한국 현대음악에 나타난 전통음악적 요소에 대한 분류연구 및 현대적 음향군이론 정립

권순호(Soon Ho Kwon),최승준(Seung Joon Choi),허방자(Bang Ja Hurh),여영환(Young Hwan Yoe),정지영(Ji young Jung),권오연(Oh Yeon Kwon),이혜영(Hye Young Lee),김지민(Ji Min Kim) 낭만음악사 2007 낭만음악 Vol.19 No.4

한국의 현대음악은 서양음악의 수용 이래로 다양하게 발전되어 왔다. 초기 수용의 단계에는 이론적인 수용과 철학적이고 정서적인 면이 강조 된 작품들이 성악곡들을 중심으로 발전 되었고 1950년대 이후에는 수용을 넘어 진정한 현대적 의미의 음악들이 적극적으로 창작 되어 왔다. 한국의 현대 음악은 조성의 부정과 전통적인 정서가 함께 공존하여 발전 하는 형태가 나타난 시기가 바로 1950년대라고 할 수 있다. 김동진의 ‘신창악 운동’을 시작으로 라운영의 ‘한국민족음악의 정립과 토착화,’ 이건용과 제3세대 작곡가들의 ‘민족음악론’ 등 작곡가들의 노력과 가치있는 결실로 오늘날 창작 음악계는 많은 발전을 가져 왔다. 특별히, 1980년대와 1990년대 이후 서양 음악적 소재를 사용하더라도 주체적이고 독창적인 음악관을 가지고 한국의 정체성을 창작 작품에 담아내는 많은 작품들을 작곡하였다. 한국적 정체성을 담을 많은 창작 작품들은 한국의 전통 음악적 소재를 인용 또는 변화 발전 시켜 도입하는 경향을 가진다. 특히 본청-하청의 선율구조는 중심음-상대음의 구조로 발전 되어 한국적 색채감을 드러내고 있으며 5음 음계 구조에서 가장 많이 나타나는 장2도와 완전4도의 화성 구조를 다양한 음악적 배경 속에 도입하고 있다. 리듬에 있어서도 고유한 장단의 사용과 함께 한국적 이미지를 담은 다채로운 리듬형태를 창조하였고 또한, 한국 특유의 즉흥적인 연주의 리듬 또한 창작 음악의 주요한 소재로 사용되었다. 이러한 공통적인 요소들을 중심으로 한국 창작 음악을 논리적으로 해석하고 분석하고자 현대음악이론에 입각한 실제적인 이론화를 시도하였다. 이런 이론화는 실제적으로 창작 활동을 하는 음악가들에게 일반적인 이론 체계로 접근하여 기법화를 실현 시킬 수 있다는 목적을 가지며 또한 많은 이론가들과 음악학자들에게는 창작 작품들이 가지는 예술적 측면뿐만 아니라 음악이 가지는 새로운 학술적 측면을 제시 할 수 있다는 가치를 가진다. Korean contemporary music has been developed from variously musical points of views, since the acceptance of Western music in the late 19th century. In the its early stages of the acceptance, music compositions in Korea took just the theory of Western music and are usually focused on vocal works which are emphasized on emotional and philosophical senses. In the 1950s, there are many compositions composed in the genuine and modern sense beyond simple uses of Western music theory. In the 1950s, it is the time to evolve and coexist both creative contemporary music which got into atonal music and original traditional Korean music. There are many composers and movements of music such as ‘Shin-Changak Movement’ by Dong-Jin Kim, ‘The establishment and nativization of Korean nationalism’ by Yun-Young La, ‘Nationalism Music’ by Gun-Yong Lee and the third generations. They played an important role to make Korean music developed. In particular, between 1980s and 1990s, although most of composers employed various of compositional techniques from Western music, their works based on creative and independent identity. At the research on the actual condition about applications and performances of Korean contemporary music at the concert hall, many works are performed at the public concerts and they are not limited to academic values any more. Performances of Korean contemporary music are getting increased through statistical researches of performances and programs of the major concerts in Seoul and five etropolitan cities between 2000 and 2005 even though a few metropolitan cities still have not enough concerts for contemporary music. The Korean identity of comtemporary music are very important to Korean composers in the 1980s and 1990s. Therefore they have been tried to quote and develop variously Korean traditional music in their works. Especially the melodic structure of the center tone-relative tone derived form the melodic structure of Bon-Chong and Ha-Chong in the Korean traditional music. The important intervals, the perfect 4th and the major 2nd in pentatonic scale which is a primary musical materials in Korean traditional music, became the main material to construct harmony structure. Jangdan is also very important materials from the rhythmic point of view and composers variated the Jangdan in many ways and besides that composers tried to create Korean traditional rhythms based on the improvisations of Korean music. These common facts in music can be established as a compositional theory. This kind of experiment produce a lot of possibilities for both composers and theorists. Practically, this theorization is to get a analytical tool for many kinds of music based on Koran contemporary music. In addition to this, it can be developed as a compositional techniques to express Korean traditional sense of music. Therefore, this kind of attempt has academic value as well as artistic value.

