to lessen the instrumental play so that the vocal can take the front. Fourth, a role for the gayageum play can fill the breaks in between. Fifth, a role for the gayageum play can fill run-on melody. Sixth, taking out a tone so that the singer can determine the key. Seventh, a role to emphasize the meaning of the lyrics and give a break for the singer during interlude. By comparing the music sources, respectively between the original pansori and gayageum byeongchang, Bak played in a different way from her teacher’s singing style, especially appeared in “Gogocheonbyeon” scene, which had less melody than her teacher did. However, in the climax of the swallow’s itinerary scene from Heungboga, she created in her own way with melodies from the original source. The other parts from the same song, only the sequence of the lyrics was changed including several cases of repetitious melody by twice. The lyrics from the love song scene from pansori Chunhyangga, the Bak’s lyrics are totally different from those of Yihwajungseon’s. Bak’s was shorter than Yi’s version, but it contains longer lyrics in the back of the song. The lyrics from the Bangataryeong from Simcheongga, only 1/3(13 out of 39 jangdan) of the scene has same lyrics, and all the others are different. The Hwayongdo draws out Bak’s own way to extend the original lyrics, which shows similarity to that of Yi Sohyang. As above, Bak Gwihui created many repertoires of gayageum byeongchang by her musical source from teachers and to appealed to the public through her experiences in the actual field. As well as she also characterized gayageum byeongchang as one of the specific genre in Korean music. I hereby, analyzed the melody(including scales and modes), accompaniment, and lyrics for more effective teaching methodology, which are different from what we have been educated so far. By this study, I would like to honor Bak Gwihui’s musical achievements, and to establish teaching methodology with enhanced educational effects in the near future.

창극 작품개발 및 활성화를 위한 공연 사례 연구

박민선 전북대학교 일반대학원 2021 국내석사

본고는 창극의 대중화 차원에서 그동안 논자가 국악뮤지컬 및 창극 작품을 개발한 작품을 대상으로 기획과정에서의 기획의도 · 상황분석(SWOT) · 홍보/마케팅 전략 · 관객개발 · 한계점 ·기대효과 등을 기준으로 공연기획 방법을 고찰하여 미스매치를 해결하고 공연예술의 질적 함양과 창의적인 작품개발을 위한 구체적이고 효과적인 공연기획의 방법을 모색해 보고자 하는 관점에서 연구한 바, 다음과 같은 결론을 도출하였다. 첫째, 국악뮤지컬「진심이」는 지역연계 프로그램 위탁 운영사업으로 국악에 꿈꾸는 청소년들을 선발하여 판소리, 연기, 무용의 통합예술 전문 교육과정을 이수한 후 청소년 적성 찾기를 위한 프로젝트로 진행하였다. 이 공연을 통해 어린이, 청소년을 포함하여 부모와 함께하는 가족극으로서의 관객층 확대 개발에 기여하는 성과를 얻었다. 둘째, 「내 이름은 사방지」는 2018년 한국문화예술위원회 공연예술창작산실 [올해의 신작]은 제작부터 유통까지 공연예술분야의 단계별 지원을 통해 우수 창작 레퍼토리를 발굴하는 지원사업으로 1회, 2020년 한국문화예술회관연합회 문예회관과 함께하는 방방곡곡 문화공감사업으로 2회, 국립민속국악원 제2회 대한민국 판놀음 초청으로 1회 총4회 공연을 진행하였다. ‘제이유(JU)창극발전소’에서의 창극에 대한 작품들을 검토한 결과 창극이 나아가야 할 방향을 모색하고 대중화를 위한 지속적인 가족 창극을 기획·제작을 위해서 시대정신에 부합하는 교육적인 관점의 이야기를 개발하고 작품성과 예술성을 제고한 작품개발, 특정 타깃층을 위한 전문화된 기획으로 다양한 계층의 관객을 확보하는데 성공한 사례이다. 현장 검증적인 기획 방법을 세세히 제시하여 그 근거를 남겼다. 또한 현시대와 사회가 반영되어 관객의 공감을 끌어낼 수 있는 예술경영, 기획을 통하여 새로운 작품이 창작되어야 한다는 당위 아래 새로운 창극이 태어나기를 기대하면서 본 논문이 공연예술 기획자와 연구자들에게 기초자료로 활용되기를 기대한다.

