초․중․고 음악교과서에 수록된제주 민요 분석

신은주 한국민요학회 2019 한국민요학 Vol.57 No.-

Folk songs play a central role in the area of singing in music education of elementary / middle / high school, and is importantly approached equally in que area of appreciation and theory. It is because folk songs have a great meaning as music representing lives of common people and it serves as a root of a variety of music in the base of our traditional music. Different characteristics appear in our country’s folk songs divided into five regions of Gyeonggi, Namdo(the Southwest), Seodo(the Northwest), Dongbu(the East) and Jeju. As singing repertoires, folk songs are used because they are appropriate for singing or appreciation and have regional representativeness. However, folk songs of Jeju Island included in the textbook are conspicuously small in number as compared to songs of other regions, and they highly lack explanation of musical features. “Neoyoung nayoung” and “Odoltogi” are folk songs of Jeju Island most included in music textbooks of elementary / middle / high school and are influenced by songs of troop sung by strolling actors of the land. For this reason, there are limitations of exploring features of intrinsic folk songs of Jeju Island through these songs. The third most included song in music textbook entitled “Myeolchihurineun sori” or “anchovy net hauling song” is an intrinsic folk song of Jeju Island, but it was not sung at every corner of the island. Only a small number of people living in some specific areas sang this folk music and it is not related to works commonly practiced in Jeju Island. In other words, it is challenging to say that three songs above mentioned can represent as typical folk songs of Jeju Island. Sheet music in each textbook uses different music and interprets the mode in a dissimilar manner. Moreover, the general mood of the song varies due to omission of characteristic melody and notes. Folk songs included in the textbooks do not exist only for singing but theoretical learning is achieved through the songs. For this reason, difference in sheet music can cause confusion in education. In this regard, this study proposes the following points for effective folk song education of Jeju Island for the future. Firstly, it is vital to discuss “do we have to admit differences of folk songs or do we have to prepare for a unified plan for education?” Secondly. It is necessary to describe detailed theory of folk songs of Jeju Island. It is required that theory of creation background, distribution, type, function, sound structure, vocalization and precautions while singing should be put in order for facilitating easy utilization for teachers. Thirdly, it is essential to discover folk songs with diverse music pieces, which are easy to sing and appropriate for representing particular characters of Jeju Island. Fourthly, since various modes are used in folk songs of Jeju Island, we encounter limitations of accounting for folk song of Jeju Island only with modes. Therefore, it is necessary to carry out research of a variety of characteristics of folk songs of Jeju Island such as vocalization and “Sigimsae” or a grace note. 민요는 초․중․고 음악교육의 가창 부분에서 큰 역할을 차지하고 있을 뿐만 아니라, 감상과 이론 영역에서도 매우 중요하게 다루어지고 있다. 이는 서민들의 삶을 대변하는 음악으로서 민요가 갖는 의미가 크고, 우리 전통 음악의 기저에서 여러 다양한 장르 음악의 뿌리가 되기 때문이다. 우리나라 민요는 대체로 경기․남도․서도․동부․제주의 다섯 지역으로 나누어 그 특징을 달리하는 것으로 설명되고 있고, 초․중․고 음악교과서에서는 위 다섯 지역별로 가창 혹은 감상하기에 적절하면서도, 지역적 대표성을 띠는 민요가 제재곡으로 활용되고 있다. 그러나 제주 지역의 민요는 가창 및 감상 제재곡으로 활용되고 있는 민요의 곡수도 다른 지역에 비하여 현저히 적을 뿐만 아니라, 음악 특징에 대한 설명도 미비하고, 여러 문제점들을 안고 있다. 가장 많은 초․중․고 교과서에 수록된 제주민요인 <너영나영>과 <오돌또기>는 육지 사당패소리의 영향을 받은 악곡으로, 제주 토속민요 특유의 특징을 살펴보는 데에 한계가 있다. 세 번째로 많이 수록된 곡인 <멸치후리는소리> 역시 제주 지역 토속민요 이기는 하나, 제주 전역에서 두루 불리던 소리가 아니라 특정 지역에 거주하는 소수의 사람들 사이에서만 불리던 민요이고, 제주에서 흔히 행하는 노동과 관련된 민요도 아니다. 즉, <너영나영>, <오돌또기>, <멸치후리는소리> 모두 대표성 면에서 다소 문제가 있다. 각 교과서에서 활용하고 있는 악보도 서로 다른 채보 악보를 활용하면서, 음구조를 다르게 파악하기도 하고, 특징적인 선율과 음을 간과하면서 곡의 분위기가 달라지기도 한다. 교과서에 수록된 곡은 단순히 가창에서 끝나는 것이 아니라, 그 악보를 통해 이론적인 학습이 이루어진다. 때문에 서로 다름은 교육에서 혼란을 야기할 수 있다. 이에, 향후 효과적인 제주 민요 교육을 위하여, 다음과 같은 점들을 제안한다. 첫째, 민요의 서로 다름을 인정할 것인가, 교육을 위한 통일안을 마련할 것인가 논의해야 한다. 둘째, 제주 민요에 대한 자세한 이론이 기술되어야 한다. 각 곡의 생성 배경에서부터, 분포, 유형, 기능, 음구조, 발성, 가창시 유의점 등이 정리되어, 교사들이 활용할 수 있도록 하여야 한다. 셋째, 제주 특유의 특색을 살피기에 적절하면서도, 가창이 용이한 다양한 악곡의 토속민요를 발굴해야 한다. 넷째, 제주 지역 민요는 다양한 선법이 사용되고 있는 만큼, 음구조로 제주 민요를 설명하는 것은 한계가 있다. 이에, 발성과 시김 등 다양한 제주 민요 특성에 대한 연구가 이루어져야 한다.

