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      한국과 중국의 문묘제례악 비교 고찰 : 한국 성균관 문묘와 중국 호남 유양문묘를 중심으로 = A comparative study of Chinese and Korean wenmiao Cult music : The center is Sungkyunkwan Wenmiao in South Korea, and Liuyang Wenmiao in Hunan, China

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      https://www.riss.kr/link?id=T16389635

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      다국어 초록 (Multilingual Abstract)

      Wenmiao cult music in China and South Korea originated from Zhou Ritual and rooted in traditional Confucian ritual and music culture. It was an important carrier for rulers to maintain feudal order and cultivate people's ethics. It has more relevance. This paper is mainly based on the method of philology, supplemented by the methods of comparative history, musicology and culturology, and discusses in the form of combining text, pictures and musical relics.
      The research object of this paper is the Korean Wenmiao Cult music and liuyang Wenmiao Cult music in Hunan, China, with three main lines of etiquette, rhythm and dance throughout the whole paper. Through is still retained, the incoming gagaku in Korean culture, analysis of gagaku phenomenon of attack and development in the process of evolution, understand the gagaku ontology 'stable' and 'change' intrinsic logic, exploring how to apply the two countries in the Korean ancient Chinese music theory and system of gagaku, turn, staging the internalization and established its own unique culture system, examine the formation process of inheritance mechanism. At the same time, a comparative study is conducted to explore the similarities and differences between the two and reveal the development rules, aesthetic characteristics and particularity of similar cultures in different countries and nations. The full text includes introduction, body and conclusion three parts.
      Introduction is the first part of this paper. It mainly explains the significance and purpose of the topic selection, reviews the literature handed down from generation to generation, reviews the current research situation of predecessors, and explains the research method of this paper.
      This thesis is divided into four parts, namely from the second part to the sixth part.
      The second part elaborates the historical evolution of wenmiao Sacrificial rites and wenmiao sacrificial rites in China and South Korea, and basically grasp the development law of wenmiao sacrificial rites in the two countries and the influence of the development and change of political thoughts in the past dynasties on the status of Confucianism, as well as the important function of Wenmiao sacrificial rites in social stability and maintaining the overall interests of the country. Thus, we can see the political characteristics, ideological concepts, humanistic concepts and social features of a certain historical period.
      The third part of the Goryeo period, Sejong period, Seongjong period, Jeongjo period, the Period of the Korean Empire and the current munmyo festival music etiquette, rhythm, music and dance are carefully studied and analyzed, grasp the evolution process and real appearance of The Munmyo festival music in Korea, understand the construction process of the Korean yak system.
      The fourth part discusses China's hunan liuyang cult the origin of the temple, and the qing dynasty, during the period of the republic of China and the current cult lele law of the temple are the essence of the research, the etiquette and law, provide a research and analysis, to grasp the hunan liuyang temple rites and the evolution process of the real appearance, the key to understand the current liuyang restored cult technique, performance form, Insight into people's ideological tendency and acceptance attitude towards the restoration of traditional culture.
      The fifth part, the cult of the temple are both law idea music festival, movement, music morphology, music, Musical Instruments, Yi suspension dance such as comparison, to explore the similarities and differences between the two points, reveals the same culture in different countries, different ethnic groups, the law of the development of aesthetic characteristics and particularity, thus understand the gagaku ontology "stable" and "change" the internal logic.
      The sixth part probes into the internal social mechanism of the cultural inheritance, the dynamic mechanism of cultural change and the current function of the music of munmyo cult through field investigation. Through the organic interaction between the government, experts and scholars, financial institutions and cultural enterprises, social organizations and civil organizations and the public, South Korea has built a good ecological environment for the effective inheritance of munmiao cult culture. In the process of inheriting the cult culture of Confucian Temple, cultural loss, cultural creation, cultural conflict and other phenomena always accompany the whole development process, which makes it present different features in contemporary society and play an extremely important social function.
      The conclusion part expounds the research results of this paper and puts forward the viewpoints of this paper.
      번역하기

      Wenmiao cult music in China and South Korea originated from Zhou Ritual and rooted in traditional Confucian ritual and music culture. It was an important carrier for rulers to maintain feudal order and cultivate people's ethics. It has more relevance....

