한국음악 20세기 한국음악의 관점(6) 나운영의 이론적 착상 = Aesthetic Viewpoints on Korean Music in the Early20th Century(6) La Un Young as a Music Theorist

다국어 초록 (Multilingual Abstract)

This Essay describes the music theory of La UnYoung the composer who wrote comparatively many theory books among Korean composers. To study his music theory, his two books are discussed here in detail: -Lessons in Composition, 1972. -Modern Harmony, 1982. His theory is based on contradictions, which can be expressed roughly as follows: ordinary and unusual, the prototype and a transformed one, a maintaining tone and a moving tone, (he parallel form and the mirror form, and Yang and Yin. This polarity comes from the fact that his theory is built primarily on a relatively simple tone system and thereby needs more sophisticated additional tones. For example, here is his ten tone system: C, D, E, G, A, C, D, F, G, B. The first five notes are a pentatonic scale. The last five notes are a half lone higher, respectively, except the last one which is one tone higher than the original pitch(A), thus deviating slightly from the basic scale. In this way his theory system has a dual principle of the center and the supplement. Since his theory has several systems, his music appears hi various forms. In the complex cases, more than two systems are combined together sounding simultaneously or in succession. For La UnYoung, the center means Koreanity and the supplement modernity. And his ultimate goal was to combine these two elements.