고등학교 음악 교과서 민요에 관한 연구 -제5․6․7차 교육과정을 중심으로-

정미영 한국민요학회 2009 한국민요학 Vol.25 No.-

One of the direction and emphasis in 2007 revised music curriculum is ‘the qualitative raising of Korean music education.’ Thus it is desirable to investigate how Korean music has been presented in music textbooks and to look for implications on how it should be. The purpose of this study is to investigate Korean folk songs in music textbooks for high school and the results are as follows. Learning factors revealing characteristics of Korean music have been increasing throughout the 5th․6th․7th curriculum but most of them are presented in the part of Western music. Most of the Korean folk songs in textbooks are about Gyeonggi-do and popular folk song. For Jangdan, ‘Gutgeori and Semachi Jangdan’ is common. In the 5th and 6th curriculum, there is a song written by more than two Jangdan. That is the one that is arranged. Also there appeared a lot of problems when Jangdan is replaced by meter. That is, instead of showing the structure of Jangdan, a song is interpreted through the Western system of meter or divided by bar. In the 7th curriculum, songs and Jangdan is mostly matched. In addition, throughout the curriculums, staff notation is mainly notated and Jeongganbo is secondary for instrumental activities. The form of singing music is arranged into a chorus in the fifth and 6th curriculum and a single melody in the 7th curriculum. In the learning activities and consolidation, Bagyeon waterfall is investigated in terms of rhythm and melody. For rhythm, clapping rhymes and syncopation are mainly used, and other terms of Western music like tie or accent. For Jangdan, it is pointed out that se of Jangdan is marked at beat and ‘the change of se’ which matches with musical piece is stressed out. Melody is examined with musical note. Throughout the 5th and 6th curriculum, a collection of Korean art song is contained. In the 7th curriculum, except one publisher, standard musical note is collected. However, as a result of comparing melody, musical note in the collection of Korean art song is similar to one in the standard musical note. Most of melody is related to scale and its constituent sounds different are different in spite of analysing the same musical note. Also when explaining Gyeonggi-do folk song by dividing gyemyeonjo and pyeongjo. Although much has been improved in the seventh curriculum, Korean folk song is still presented using the system of Western music. From now on, Korean folk song should be presented along with Korean music language. Also systematic research and discussion needs to be done. One of the direction and emphasis in 2007 revised music curriculum is ‘the qualitative raising of Korean music education.’ Thus it is desirable to investigate how Korean music has been presented in music textbooks and to look for implications on how it should be. The purpose of this study is to investigate Korean folk songs in music textbooks for high school and the results are as follows. Learning factors revealing characteristics of Korean music have been increasing throughout the 5th․6th․7th curriculum but most of them are presented in the part of Western music. Most of the Korean folk songs in textbooks are about Gyeonggi-do and popular folk song. For Jangdan, ‘Gutgeori and Semachi Jangdan’ is common. In the 5th and 6th curriculum, there is a song written by more than two Jangdan. That is the one that is arranged. Also there appeared a lot of problems when Jangdan is replaced by meter. That is, instead of showing the structure of Jangdan, a song is interpreted through the Western system of meter or divided by bar. In the 7th curriculum, songs and Jangdan is mostly matched. In addition, throughout the curriculums, staff notation is mainly notated and Jeongganbo is secondary for instrumental activities. The form of singing music is arranged into a chorus in the fifth and 6th curriculum and a single melody in the 7th curriculum. In the learning activities and consolidation, Bagyeon waterfall is investigated in terms of rhythm and melody. For rhythm, clapping rhymes and syncopation are mainly used, and other terms of Western music like tie or accent. For Jangdan, it is pointed out that se of Jangdan is marked at beat and ‘the change of se’ which matches with musical piece is stressed out. Melody is examined with musical note. Throughout the 5th and 6th curriculum, a collection of Korean art song is contained. In the 7th curriculum, except one publisher, standard musical note is collected. However, as a result of comparing melody, musical note in the collection of Korean art song is similar to one in the standard musical note. Most of melody is related to scale and its constituent sounds different are different in spite of analysing the same musical note. Also when explaining Gyeonggi-do folk song by dividing gyemyeonjo and pyeongjo. Although much has been improved in the seventh curriculum, Korean folk song is still presented using the system of Western music. From now on, Korean folk song should be presented along with Korean music language. Also systematic research and discussion needs to be done.