      Wenmiao cult music in China and South Korea originated from Zhou Ritual and rooted in traditional Confucian ritual and music culture. It was an important carrier for rulers to maintain feudal order and cultivate people's ethics. It has more relevance. This paper is mainly based on the method of philology, supplemented by the methods of comparative history, musicology and culturology, and discusses in the form of combining text, pictures and musical relics.
      The research object of this paper is the Korean Wenmiao Cult music and liuyang Wenmiao Cult music in Hunan, China, with three main lines of etiquette, rhythm and dance throughout the whole paper. Through is still retained, the incoming gagaku in Korean culture, analysis of gagaku phenomenon of attack and development in the process of evolution, understand the gagaku ontology 'stable' and 'change' intrinsic logic, exploring how to apply the two countries in the Korean ancient Chinese music theory and system of gagaku, turn, staging the internalization and established its own unique culture system, examine the formation process of inheritance mechanism. At the same time, a comparative study is conducted to explore the similarities and differences between the two and reveal the development rules, aesthetic characteristics and particularity of similar cultures in different countries and nations. The full text includes introduction, body and conclusion three parts.
      Introduction is the first part of this paper. It mainly explains the significance and purpose of the topic selection, reviews the literature handed down from generation to generation, reviews the current research situation of predecessors, and explains the research method of this paper.
      This thesis is divided into four parts, namely from the second part to the sixth part.
      The second part elaborates the historical evolution of wenmiao Sacrificial rites and wenmiao sacrificial rites in China and South Korea, and basically grasp the development law of wenmiao sacrificial rites in the two countries and the influence of the development and change of political thoughts in the past dynasties on the status of Confucianism, as well as the important function of Wenmiao sacrificial rites in social stability and maintaining the overall interests of the country. Thus, we can see the political characteristics, ideological concepts, humanistic concepts and social features of a certain historical period.
      The third part of the Goryeo period, Sejong period, Seongjong period, Jeongjo period, the Period of the Korean Empire and the current munmyo festival music etiquette, rhythm, music and dance are carefully studied and analyzed, grasp the evolution process and real appearance of The Munmyo festival music in Korea, understand the construction process of the Korean yak system.
      The fourth part discusses China's hunan liuyang cult the origin of the temple, and the qing dynasty, during the period of the republic of China and the current cult lele law of the temple are the essence of the research, the etiquette and law, provide a research and analysis, to grasp the hunan liuyang temple rites and the evolution process of the real appearance, the key to understand the current liuyang restored cult technique, performance form, Insight into people's ideological tendency and acceptance attitude towards the restoration of traditional culture.
      The fifth part, the cult of the temple are both law idea music festival, movement, music morphology, music, Musical Instruments, Yi suspension dance such as comparison, to explore the similarities and differences between the two points, reveals the same culture in different countries, different ethnic groups, the law of the development of aesthetic characteristics and particularity, thus understand the gagaku ontology "stable" and "change" the internal logic.
      The sixth part probes into the internal social mechanism of the cultural inheritance, the dynamic mechanism of cultural change and the current function of the music of munmyo cult through field investigation. Through the organic interaction between the government, experts and scholars, financial institutions and cultural enterprises, social organizations and civil organizations and the public, South Korea has built a good ecological environment for the effective inheritance of munmiao cult culture. In the process of inheriting the cult culture of Confucian Temple, cultural loss, cultural creation, cultural conflict and other phenomena always accompany the whole development process, which makes it present different features in contemporary society and play an extremely important social function.
      The conclusion part expounds the research results of this paper and puts forward the viewpoints of this paper.

