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I. 서론 10

1. 연구의 목적 10

2. 연구의 방법 12

II. 본론 1 시대적 배경에 관하여 13

1. 초기의 한국양악사 13

1) 기독교의 도입 14

2) 서양음악교육 15

3) 서양식 군악대 16

2. 광복이전의 한국음악 17

3. 광복에서부터 1970년 이전까지 18

III. 본론 2 21

제 1 시기(1886~1915) 21

1) 홍난파(洪蘭坡) 21

2) 안익태(安益泰) 26

3) 김성태(金聖泰) 31

4) 김동진(金東振) 31

5) 김세형(金世炯) 32

6) 이흥렬(李興烈) 32

제 2 시기(1916~1925) 33

1) 윤이상(尹伊桑) 33

2) 이상근(李相根) 49

3) 정회갑(鄭回甲) 52

4) 구두회(具斗會) 55

5) 김대현(金大賢) 56

6) 김순애(金順愛) 56

7) 김형주(金亨柱) 56

8) 김흥교(金흥敎) 56

9) 김희조(金熙祚) 57

10) 유신(劉信) 57

11) 정윤주(鄭潤株) 57

제 3시기(1926~1940) 58

1) 강석희(姜碩熙) 58

2) 백병동(白秉東) 71

3) 나인용(羅仁容) 97

4) 김용진(金容振) 118

5) 김정길(金正吉) 120

6) 김국진(金國鎭) 122

7) 김동조(金東兆) 122

8) 김병곤(金炳坤) 122

9) 김정두(金正斗) 123

10) 우종억(禹鍾億) 123

11) 윤해중(尹海重) 123

12) 이영자(李英子) 124

IV. 결론 : 한국 작곡가 관현악 작품의 흐름과 경향 125

V. 참고문헌 130

VI. ABSTRACT 132

도표목차

(도표 1-1) 1960년이후의 초기 작곡가 활동에 관한 연보모음 19

(도표 1-2) 시대적 배경에 맞춘 초기 작곡가 분류 20

악보목차

(악보 1-1) 〈Reak〉 페르마타를 통한 타악기로의 지시(이미지참조) 41

(악보 1-2) 〈Reak〉 농현기법-퇴성(이미지참조) 42

(악보 1-3) 〈Reak〉 농현기법-추성(이미지참조) 42

(악보 1-4) 〈Reak〉 농현기법-요성(이미지참조) 42

(악보 1-5) 〈Reak〉 타악기의 지시와 다이내믹,기법(이미지참조) 43

(악보 1-6) 〈Reak〉 음중심 이론(이미지참조) 45

(악보 1-7) 〈Reak〉 연음형식,후성,추성,퇴성(이미지참조) 46

(악보 1-8) 〈Reak〉 바이올린과 추성의 의한 해금 음향(이미지참조) 47

(악보 1-9) 〈Reak〉 오보에의 반음 글리산도의 미분음적 효과(이미지참조) 48

(악보 2-1) 〈Catena〉 도수와 관련된 선율이동 및 전위 65

(악보 2-2) 〈Catena〉 비 동시적 선율 점묘적 가능성 65

(악보 2-3) 〈Catena〉 수직적이며 정적인 음의 구조 66

(악보 2-4) 〈Catena〉 리듬,음가 66

(악보 3-1) 〈관현악을 위한 2장〉 주제 멜로디 75

(악보 3-2) 〈관현악을 위한 2장〉 주제에 대한 응답의 형태 75

(악보 3-3) 〈관현악을 위한 2장〉 팀파니에 의한 연결구 76

(악보 3-4) 〈관현악을 위한 2장〉 반음계적트릴,주제의 변형 77

(악보 3-5) 〈관현악을 위한 2장〉 응답의 축소형,대조적 리듬진행 78

(악보 3-6) 〈관현악을 위한 2장〉 1.셋잇단음표의 1회,2회 사용 79

(악보 3-7) 〈관현악을 위한 2장〉 2.셋잇단음표의 3회,4회 사용 79

(악보 3-8) 〈관현악을 위한 2장〉 3.셋잇단음표의 5회 사용 79

(악보 3-9) 〈관현악을 위한 2장〉 4.셋잇단음표의 7회 사용 80

(악보 3-10) 〈관현악을 위한 2장〉 주제,응답,레가토선율의 통합 81

(악보 3-11) 〈관현악을 위한 2장〉 주제변형과 대위적 선율 연결 81

(악보 3-12) 〈관현악을 위한 2장〉 첫번째 부분(부점 리듬) 81

(악보 3-13) 〈관현악을 위한 2장〉 두번째 부분 (16분음표) 82

(악보 3-14) 〈관현악을 위한 2장〉 팀파니에 의한 주제리듬의 연결구 83

(악보 3-15) 〈관현악을 위한 2장〉 밀집과 확산 83

(악보 3-16) 〈관현악을 위한 2장〉 Tritone 84

(악보 3-17) 〈관현악을 위한 2장〉 상승적 효과 86

(악보 3-18) 〈관현악을 위한 2장〉 상승적 효과의 확대 87

(악보 3-20) 〈관현악을 위한 2장〉 Passacalia 주제 선율 88

(악보 3-20) 〈관현악을 위한 2장〉 Passacalia 제 1변주 89

(악보 3-21) 〈관현악을 위한 2장〉 Passacalia 제 2변주 90

(악보 3-22) 〈관현악을 위한 2장〉 Passacalia 제 3변주 91

(악보 3-23) 〈관현악을 위한 2장〉 Passacalia 장6도 병진행 92

(악보 3-24) 〈관현악을 위한 2장〉 Passacalia 4도 구성화음 93

(악보 3-25) 〈관현악을 위한 2장〉 Passacalia 제 6변주 94

(악보 3-26) 〈관현악을 위한 2장〉 Passacalia 제 8변주 95

(악보 3-27) 〈관현악을 위한 2장〉 Passacalia 종결구 1 96