Digging up the Roots : Understanding What is Meant by the Term “Folk Music”

Heather A.Willoughby 이화여자대학교 음악연구소 2016 이화음악논집 Vol.20 No.1

Unlike many of my contemporaries who were listening to the latest pop music in the 1970s and 1980s, I had always been drawn to what was labeled as “folk music,” through the sounds of the Weavers, Pete Seeger, Woody Guthrie, the Limelighters, Joan Baez, Judy Collins, Joni Mitchell, among others. As a graduate student in New York City in the mid-1990s, that fascination grew stronger as I was surrounded by a vibrant folk scene, and even participated in open mike performances. But I quickly became aware of distinct, and oft times opposing groups of musicians, who loosely aligned themselves with one of two musical movements, namely Fast Folk and the Anti-Folk. This article is the first of two that will explore the NYC folk scene of that era, and how it got that way. Here, I will explore what is meant by the nebulous, and sometimes contentious term “folk music.” The second, forthcoming article will more fully address the Folk and the Anti-Folk. 필자는 1970년대와 1980년대 당시 인기 있던 최신 팝 대신, “포크 뮤직”이라 불렸던 더 위버스(the Weavers), 피트 시거(Pete Seeger), 우디 거스리(Woody Guthrie), 라임라이터즈(the Limelighters), 존 바에즈(Joan Baez), 쥬디 콜린스(Judy Collins), 조니 미첼(Joni Mitchell) 등의 음악에 관심이 있었다. 뉴욕에서 대학원생이던 1990년대 중반, 나를 둘러싸고 있던 생기 넘치는 포크뮤직 씬에 점차 매료되었고 오픈 마이크 공연에 참여하기도 했다. 그러나 곧 포크뮤직 씬 안에 두 개의 음악적 움직임—패스트포크(Fast Folk)와 안티포크(Anti-Folk)—이 존재한다는 것과 그 움직임들의 차이와 대립적인 관계를 인지하게 되었다. 본 저자는 그 당시 뉴욕의 포크뮤직 씬과 그 안에서 대립하는 움직임이 일어난 이유에 대해 연속하는 두 개의 논문을 통해 연구를 지속할 것이다. 이 논문은 그 중 첫 번째에 해당하며, “포크 뮤직”이라는 모호하고 논쟁의 여지가 있는 용어에 대해, 두 번째 논문에서는 포크(Folk)와 안티포크(Anti-Folk)에 관해 심도 있게 연구할 예정이다.