국립무형유산원 공연 콘텐츠 발전을 위한 연구

하윤아 전북대학교 일반대학원 2018 국내석사

무형문화유산은 여러 세대에 걸쳐 전승되어 온 무형의 문화적 유산 중 역사적, 학술적, 예술적, 기술적 가치가 있거나, 지역 또는 한국의 전통문화로서 대표성을 지닌 것이다. 그리고 사회문화적 환경에 대응하여 세대 간의 전승을 통해 그 전형을 유지하고 있는 것을 의미한다. 무형문화유산은 한 사회의 정체성을 풍요롭게 할 뿐만 아니라 인류의 창의성과 문화적 다양성을 담고 있는 세계의 공동자산이기에 그 가치와 의미는 매우 중요하다. 그러나 최근 산업화, 세계화, 도시화로부터 국내외 무형문화유산이 위협받음에 따라 무형문화유산의 가치를 보호하고 동시대와 함께 호흡할 수 있는 공감대를 확산시켜야 할 필요성이 갈수록 대두되고 있다. 이와 함께 무형문화유산을 소재 혹은 주제로 삼아 현대적 감성과 트렌드를 입혀 제작된 전통 공연들이 늘어나고 무형문화유산을 전문적으로 공연하는 시설에 대한 수요도 증가하고 있다. 따라서 우리의 무형문화유산을 보존하고 전승하는 동시에 이를 기반으로 새로운 가치를 창출하고, 과거-현재-미래 세대를 '무형문화유산' 키워드로 아우를 수 있는 기관 설립에 대한 필요성이 제기됨에 따라 '국립무형유산원'이 전북 전주에 건립되었다. 문화재청 소속기관으로 설립된 국립무형유산원에서 다양한 무형문화유산이 여러 가지 형태로 공연되고 있는 만큼 국립무형유산원의 기대감과 함께 무형문화유산 공연에 대한 관심도 높아지고 있다. 국립무형유산원에서 진행된 무형문화유산 공연 종목 및 분야 등을 분석하고 연구한 결과 무형문화유산 공연이 양적으로 균형을 이루고, 대중의 눈높이에 맞는 다양한 방식의 무형문화유산 공연 콘텐츠 개발과 함께 시대적 정서에 맞는 무형문화유산 공연 콘텐츠 제작이 이뤄진다면, 무형문화유산의 전승과 보존, 발전을 위해 세워진 국립무형유산원은 역사성, 전통성, 예술성을 가미한 새로운 무형문화유산 공연 콘텐츠 대표 기관으로 자리할 것으로 보인다.

무대디자인과 무용 예술의 융합에 관한 연구

양뇌 전북대학교 일반대학원 2022 국내박사

Stage space creates good conditions for the optimal presentation of dance works. Creating stage space combined with dance works can effectively set off the stage atmosphere and make the audience easily understand the emotion and thought of dance works. Under the background of the development of the times and social changes. the design of stage space needs to keep pace with the times. coordinate with dance arts and use advanced design concepts and modern technical methods to make the performance of stage space more diversified and take the road of international development. In view of this firstly combined with the design composition theory of point line surface body and space this paper studies the method of organizing the stage space environment from the aspects of stage fulcrum area action trajectory time-space relationship and so on. Secondly starting from the micro this paper studies the independent attributes and use characteristics of functional elements such as stage set props materials and lighting analyzes their impact on the overall stage environment through the function and relative spatial relationship of each element, and finally achieves the effect of stage unification. Thirdly according to different stage arts forms and their spiritual connotation this paper studies the specific application of the law of formal beauty in stage design so as to form a unified environmental space with rhythm change and balanced scale enhance the expressiveness of stage arts and create an environmental atmosphere full of emotional value. Finally combined with the analysis of typical stage design examples and stage scheme design, this paper demonstrates the scientificity and rationality of stage organization methods and principles. Through the research of this subject it is concluded that when designing the contemporary stage the principle of design composition and the law of formal beauty should be integrated in time. The design thinking of using the composition of point line surface body and space can make the stage present a variety of levels effects atmosphere and space environment. In the design we should start from the part of the stage Only by fully understanding and mastering the characteristics and relationship of functional elements can we create a stage space more in line with the needs of the public as a whole. At the same time on the basis of following the law of formal beauty it can make the stage space show a particularly flexible and orderly environmental atmosphere and guide the designers to create a better stage space environment. Explore the integrated development path of stage art and dance arts in a three-dimensional and comprehensive way. Specifically the main significance of this paper is as follows: The first part is introduction. This chapter mainly summarizes the basic content of this research and explains the research background. research significance and methods. In addition this chapter also summarizes the content of relevant literature research at home and abroad which provides literature support for the smooth progress of this research. The second part is the research on the function of contemporary stage design and its structural elements. This chapter focuses on the study of the functions of contemporary stage design. Through the discussion of organizing stage space reflecting artistic environment and atmosphere expressing artistic emotion and significance and establishing the communication relationship between both parties. it shows that stage design has played an important role in artistic expression. The third part is the organizational skills of the elements of contemporary stage space structure. This chapter focuses on the organizational methods and skills of the elements of contemporary stage space structure and defines the basic style of stage arts. mainly including the characteristics of arts form arts theme and arts performance style. The fourth part is the research on the application of stage space structure elements of typical cases. By combining the classic cases of stage design such as dance drama and variety show this chapter is conducive to the overall grasp of the stage functional structure elements. regional division and spatial environment so that they can make better services for artistic performance and fully show the emotional connotation and spiritual value expressed by dance drama. The fifth part is an overview of the relationship between stage arts and dance arts. This chapter mainly focuses on the close relationship between dance and stage arts discusses in detail the important role of the application of stage comprehensive means in dance performance evaluates and analyzes the application of dance thinking in modern stage design and comprehensively discusses the application and development prospect of dance stage comprehensive means. The sixth part explores the rational integration path of stage arts and dance arts. Based on the development status of stage space arts this chapter deeply explores the integration mode of stage arts and dance arts. The seventh part is the research on the innovation path in stage arts and dance arts. This chapter puts forward corresponding countermeasures for the main problems of the prosperity and development of stage arts creation, focusing on the innovative development of stage arts and dance arts from the perspective of new media, the integrated development of stage arts and dance arts from the perspective of nationalization, and the mission of dance arts from the perspective of cultural confidence The development trend of dance arts integration from the perspective of multiculturalism is discussed in detail. The eighth part is the conclusion. This paper mainly reviews and summarizes the basic situation and content of this research and integrates the path of innovative development of the integration of stage arts and dance arts. In short, the development of Chinese dance is a dynamic process so the positioning of its development in this paper is also relatively static. The exploration of future development needs to make strategic adjustments in combination with the future development which requires the dancers' keen insight and accurate grasp of the wind direction of the times, which is a process of continuous exploration and progress. Chinese Dance "on the road".