서경선의 음렬음악 연구 : 《플룻과 하프를 위한 시곡》과 《세 개의 가을 노래》에서 나타나는 반복음향, 그리고 들을 수 있는 음렬음악

안소영 한양대학교 음악연구소 2015 音樂論壇 Vol.34 No.-

본 논문은 “제1세대 한국여성작곡가들” 중 음렬음악에 기여를 한 서경선의 음렬작품 중 《플룻과 하프를 위한 시곡》과 《세 개의 가을 노래》를 분석하여 서경선의 음렬 세계를 살펴보았다. 이들 작품은 쇤베르크와 베베른의 음렬기법으로부터 영향을 받았으며, 또한 그 기법에 머물지 않고작곡가 자신의 독창적인 방법으로 음렬이 나타난다. 특히 그는 음렬형을선택할 때 반복음향을 통하여 작품 간에 통일성을 성취하였으며, 이로써음렬음악이 갖고 있는 복잡하고 어려운 음악이 “들을 수 있는” 음렬음악으로 이해될 수 있다. This paper examines a serial music of Kyungsun Suh, who is one of the first-generation Korean Women Composers, analyzing Poem for Flute & Harp (1983) and Three Songs for Autumn (1987). Her works were influenced by the serial techniques of Arnold Schoenberg and Anton Webern, and she also extended their techniques and composed music in original ways. She seems to achieve a unity using repeated sounds when she selects some series in her music, in order to compose the “recognizable” serial music.

윤의상의 창작세계와 민족의 문제

윤신향 낭만음악사 2005 낭만음악 Vol.16 No.3

20세기 중반 서유럽의 음향공간적 사고와 다문화 간의 만남

윤신향 ( Yun Sin Hyang ) 세계음악학회 2003 음악과 문화 Vol.8 No.-

The purpose of this study is to investigate the multicultural meeting in the sound-spatial concepts in the 1950-60s in western music and thereby to analyze the sociocultural location of this music. The first section describes three forms of the sound-spatial concept: the serial music, the aleatoric music in the 1950s, and the post-serial music in the 1960s. The second section deals with the general sociocultural location of music, that is get out special sound-aesthetic matter in the middle of the 20th century. This matter is discussed on one hand side as an aspect of the relationship between space-composition and culture-imperialism, and on the other hand side as an aspect of the intercultural composition. The first composition style of three sound-spatial ideas is based on the serial technique, which is `sound in the real space`. In this sound concept, represented by Karlheinz Stockhausen, sound is controlled technically. The technical equipment is a substantial component, since it allows the composer to combine sound-colors in individual oevres differently each time. The second composition style is based on the aleatoric technique, which is the `sound of silence`. In this sound concept, represented by John Cage, the sound space imitates the life space via the sound of the surrounding nature and the daily noise. The third composition style is the sound-surface-composition of the post serial music, which is called `imageable sound`. This sound concept, represented by Gyorgy Ligeti, deals with the imaginary space. The three sound-spatial ideas have in common a weakening of the awareness of a continuous flowing time, as it is present in traditional western music. With the moving of the musical time towards space dimensions expand the history of western music towards non- western cultures, and this is connected to sociocultural phenomena of multicultural exchange. The spatial composition effected by the serial technique includes elements, which can be discussed under an aspect of cultural imperialism. In the spatial cornposition, the tonal system rooted in western tradition is developed further towards the spatial system. The changed space-time-concept implies, that the furture oriented time is transformed into the space dimensions. Finally, the expansion of western music towards non-western music was the aesthetic solution to the shortage of sound material and the space-time problem in western music. The spatial composition of west European composers often includes elements of traditional music from non-European cultures. While this implies an exploitation of the non-western space, the cultural transformation by non-European composers via intercultural composition is a representation of their original culture. Since the audiences in different cultures have different experiences, the perception process plays a prominent role for the investigation of intercultural compositions. Still, the interpretation as well as the analysis of these compositions has to be based on individual perception. Because intercultural compositions are interpreted and played differently in different cultures, it is important for the investigation of the perception process to take the sociohistorical background into consideration. It turns out, that the modem composers in the 1950s and 1960s preceded a general development of the era. Their advances could be summarized as follows: sound in the real space realized by the electronic technique reflected the advances in modern communication, sound in the silence headed a process towards extreme individualism, and imageable sound anticipated the time of multimedia communication. All three new concepts of composing predicted a change in the way of life, which implies that the way of sound arrangement in the music is connected tightly to the sociocultural communication of man. The tendency of cultural imperialism in the spatial compositions and the intercultural composing bringing out the cultural transfor