전환기 민속악계의 향방 : 1960년대를 중심으로

김민수 이화여자대학교 음악연구소 2020 이화음악논집 Vol.24 No.1

본고는 현재 보편적으로 주지하고 있는 사실 이외에 아직까지 그 실체가 명확히 규명되지 못한 1960년대 민속악계의 전반적인 정황을 선행연구와 1차 사료인 신문기사를 중심으로 재구해 이에 따른 구체적인 내용을 확인해 보았다. 민속악계의 새로운 기간단체로 결성되었다는 사실 이외에 뚜렷한 내용이 파악되지 못한 1960년대 한국국악협회는 연주 활동과 더불어 국악보존사업을 주도하고 민족음악연구소의 설립을 통해 국악이론의 정립을 시도하는 등 다각도에서 민속악 진흥에 필요한 토대를 마련하는데 집중하고 있었다. 단지 민속악 중심의 국악교육기관으로 처음 설립되었다는 사실에만 그 의미가 부여되었던 국악예술학교는 1960년대 국악이론과 국악교육 전반에 관한 체계를 수립하기 위한 연구소를 설립했다. 또한 음악교사들을 대상으로 최초의 국악강습회를 개최하는 등 국악의 저변확대를 통한 대중화를 모색하고 국가 주도의 해외 활동에 참여해 국악의 세계화를 통한 학교의 위상을 정립해 나가는데 매진했다. 최초의 창단이라는 내용만 부각되어 온 국악예술학교의 국악관현악단은 학교가 조직한 국악기개량연구회를 통해 지속적으로 국악기를 개발하고 실용화를 시도하고 마침내 실연했던 민속악인들의 치열한 노력의 성과물이었음을 알 수 있었다. 국립국극단의 창단과 국극정립위원회의 조직에만 초점이 맞춰져 있었던 1960년대 국립국극단은 국가 예산의 결여라는 사실상 어떠한 창극의 질적 향상을 추구할 수없는 어려운 상황 속에서도 초창기 여성국극을 가미한 창극을 시도하고 조선성악연구회의 작품을 재공연해 창극을 정립해보려는 나름의 활동을 전개했다. 한편 지속적인 창극 공연의 부담 속에 기획된 판소리 연창회는 오히려 대중들의 인기를 끌면서 창극과 더불어 국립국극단의 새로운 공연물로 정착해 오늘에 이르고 있음을 파악했다. 1960년대 초부터 구체화 된 무형문화재 보호법 시행에 대해서도 민속악계는 선제적으로 대응했다. 국악예술학교가 주도한 무형문화재 발표회와 전수사업은 대내외적으로 민속악인들의 존재를 각인시키고 민속악의 무형문화재 지정의 타당성을 주지시킴으로써 1960년대 민속악의 일부종목이 무형문화재에 지정될 수 있는 원동력으로 작용했다고 볼 수 있다. This article restructures the overall circumstances of folk music in 1960s which have not been precisely defined other than the conventional facts known in the present, using to existing studies and primary historical source of newspaper articles and thus confirm detailed information regarding the subject. Korean Traditional Music Association had been concentrating on including playing the leading figure in the conservation business of Korean traditional music as well as providing musical performances and making attempts to define theories of Korean traditional music by establishing Folk Music Research Center. The School of Korean Traditional Music had been focusing on folk music founded Korean Traditional Music Research Center and Korean Traditional Music Education Research Center to set general systems for theories related to Korean traditional music and its education in 1960s. Additionally, it has expanded the basis of Korean traditional music through hosting the first National Korean Traditional Training and Intangible Cultural Asset Lectures. Korean Traditional Music Orchestra made by the School of Korean Traditional Music had been developed various musical instruments for folk music through Research Association for the Enhancement of Musical Instruments for Korean Traditional Music. Also demonstrated these new instruments in folk music performances in orchestra as the pioneer of the enhancement of musical instruments for Korean traditional music. The National Changgeuk Theater of Korea prevented the qualitative improvement of Changgeuk can be assumed by seeing that lacking number of members who had been eking out a living only with the payment they received from their performance in National Changgeuk Theater of Korea decreased, intermittent practice for Changgeuk. On the other hand, it was found that Pansori duets which was originally produced under the pressure for continuous performance of Changgeuk started becoming more popular among general public leading it to find its place as a new performance even in present. The world of folk music took preemptive action in the implementation of Intangible cultural heritage protection law which became concrete starting in the early 1960s. the School of Korean Traditional Music was hosting intangible cultural heritage announcement and Training Business for intangible cultural heritage. Such efforts made by the world of folk music can be viewed as a driving force making it possible for some categories of folk music to be appointed as intangible cultural heritages in 1960s.