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      목차 (Table of Contents)

      • <표 목차> viii
      • <그림 목차> xi
      • <보례 목차> xv
      • ABSTRACT xvii
      • <표 목차> viii
      • <그림 목차> xi
      • <보례 목차> xv
      • ABSTRACT xvii
      • Ⅰ. 서론 1
      • 1. 연구 목적 1
      • 2. 선행 연구 검토 3
      • 3. 연구 방법 13
      • Ⅱ. 문묘제례의 역사 14
      • 1. 중국 문묘제례의 역사 14
      • 1) 주나라의 문묘제례 14
      • 2) 한나라의 문묘제례 16
      • 3) 위진(魏晉) 시기의 문묘제례 17
      • 4) 남북조(南北朝) 시기의 문묘제례 18
      • 5) 수당 시기의 문묘제례 19
      • 6) 당나라 이후의 역대 문묘제례 20
      • 2. 한국 문묘제례의 역사 21
      • Ⅲ. 한국의 문묘제례악 24
      • 1. 한국 문묘제례악의 역사 24
      • 1) 고려 시기의 문묘제례악 25
      • 2) 조선 시기의 문묘제례악 37
      • 3) 대한제국 시기의 문묘제례악 87
      •  2. 한국 현행의 문묘제례악 93
      • 3. 한국 문묘제례악의 시대별 변천 119
      • 1) 율조와 음악형태 120
      • 2) 질주절도와 악장 122
      • 3) 악현과 악기 126
      • 4) 일무 128
      • Ⅳ. 중국의 문묘제례악 129
      • 1. 중국 문묘제례악의 역사 129
      • 2. 호남 류양 문묘제례악 145
      • 1) 청나라의 류양 문묘제례악 145
      • 2) 민국시기의 류양 문묘제례악 165
      • 3) 현행의 류양 문묘제례악 170
      • 3. 류양 문묘제례악의 시대별 변천 198
      • 1) 율조와 음악 형태 198
      • 2) 질주절도와 악장 200
      • 3) 악현과 악기 201
      • 4) 일무 201
      • Ⅴ. 한중 현행 문묘제례악의 비교 204
      • 1. 율조와 음악형태의 비교 204
      • 2. 질주절도와 악장의 비교 221
      • 3. 악현과 악기의 비교 223
      • 4. 일무의 비교 227
      • Ⅵ. 한국 문묘제례 문화의 전승과 현대적 기능 231
      • 1. 문화 전승의 내재적 사회 메커니즘 231
      • 2. 문묘제례악 전승 중 몇 가지 사항에 대한 논의 241
      • 1) 생황의 소실과 박의 차용 241
      • 2) '밀어올리는 소리' 연주법의 창조 249
      • 3) 연주 속도의 변화 252
      • 4) 일무의 논쟁 254
      • 3. 문묘제례문화의 현대적 기능 258
      • 1) 텍스트(文本) 속의 관점 259
      • 2) 문묘제례문화 기능조사에 대한 다차원적 분석 262
      • 3) 기능 총설 268
      • Ⅶ. 결론 271
      • <참고문헌> 275
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      참고문헌 (Reference) 논문관계도