Compositional Structure and Functional Analysis of ‘Globalalia’

Berk Yagli(버크 야글리) 한국전자음악협회 2023 에밀레 Vol.21 No.-

Electroacoustic music has a remarkable place in sound art and music composition. Regarding its complexities and radically different approach compared with conventional music genres, electroacoustic music is often rated as hardly understandable. Hence, this genre does not get enough recognition-especially from musicologists which could dramatically change the understanding of the works in the canon through extensive analysis. In this study Trevor Wishart’s well-known work, Globalalia is held under the microscope. Wishart is a well-known composer mostly with his vocal works. Especially, he is known for composing long-scale works that are highly unusual for the field of electroacoustic music. For understanding his long-scale works, our study focuses upon Wishart’s means of creating structure, concentrating specifically on one of his longer works, Globalalia. The study utilizes Stéphane Roy’s idea about formal functions as a way of unpicking the structural processes that are happening on both micro and macro levels in the piece. Even though there are many articles regarding Globalalia, the exhaustive analysis or written work focusing on the structure of the piece has been a novel study and it helps readers to understand the piece better.

To mix or not to mix: unifying the creative process in composing for instruments and electronics

Laurie Radford(로리 래드퍼드) 한국전자음악협회 2023 에밀레 Vol.21 No.-

The design and composition of music and sound art performance that involves instruments in combination with a variety of electronic components demands a diverse and extensive skill and knowledge set. Pedagogical approaches that guide young practitioners in the creation of “mixed music” composition confront the challenge of striving to equip the composer with the necessary skills and experience drawn from many diverse practices and technologies, some of which are rarely considered in conventional pedagogical contexts. Categories of mixed music, mixed music studies, pedagogical approaches to the teaching of mixed music, and the skills and roles involved in mixed music production are discussed. The objective is to provide a global overview and consideration of the issues involved in teaching, learning and creating mixed music.

Sonic Ontologies: the enduring legacy of French Electro-Acoustic Music

Massimo Vito Avantaggiato 한국전자음악협회 2025 에밀레 Vol.23 No.-

This paper examines the legacy of the French/ French-Canadian electro-acoustic tradition, arguing that its importance lies not only in technical innovation but in a radical redefinition of sound and listening. From Pierre Schaeffer’s musique concrète and the institutional work of the Groupe de Recherches Musicales (GRM) to later developments at IRCAM, the French school introduced concepts such as acousmatic listening and spatialization, establishing a new ontology of sound. French electroacoustic music must therefore be understood not simply as a technical precursor to electronic practices, but as a profound reconfiguration of how sound and listening are conceived. Its commitment to phenomenology, psychoacoustics, and semiotics effected an epistemological rupture, shifting attention from musical syntax to sonic materiality. Through a critical historiography and close listening analyses, the paper shows how the French tradition redefined the composer–listener relationship, introduced a poetics of sonic materiality, and laid the conceptual groundwork for spatialized sound practices and algorithmic composition. By pioneering acousmatic listening, spatialization, and tape-based transformations, and by developing software for composition, orchestration, and sound design in the digital era, the French school laid foundations for contemporary approaches across algorithmic composition, sound art, immersive media.