2009 개정 교육과정에 따른 음악교과서의 민요 지도에 관한 연구 - 초등학교 5~6학년을 중심으로 -

한윤이 한국민요학회 2015 한국민요학 Vol.43 No.-

2015 use the elementary school music textbook based on the curriculum revised in 2009. Accordingly the purpose of this study is to examine teaching contents and methods on the new the 5~6th grades elementary school music textbook. I looked at the first folk songs listed on six elementary school music textbooks and analyzed the teaching contents and methods of korean folk song on those music textbooks. The teaching content of folk songs in expression area divided into singing, playing instruments, making music. I thoroughly investigated those sections. The most teaching content of singing was ‘singing by the way of Megigo Batgi’ and next was ‘singing while expressing Sigimsae’. The most teaching content of playing instruments was ‘singing while playing Jangdan’. The most teaching content of making music was ‘singing with changing the lyrics’. The most teaching content of korean folk songs in appreciation area was ‘listening to the music while understanding uses of music’. The teaching content of korean folk songs in the area of becoming music a way of life was most common to investigate and present the cultural heritage associated with korean folk songs. The teaching methods of korean folk songs were ‘teaching method using Guem’, ‘teaching method using Garaksunbo’, ‘teaching method using Physical expression’, ‘teaching method using Sonsigim’ and ‘teaching method using playing’. Also the teaching method that integrate singing, dancing, playing instruments was rarely used in six elementary school music textbooks. It was founded that six elementary school music textbooks presented teaching contents and methods based on the music curriculum revised in 2009 through the analysis results about teaching korean folk songs. In addition, It was founded that those selected more diverse teaching contents and methods. However Several issues remain such as unification of the terminology, clear distinction between korean folk songs and nursery rhyme, enlargement appreciation activity for teaching music concept, the application of a variety of teaching methods, and so on. In this study presented some Improvements but next studies should seek more specific solutions. 2015년은 2009 개정 교육과정에 따른 초등학교 5~6학년 음악교과서가 적용되는 시기이다. 이에 본 연구는 새 음악교과서의 민요 지도 내용과 방법을 고찰하였다. 먼저 출판사별로 민요 수록 현황을 살펴보았고 다음으로는 민요의 지도 내용을 고찰하여 음악 요소 및 개념별로 분석하였으며, 민요 지도 방법은 교육과정에 제시된 방법을 토대로 살펴보았다. 표현 영역의 민요 지도 내용은 노래 부르기, 악기 연주하기, 음악 만들기로 나누어 고찰하였다. 노래 부르기는 ‘메기고 받으며 부르기’, ‘시김새 살려 부르기’와 같은 내용을 중점적으로 다루고 있었고, 악기 연주하기는 ‘장단 치며 노래 부르기’를, 음악 만들기는 ‘노랫말 바꾸어 부르기’를 중점 내용으로 삼고 있었다. 감상 영역의 민요 지도 내용은 ‘음악의 쓰임을 이해하며 감상하기’가 가장 많이 제시되고 있었으며, 생활화 영역의 민요 지도 내용은 민요와 관련된 문화유산이나 문화재를 중심으로 조사 및 발표하는 것이 대부분이었다. 민요의 지도 방법은 교육과정에서 제시한 교수․학습 방법 중 구음을 활용한 방법, 가락선을 활용한 방법, 신체 표현을 활용한 방법, 손을 활용한 방법, 놀이를 활용한 방법 등이 사용되었다. 또한 일부 가․무․악 통합 학습과 같이 노래와 춤과 악기 연주를 통합하여 지도하는 방법을 활용한 사례도 찾아 볼 수 있었다. 초등학교 5~6학년 음악교과서를 분석한 결과, 음악과 교육과정에 따라 적절하고 적합한 민요 지도 내용과 방법을 선정하여 제시하고 있었으며 이전 교과서 보다 다양한 내용과 방법을 취하고 있음을 알 수 있었다. 다만, 동일한 의미의 여러 용어가 사용되고 동일 악곡의 장르 구분에서 민요와 전래동요를 혼용하고 있었으며, 음악적 개념 지도를 위한 감상 지도 내용이 빈약하고 민요의 생활화 지도 내용이 획일적이라는 문제점이 드러났다. 이와 관련하여 몇 가지 개선 방안을 간단하게 제시하였으나 앞으로 이에 대한 보다 더 구체적인 연구가 필요하다.

1950~60년대 라디오에 수용된 전통음악 프로그램의 특징 고찰 교육프로그램과 민요프로그램을 중심으로

송소라 (재)한국연구원 2022 한국연구 Vol.- No.10

This paper was written to examine the aspects of traditional music that existed throughradio broadcasting in the 1950s and 1960s and to examine its meaning. To this end, this paperorganized traditional music programs based on the “Radio” program column included in majordaily newspapers of the time, such as the Chosun Ilbo, the Dong-A Ilbo, and the KyunghyangNewspaper, and discussed one aspect of its characteristics as follows. First, the existence of a traditional music education program. Programs to comment ontraditional music, such as <Korean Music Commentary>, <Korean Music> and <Korean MusicAppreciation>, have been consistently organized. Sung kyung-rin and Jang sa-hoon were incharge of the commentary. Th ey explained various aspects of it along with traditional music at theSeoul Central Broadcasting Station (HLKA) and the Christian Broadcasting Station (KLKY). Th isgives a glimpse of the orientation of broadcasters dealing with education as an important purposeof broadcasting at the time. It also means that traditional music was easily and comfortablydelivered to traditional music lovers in terms of education. Second, it is the steady strength of folk song programs. Traditional music has various genres. Broadcasting covered various traditional music genres such as Aak, Sanjo, Sinawi, Japga, andPansori. Among them, folk songs were programmed in various forms such as <Paldo Folk Song>,<Night of Folk Song>, <Finding Folk Song>, <Finding Folk Song>, <Following Folk Song>,<Folk Song Festival>, and <Folk Song Drama>. In particular, the Seoul Central BroadcastingStation (HLKA) steadily introduced programs to collect and broadcast folk songs from all over thecountry, contributing greatly to the collection and preservation of folk songs during this period. Inaddition, the entertainment element of “Mandam(悹鞻)” has stimulated the public’s interest infolk songs by combining many genres and folk songs. Th is paper has a limitation in not being able to look at all of the traditional music programscovered by radio in the 1950s and 1960s. Nevertheless, while conducting this study, the researcheronce again thought that data on overall traditional music in the mid to late 20th century mustbe organized. Although there is a data collection published by each broadcasting company, it isnecessary to examine the specifi c contents of the broadcast in detail and organize it as much aspossible. Such work will be the basis for actively discussing the social and cultural meanings oftraditional music of the time, as well as revealing the actualities of traditional music, performers,and tunes during this period.