      1 박일훈, "국악전집", 제20집, 서울: 국립국악원, 2009

      2 장사훈, "국악총론", 서울: 세광음악출판사, 1989

      3 강운구, 송혜진, "한국악기", 서울: 열화당, 2001

      4 김기수, "한국음악", 제21집, 서울: 국립국악관,, 1985

      5 장사훈, "한국 음악사", 서울: 세광음악출판사, 1991

      6 이종숙, "국악원논문집", 서울: 국립국악관, 2018

      7 함화진, "조선음악통론", 서울: 을유문화사, 1948

      8 이혜구, "한국음악논총", ,서울: 秀文堂,, 1975

      9 송방송, "한국음악통사", 서울: 민속원, 2007

      10 임학선, "문묘일무의 이해", 서울: 성균관대학교출판부, 2006

      1 박일훈, "국악전집", 제20집, 서울: 국립국악원, 2009

      2 장사훈, "국악총론", 서울: 세광음악출판사, 1989

      3 강운구, 송혜진, "한국악기", 서울: 열화당, 2001

      4 김기수, "한국음악", 제21집, 서울: 국립국악관,, 1985

      5 장사훈, "한국 음악사", 서울: 세광음악출판사, 1991

      6 이종숙, "국악원논문집", 서울: 국립국악관, 2018

      7 함화진, "조선음악통론", 서울: 을유문화사, 1948

      8 이혜구, "한국음악논총", ,서울: 秀文堂,, 1975

      9 송방송, "한국음악통사", 서울: 민속원, 2007

      10 임학선, "문묘일무의 이해", 서울: 성균관대학교출판부, 2006

      11 손태룡, "한국의 전통악기", 경산: 영남대출판부, 2003

      12 진두환, "한국 문묘 제도의 변천", 국악원논문집(17), 2008

      13 이기동, "문묘제례의식의 철학적 기반", 유교문화연구, 2004

      14 박선덕, "문묘제례의 교육적 의미 탐색", 한국교원대학교 대학원 석사학 위논문, 2019

      15 김영숙, "韓國祭禮佾舞의 美學思想硏究", 성균관대학교박사학위논문, 2012

      16 임학선, "문묘일무의 역사적 원형과 왜곡", 서울: 성균관대학교 출판부, 2019

      17 정화순, "현행 한국문묘제례악 대한 검토", 韩国音乐史学报, 2009

      18 송지원, "정조대 의례 정비와春官通考편찬", 奎章閣, 2011

      19 이동희, "아악에서 박(拍)의 사용에 관한 검토", 한국음악연구, 2020

      20 정화순, "악학궤범의 문묘제례악에 관한 연구", 동양예술, 한국동양 예술학회, 2008

      21 이민홍, "文廟의 釋奠大祭와 太學生의 泮宮生活", 대동한문학, 2004

      22 유혜진, "근대이후 한국 문묘일무의 변천사 연구", 한국체육철학회지, 2015

      23 박지선, "유가 수양론과 문묘일무의 교육적 가치", 한국무용교육학회 지, 2017

      24 정화순, "조선조 세종대 문묘제례악에 대한 추고", 온지논총, 서울: 온지학회, 2009

      25 유지신, "釋奠禮樂의 淵源과 그 展開에 관한 硏究", 성균관대학교박사학 위논문, 2011

      26 진상원, "朝鮮中期道學의 正統系譜成立과 文廟從祀", 한국사연구, 2005

      27 임미선, "대한제국기 궁중음악-대한예전을중심으로-", 韓國音樂史 學報, 2010

      28 오용록, "문묘제례악의한배변화와그배경에대한고찰", 국악교육연구,, 2010

      29 차혜경, "文廟釋奠의 傳承과 歷史的機能에 관한 硏究", 성균관대학교 석사학위논문,, 2013

      30 임학선, "문묘일무의 춤사위구조 및 의미성과 상징성", 대한무용학회 논문집, 2005

      31 유혜진, "문화브랜드로서의 문묘일무의상징적 가치 연구", 한국무용연 구, 2020

      32 유준회, "유물편경의음향분석을통한아악황종음고의추정", 韓國音響學會 誌, 2011

      33 우영기, "文廟祭禮樂에 나타난 陰陽五行思想에 대한 硏究", 용인대학교석 사학위논문, 2005

      34 임학선, "문묘일무의 춤사위 진퇴에 담긴 교육철학적 가치", 우리춤과 과학기술, 2011

      35 이숙희, "春官通考소재 文廟祭禮佾舞圖의 史料的가치 연구", 韓國 音樂硏究,, 2007

      36 김영숙, "한국 문묘제례일무의 고유성과 이에 따른재연 및 전승", 한국 무용기록학회지, 2008

      37 이하나, "韓國文廟祭禮의 變化樣相考察을 통한 孔子의 位相硏究", 동 아시아고대학, 2017

      38 이하나, "한국 문묘제례(文廟祭禮)의 전통의례콘텐츠개발 및 활성화 방안 연구", Journal of Korean Culture, 2015

      39 박미라, "文廟祭祀에서의 孔子位相문제-先師⋅先聖⋅文宣王의 尊號를 중심으로", 동양고전연구, 2013

      40 이희재, "유교제례에서의 악(樂)의 의미-한국의 문묘와 종묘제례악을 중 심으로-", 儒學硏究, 2010

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