韓國的 藝術歌曲의 創作을 위한 論理硏究와 試圖作品 分析 : 自作品 『머들령』을 中心으로 centering on my own work "Meodul-Ryung" = A study on a theory of Composing Korean Art Song and an analysis of an experimental composition

다국어 초록 (Multilingual Abstract)

There would be no one, I believe, who havn't tried to compose on the standpoint of Korean Nationalism.
The significance of the world "on the standpoint of Korean nationalism" is a composition of well selected materials from particular old folkores, histoy, nature secones or common experiences we are facing in daily life, so that all can realize it's Korean emotional feeling when listen to the piece.
In course of writing Korean Music, we are blocked up by a wall of difficult problems.
First, the problum of scales and modes. As we belong to the the realm of Orient, have to use Pentatone scales. With a pentatone scale we are forming five sunbubs(旋法-or modes). The five sunbubs are; Goong-sunbub (宮旋法-i.e. Do mode), Sang-sunbub(商旋法-i.e. Re mode), Gak-sunbub(角旋法-i.e. Mi mode), Chi-sunbub (徵旋法-i.e. Sol mode), and Woo-sunbub (羽旋法-i.e. La mode).
Among these five modes, Sol mode is called as Gemyun-Jo (界面調) while the La mode is called as Pyung-Jo(平調), and these two modes are solely used in Korean National Music, especially the usage of Do mode is practically avoided for the reason of producing Chinese feelong.
Second melody lines. As we all know, in western music, there are 12 halftones in an octave, among them the 7 tones are being used in Diatonic Scales and the 12 tones are all being used in Chromatic Scales. On the contrary, in orient, only 5 tones out of the 12 halves are used. Furthermore, with such limited tones in Korean Music can not escape from simple and monotonous melody. Therefore, it's very important and necessary to solve such existing problums. Needless to say, we need hard experiments.
Third, the employment of harmonic chords. In the Diatonic Scales of Western Music, seven triade are being used, but only Tonic triad (Ⅰ) and submediant triad (Ⅵ) are used in orient pentatone scale. Therefore, the other harmonies of Western Music never can be used in Korean Music, i.e. the third note of Supertonic and Dominant triads and the fifth note of Mediant triad are never appear in Korean Music, so the reason of lacking harmonic elements that no triads can be established.
In course of writing my own composition "Meodul-Ryung" and other works. Firstly, I did not limited to Gemyun-jo and Pyung-Jo and freely used 5 modes which had been constructed as pentatone scales as well as major and minor scales in Western music both Authentic and Plagal modes in Western Church Music.
Secondly, even though it is very much easy to change the musical tastes by flexible tendency of modes, but I utilized the method of Church Modes of middle age by which Oriental, especially so called Korean feeling have been produced.
Thirdly, In harmonic problums, I evaded from the limitation of modes in some degree; numbers of usable harmonies have been increased and used the cadences which resulted no awkwardness. In my opinion, it is a quite successful result in my work. I employed technique of chorale harmonization as possible as I can with the Church Modes.
Thus, I belive, many Korean Composers would not agree or satisfy on such method I experimented, still it will give tremendous problums of writing to whom studied and dealt with mainly Western Music.
Settlement of theory on Korean Music Writing can not be established in short period. Rome had not been constructed in a day.

목차 (Table of Contents)

• 序論
• Ⅰ. 基礎的論理 硏究
• 1. 歌曲의 槪觀
• 1) 定義와 分類
• 2) 民謠
• 3) 藝術歌曲
• 2. 國民主義音樂의 槪觀
• 3. 韓國的藝術歌曲의 定義와 範疇
• Ⅱ. 作曲試圖過程에서 當面하는 難題處理
• 1. 音階에 關한 問題性
• 2. 旋律構成에 있어서의 問題性
• 3. 和聲處理에 있어서의 問題性
• Ⅲ. 試圖作品 『머들령』의 分析
• 1. 槪說
• 1) 作曲年代와 그 經緯
• 2) 作始者 紹介
• 3) 歌詞의 內容說明
• 2. 樂曲分析
• 1) A部分
• 2) B部分
• 3) C部分
• Ⅳ. 結論