1950년대 민속악계의 공연활동 고찰 -대한국악원을 중심으로-

김민수 ( Kim Min-su ) 한국음악사학회 2016 한국음악사학보 Vol.57 No.-

1950년대 민속악계에 관한 논의는 전쟁이라는 선입견 때문에 줄곧 침체기(沈滯期)로 규정되면서 그간 논의가 제대로 진행되지 못했다. 이에 본고는 1950년대 민속악계의 정황을 해방 직후 민속악계를 중심으로 결성된 `국악원`(國樂院) 즉 1950년 국립국악원(國立國樂院) 직제가 공포된 이후 개칭된 `대한국악원`(大韓國樂院)의 산하단체와 구성원들을 추적해 그 실상을 확인해 보았다. 한국전쟁으로 일시에 와해되어 유명무실해진 대한국악원이 전중 그 존립을 유지할 수 있었던 배경에는 그 산하단체를 자처하며 적극적인 활동을 전개한 여성국극단(女性國劇團)들이 존재했다. 전후에는 대한국악원 산하로 새로운 여성국극단들이 추가로 편입되고 남녀 혼성 창극단인 국극사(國劇社)와 우리국악단까지 가세하면서 민속악계가 대한국악원을 중심으로 빠르게 결집하기 시작했다. 민속악계의 재결속을 계기로 대한국악원은 전후 1954년 마침내 단체장을 임명하며 민속악계의 기간단체로서의 조직화에 착수했다. 나아가 대한국악원은 전후 우리국악단의 창극활동 이외에도 규합된 산하단체들과 함께 창극 <대춘향전>을 기획해 흥행하며 존립기반을 한층 견고히 하게 되었다. 1957년에는 지도부를 재구성, 사단법인화를 통해 단체를 쇄신하고 창극 <심청전>과 「향토민요대전」을 연이어 흥행시키며 전쟁으로 자칫 도태될 위기에 처했던 창극(唱劇)을 부흥시키고 활동영역도 보다 확장하는 등 민속악계의 수장으로서의 역할을 충실히 수행하였다. 한편1955년에는 대한국악원 산하의 여성국악동호회(女性國樂同好會)가 시기적으로 어려운 여건 속에서도 민속악의 전승을 위한 민속예술학원(民俗藝術學院)을 설립, 1960년 민속악 교육의 중심지인 국악예술학교(國樂藝術學校)의 설립을 위한 교두보로서의 역할을 하게 되었다. 1950년대 민속악계는 전란이라는 참담한 시련 속에서도 민속악을 보존해야 한다는 사명감으로 전후 대한국악원을 중심으로 신속히 재결집해 지속적인 활동을 전개하며 향후 1960년대 민속악계가 보다 안정될 수 있는 기반을 구축하는데 크게 기여했다는 점에서 그 활동의 의의를 찾을 수 있다고 하겠다. It has been considered that the discussion on the circle of folk music in the 1950s is always stagnated due to the Korean War of which concept prevailed during the time, As a result, it couldn`t properly progress. With a critical mind on this, the present study was aimed to confirm the actual situation of the folk music society in the 1950s by tracking down the affiliated groups and their members of the Taehan Kugak Center known as Taehan Kugawon (大韓國樂院) whose name was changed after the National Classical Music Institute called Kungnip Kugagwon (國立國樂院) was organized mainly by he circle of folk music right after the independence from Japanese colonial rule in the 1950. The main factor behind the survival of the Taehan Kugak Center during the Korean War, which was close to collapse all at once by the Korean War and became nominal, is the existence of women`s theaters that actively worked for it, thinking of themselves as its umbellule organization. After the Korean War new women`s theaters were additionally affiliated to the Taehan Kugak Center, together with mixed classical opera companies joining them, and thus the circle of folk music started to concert all its efforts on the Taehan Kugak Center. with the resolidarity of the folk music circle as a momentum, the Taehan Kugak Center finally appointed its director in 1954 after the war and embarked on systemizing the organization as the head of the society. Furthermore, the Taehan Kugak Center planned and performed its first Korean folk opera called ch`angguk 唱劇 (lit. singing drama) after the Korean War Ch`unhyangjon 春香傳 (Story of Ch`unhyang) in 1955 with its affiliated theaters. It was a big success and came to solidify the base of its existence. In 1957, the organization reshaped its leadership and turned itself into a corporation to renovate the structure. Subsequently, folk opera Simchongjon 沈淸傳 (Story of Sim Ch`ong) and `Folk Song Contest` became successful in a row, which revived Korean folk opera, otherwise it could have come near to collapse, and expanded the areas of activity. Like this, the Taehan Kugak Center fulfilled the role of a head of the circle of Korean folk music. In addition, women`s folk music clubs established a folk art academy under the Taehan Kugak Center in 1955 and attempted to promote and transmit folk music to the next generations. Like this, the circle of folk music overcame the miserable reality of the war in 1950s and gathered together to the Taehan Kugak Center with a sense of duty that they had to preserve Korean folk music, actively performing. It contributed to making the circle of folk music more stable in the 1960s.