뮤지컬 시장의 중국 현지화 성공전략 연구 : 뮤지컬 <노트르담 드 파리>를 중심으로

팽정 전북대학교 일반대학원 2022 국내석사

The purpose of this study is to analyze the current musical market and the current development of musicals in China. So, to conduct research using literature, field research and inductive analysis methods. In theoretical research, the current situation of the Chinese musicals will be investigated, and the musical "Notre Dame de Paris" will be selected as the representative one. The current situation of the musical market in China is analyzed by investigating and combining the performances of Major theaters. Finally, through investigation, summarization and summarization of musical market, the author draws corresponding conclusion and puts forward suggestions for development of Chinese musical market.

중국 민족악단 악기편성 연구

개조붕 전북대학교 일반대학원 2021 국내박사

Because ethnic structure, history and culture as well as time changes, the evolution of Chinese music culture in the 20th century of the birth of national orchestra, not only from one side to reflect the social characteristics of the Chinese people's common life, and through certain combination instrument and cultural symbol, reflects the related national members in a certain natural environment and under the dual influence of the internal and external culture, The complex process of constructing, developing and spreading the music carrier of one's own cultural tradition. The "national character" of a folk band is also a general expression of the personality of a folk music, which needs to be expressed and expressed through various factors such as the Musical Instruments constituted by the band, the structure, the playing method and the creative style. The second chapter summarizes and studies the history of traditional orchestra and instrument combination. First of all, this paper summarizes the development history of orchestras in the ancient and medieval periods, and focuses on clarifying the context of the development of orchestras in this period. The research is carried out from the Pre-Qin Period, Han and Wei Period, Sui and Tang Dynasties, Song and Yuan Dynasties. Then from the Ming and Qing Dynasties traditional music category distribution and instrument combination research, mainly from the string music, four-legged music, advocacy music, wind and percussion music four aspects of the study. Finally from the import of foreign music and the rise of Chinese music research. The third chapter studies the development of modern Chinese orchestra. The research was conducted from China National Radio Chinese Orchestra, Shanghai Chinese Orchestra and Shandong Avant-garde Chinese Orchestra. The fourth chapter studies the systematic improvement of Musical Instruments. The research is carried out from three aspects: string music, somatophone instrument and membranophone instrument. The fifth chapter studies the practical application of four parts of "blowing, pulling, playing and beating". Firstly, the formation of four parts is studied. Then from the different orchestras of the comparison of the structure of the study. From the traditional ensemble in the characteristics of the instrument itself and pronunciation principle and other aspects of the study. Finally, the creation and development of instrumental music genre are studied. To sum up, Chinese traditional music is a kind of music with its own cultural characteristics created by the Chinese people with the inherent forms and methods of the nation. Its "traditional ecology", through the historical development of some traditional music forms and works passed down from generation to generation in a certain region and among certain groups, has been gradually used to and accepted by people. The exploration and development of Chinese folk band construction is not only one of the main objects of the construction of Chinese folk music, but also a sign that the traditional music in relevant areas seeks to transcend its own limitations in the aspects of sound structure and expression and gradually enters the modern performance field in the construction of “theater arts.” The development and reform of national instrumental music is not an occasional phenomenon of instrumental music culture, but an inevitable outcome of the development of traditional orchestras at a certain stage. With the development of society and the improvement of people's appreciation level, there will be new requirements for the traditional orchestra, and the existing model of the orchestra will be improved and innovated in different degrees.