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영어

In the 1940s, the Western concept of music composition was introduced to the Korean traditional music community. Subsequently, Western-style music practices, including the appearance of a conductor on the stage and the use of staff notation, Western scales, functional harmony, and Western music terminology began. In addition, gugak composers, who had been trained through university-level music education that began in 1959 with the establishment of a Korean traditional music program at Seoul National University, started to compose pieces which expressed the uniqueness of Korean society, culture and philosophy, and their understanding of Korean traditional music and instruments. The works of these composers have been continuously promoted through music contests, and introduced and performed in recitals and concerts. In this article, I analyze musical works composed by Yi Seong-cheon (1936– 2003), Yi Hae-sik (b.1943), and Jeon In-pyeong (b. 1945), all of whom produced numerous gugak pieces and applied various compositional methods in their works. I introduce each composer’s particular compositional methods and examine how Korean traditional musical elements have been developed, changed, and restructured in order to understand how each person’s Korean worldviews have been used and expressed through their creations. Yi Seong-cheon’s composition displays aesthetic beauty based on the well-structured form of his pieces. He used various materials as inspiration for his compositions including Korean traditional court and aristocratic music, and genres from folk-art music such as sanjo (the representative solo instrumental music). In addition, he composed many program music pieces in which various aspects of nature, society, religion, literature, and people’s everyday lives were reflected. He composed many gayageum (twelve-string zither) pieces, and contributed to developing a modified gayageum for which he also developed new playing techniques. Through his works, Yi Seong-cheon demonstrated his rational yet experimental mind and attitude toward gugak composition. Yi Hae-sik has applied musical elements from indigenous Korean music and shaman ritual music. His artistic foundations, in particular, have been based on the language, dance, music, theatrical aspect, and emotional expression of shaman ritual. Also, he has been interested in expressing each instrument according to its idiosyncratic sigimsae (ornaments), and has applied multiphony and hybrid rhythm in his works, creating his own specific musical style. For his music, Jeon In-pyeong has applied various materials not only from Korean traditional music, but also from pan-Asian music cultures including the traditional rhythmic structure of man-jung-sak (slow-moderate-fast), program music form, legends, old music manuscripts, folksongs, and the musical scales of Asian countries. He has emphasized the use of musical improvisation in his pieces, in which performers can freely change and play certain elements such as rhythm. He has also contributed to expanding the realm of geomungo (six-string zither) music by developing geomungo byeongchang (singing accompanied by geomungo) and new techniques for suldae (a bamboo plectrum used for geomungo) resulting in the achievement of new timbre and various musical effects. Although these three composers favor different instruments and differ in their musical expressions, they have in common the application of traditional musical elements in their works and the development of new methods for gugak composition. Many of the “new” compositional methods created by these composers have become common compositional methods for gugak composers today. I hope that this article can be of help to today’s gugak composers in finding new inspiration for their work and in creating their own characteristic styles. Furthermore, I hope this article can also help performers understand the inseparable procedures of “composition” and “performance” and lead to better communication with gugak composers.

한국어

한국음악에 서구적 개념의 음악창작이 도입된 것은 1940년대로 오선보를 시작으로 서양식 음계, 화성진행, 음악용어 등 서양식 음악어법 및 서양식 지휘자가 세워지는 연주형태의 모습이 나타나기 시작했다. 김기수 이후, 대학교육 내에서 국악작곡을 전공한 이성천, 백대웅, 이상규, 박일훈, 이해식, 전인평, 박범훈 등은 본격적으로 서양식 작곡방식을 그들의 창작활동에 도입하며 국악창작의 지평을 넓혀가게 되었다. 본 논문에서는 국악작곡가들 가운데 많은 작품편수와 다양한 작곡기법을 시도한 이성천, 이해 식, 전인평의 대표적 작품들을 선정하여 각 작품에서 중요한 특징이라 간주되는 작곡기법들을 중심으로 전통음악요소들이 어떻게 발전, 변용 혹은 재구성 되는지를 살펴보았다. 이성천은 잘 계획된 구조적인 악곡의 형식미를 보여준다. 소재는 전통음악의 정악과 산조뿐 아니라 자연, 일상, 종교, 문학, 사회와 관련된 표제음악을 많이 작곡하였으며 특히 가야금 곡을 많이 작곡하였다. 또한 악기를 개량하고 이를 위한 다양한 주법을 개발하여 이성적이면서도 실험 적인 작곡가의 면모를 나타내었다. 이해식은 전통음악 중 향토음악과 토속민요, 무속의례를 소재로 작곡하였고 특히, 무속의례에 서 영향 받은 언어, 춤, 음악, 연극, 감정의 표출 등이 자유로우면서도 종합적인 그의 예술적 지향 의 근거로 작용하였다. 그는 악기별 연주기법을 다양하게 사용하였는데 다중주법, 겹리듬, 하이브 리드 리듬 등을 사용하여 그만의 개성적인 음악적 억양을 구사하였다. 전인평은 만․중․삭의 개념을 기반으로 한 전통형식과 표제음악의 형식, 고악보, 범아시아의 민요, 설화, 음계 등을 그의 작품에 사용하였다. 그는 작품에서 리듬 등을 연주자가 자유롭게 변형시켜 연주할 수 있도록 하는 음악적 즉흥성을 강조하였다. 또한 술대주법을 계발 및 사용함으 로 다양한 음악적 효과를 얻었으며, 거문고 병창 등 거문고의 새로운 음색과 연주법을 확대하는데 공헌하였다. 세 작곡가는 선호한 악기, 음악적 표현에 차이가 있었으나 공통적으로 전통음악적 요소를 작품 에 활용하고 새로운 창작기법을 만들어 내었다. 이러한 국악작곡가들이 계발하여 사용하였던 ‘새 로운’ 창작기법들 중 다수가 현행 국악작곡의 일반적 작곡기법으로 자리잡았다. 본 논문이 현재의 국악작곡가들에게 새로운 소재의 활용과 개성 있는 창작의 가능성을 발견할 수 있는 계기가 되기 를 바라며 나아가 연주자들에게도 ‘작곡’과 ‘연주’ 라는 분리될 수 없는 음악활동을 도울 수 있는 작은 소통의 도구가 되었으면 한다.