북한의 조선음악 조식연구 초기의 전개 양상-1950년대 후반부터 2000년경까지-

김영운 한국국악학회 2017 한국음악연구 Vol.62 No.-

As part of efforts to establish the characteristics of Korean traditional music, South Korean musicologists have paid much attention to the studies of the tonal structure in both various genres of traditional music and indigenous music that carries regional characteristics. It naturally led to extensive academic discussions on the tonal structure of divers kinds of music ranging from court music, pungnyubang music, muisc of professional musicians to local music with regional taste. Likewise, study of tonal structure in traditional music has been one of the major academic concerns for North Korean scholars and they actually started their research on this topic focusing on folk songs from late 1950s. With a purpose to expand the dimension of tonal structure study of Korean traditional music, this paper reviews the history of tonal structure study carried out by North Korean musicologists and their accomplishments and conducts comparative study on works by scholars of South Korea and North Korea to find common or different features. Through the study, this paper hopes to add depth to the academic perspective on this field. To this end, this paper examines the process and results of academic research on tonal structure of traditional music done in North Korea from late 1950s to 2000. As a result, it is found that the studies of tonal structure in North Korea have mainly been conducted on folk songs. The essential theory includes that the folk song is basically in pentatonic josik(mode) comprising five representative kinds of josik(mode). Each josik(mode) is composed of combinations of tetrachords. Won Heung-Ryong and Lee Chang-Gu, two major music scholars, are found to make significant contribution in the development of the theory. It was also found that the purpose of the josik studies by North Korean musicologists was to identify the unique characteristics of traditional music of Korean people as well as to accumulate infrastructure basis with practical use for arranging traditional music or making even new style of music. However, the studies of folk song tonal structure in North korea have concentrated merely on laying foundation on josik theory up until the year of 2000. Though some effort to discover the local characteristics of folk songs was made as seen in the academic attempt by Han Si-Hyeong, it does not yet seem to reach a meaningful achievement to reveal regional music characteristics folk songs. Some of the outcomes from the recent studies by North Korean musicologists published since 2000 have focused more on the locality of folk songs and consequently furthered the depth of discussion on the related topics. This naturally shows the course of future research to be done. It includes analysis on recent academic results of North Korean scholars, comparative studies on the researches on tonal structure of folk song by scholars of South and North Korea in order to put togather all the meaningful achievements of tonal structure studies on traditional music of Korean people, still trying to diagnose points to overcome. 한국 전통음악의 특징을 규명하기 위한 연구의 하나로 그동안 남한 학계는 전통음악 여러 장르의 음악과, 지역적 특징을 지닌 향토음악의 음조직 연구에 많은 관심을 기울였다. 그 결과 궁중음악과 풍류방음악, 그리고 전문음악인들의 음악뿐만 아니라 토속적인 향토음악에 이르기까지 다양한 음악을 대상으로 음조직 이론을 논의해 왔다. 한편으로 우리 민족의 전통음악 음조직에 대한 연구는 북한 음악학계에서도 중요한 관심사의 하나였고, 그 중에서 민요를 대상으로 한 연구는 1950년대 후반부터 수행되었다. 이 글은 한국의 전통음악을 대상으로 하는 음조직 연구의 심화를 위하여 그 동안 북한 학자들에 의한 음조직 연구의 진행과정과 그 성과를 살펴보고, 남북한 연구자들 사이의 공통점과 차이점을 드러내어 향후 이 분야 연구에 깊이를 더 하고자 하는 것을 목적으로 하고 있다. 이를 위하여 본고에서는 1950년대 말부터 2000년경까지 북한에서 진행된 전통음악 음조직연구의 과정과 성과를 살펴보았다. 그 결과, 북한의 전통음악 음조직 연구는 주로 민요를 대상으로 수행되었으며, 그 핵심적 이론은 민요의 조식(mode)은 5음음계로 구성되었으며, 5개의 조식으로 대표되고, 각 조식은 3음렬(tetrachord)의 결합에 의하여 형성된다는 것임을 알게 되었다. 그리고 이 같은 이론이 형성되는 과정에서 원흥룡․리창구의 연구가 중요한 기여를 하였음도 알게 되었다. 또한 북한 학자들의 민요 조식 연구의 목적이 우리 민족이 지니는 민족음악의 특징을 찾기 위한 방안의 하나이며, 이러한 연구에는 전통음악을 편곡하거나 새로운 음악을 창작하기 위한 토대 구축에 실용적 목적이 있음도 알게 되었다. 2000년경까지의 북한 민요 음조직 연구는 조식이론의 토대를 구축하는데 치중하였고, 한시형의 제안과 같이 지방적 특징을 밝히고자 하는데 까지 관심을 두었으나, 민요가 지니는 지역적인 특징을 충분히 드러내는 데까지는 이르지 못한 것으로 보인다. 최근에 알려진 2000년 이후 북한 음악학계의 연구 성과물 중에는 민요의 지역성에 주목하여 기존의 논의를 더욱 발전시킨 결과물이 산견되는 바, 이들 연구물에 대한 분석과 남한 연구자들의 민요 음조직 연구 성과와의 비교 등을 통하여 한민족 전통음악 음조직 연구 성과를 종합하고 그 문제점을 파악하고자 하는 연구는 다음 기회로 미루고자 한다.

대안담론으로서의 음악분석: 베토벤의 아일랜드와 스코틀랜드 민요 편곡 다시 듣기

조현리 ( Cho Hyunree ) 한양대학교 음악연구소 2024 音樂論壇 Vol.51 No.-

이 연구는 베토벤의 브리튼 제도 민요 편곡과 음악분석의 상호작용을 활성화하여 음악분석의 새로운 지향을 구체적으로 제시하기 위한 연구이다. 베토벤이 피아노, 바이올린, 첼로의 반주가 있는 연주용 악보로 새롭게 구성한 아일랜드와 스코틀랜드 민요는 서양음악사의 대표적인 정전적 작곡가가 편곡의 방식으로 외국의 비정전적 장르의 음악에 기여했다는 점에서 이례적인 레퍼토리로 간주되고, 예술음악의 주변에 머무르면서 주로 정전적 작품의 구조와 형식에 몰두해온 음악분석과 다양한 충돌을 일으킨다. 이 연구는 민요, 편곡, 베토벤에 대한 기존의 학문적 관념들을 비판적으로 검토하고, 연행과 횡단으로서 존재하면서 협업과 수정, 재편집을 통해 역동적으로 변화하는 음악에 대한 분석적 접근이 획득해야 할 지향과 초점을 탐구한다. 또한 음악분석을 통해, 이 편곡 작품들의 지닌 차이를 정당하게 수용할 수 있는 구체적인 사례를 마련한다. This paper aims to activate the interaction between Beethoven’s British folk song settings and the discipline of music analysis in order to present a new direction for music analysis. The Irish and Scottish folk songs arranged by Beethoven as songs with piano, violin, and cello accompaniment are unique in that they are uncanonic pieces of music arranged by one of the most canonical composers in the history of Western music, who is also a German composer. These folk song settings resides in the periphery of art music, challenging the discourse of music analysis that has focused on the form and structure of canonic works of music. The paper will review academic preconceptions regarding folk songs, arrangements, and Beethoven. It will also explore which kind of orientation and focus should be adopted for an analytical approach to music that exists as performance and as traversing. By analyzing the folk song settings, the paper will also provide cases of music analysis that adequately accommodate the differences in such pieces of music.

민속음악 ‘산조(散調)’의 악보화 양상과 담론에 관한 연구

송호은 전북대학교 인문학연구소 2020 건지인문학 Vol.0 No.29

There is a considerable gap between the notes that are played and the notes that have no score (oral) when scoring the music. However, textualization of music using various notation techniques, i.e., music scoring, shows that music can be delivered in multiple ways. As Sanjo, which was a piece of oral music that can be varied in various ways depending on the situation, is fixed in a space called musical paper through sheet music, on the one hand, subtle notes and autonomous rhythms tend to be fixed. On the other hand, the possibility of musical application has been expanded infinitely through the medium of the score. Of course, it is undeniable that various restrictions were imposed Sanjo after it was created as a sheet music. However, it was only at that time that Sanjo continued through the oral tradition. It was the traditional learning method of Sanjo and the limitation of the times. Today, Sanjo, which has been scored, is standardized through the work of writing a record of memory, and Sanjo, which has been strengthened as 'Ryu', is transmitted as a standardized melody through various educational methods. Also, Sanjo, written in sheet music, was endowed with permanence and homeostasis. Another aesthetics of Sanjo, which became sheet music, exists in the notes. To find the musical identity of Sanjo inherent in the note, the players imagine, interpret, and ponder the sound in the note. The aesthetics of Sanjo's natural beauty, which remains unchanged even in the oral sanjo and sheet music sanjo, that is, the stubbornness of oral music that is alive even in sheet music, will be the true identity of Sanjo.