(악보 3-28) 〈관현악을 위한 2장〉 Passacalia 종결구 2 97

(악보 4-1) 〈태〉 1악장 도입부 103

(악보 4-2) 〈태〉 1악장 제 2주제 104

(악보 4-3) 〈태〉 글리산도와 대치되어 사용된 비브라폰 108

(악보 4-4) 〈태〉 3/8 패시지 110

(악보 4-5) 〈태〉 1주제 역행 111

(악보 4-6) 〈태〉 첫째 울림 111

(악보 4-7) 〈태〉 둘째 울림 111

(악보 4-8) 〈태〉 셋째 울림 112

(악보 4-9) 〈태〉 넷째 울림 112

(악보 4-10) 〈태〉 with deep breath 112

(악보 4-11) 〈태〉 3악장 주제 115

(악보 4-12) 〈태〉 아치형의 주제에 대한 배경수식 115

(악보 4-13) 〈태〉 리듬의 변형 116

(악보 4-14) 〈태〉 반사형 리듬 117

(악보 4-15) 〈태〉 큐사인과 리듬에 대한 총괄적 반영 118

초록보기

looked at in the light of western history of music, Korean composers, Nan-pah Hong and Ik-tae Ahn, who were working before the liberation from Japanese colonial rule, can be classified into the category of composers before the Second World War. At that time in the western world, there were a variety of music styles which could hardly be categorized into any one artistic movement. Romanticism, however, continued to exist.

Neo-classism and nationalism rose to popularity in this era. Ik-tea Ahn, influenced by R. Strauss, took a tour in Europe joining this trend and wrote 〈Korea Fantasy〉 and a symphonic poem 〈Nongae〉 with nationalistic features. Composer Nan-pah Hong created Korea's first-ever orchestral work but he seemed to have performed more as a violinist than a composer. At that time, songs were popular and he also made a lot of songs, therefore we can assume that he also favored romanticism to some degree.

Looking at the First Period's composition methods, they frequently used a pentatonic scale, all-tone series melody, while using which they tried to portray Korean elements. In that sense, Nan-pah Hong and Ik-tae Ahn can be described as having the nationalistic tendency.

In 1945, the Second World War ended and Korea was liberated from Japanese colonial rule. Korean composers in Korea at this time stopped working during the Korean War until seven years after the truce in 1960s.

At that time western music developed dodecaphonic and Total Serial Music appeared. They showed a radical tendency experimenting with new sounds and performance techniques, computers, minimalism and the avant-garde. Classified as those in this period, Eee-sang Yun, Sang-ken Lee, Hoe-gap Jong also introduced western music to Korea and created experimental works including Korean music elements. For example, they adopted Korean melodies and rhythms and incorporated some methods to play Korean musical instruments into their western-style musical works.

This shows that the nationalistic tendency is strongly employed in their music. But after mid-twentieth century, newly appeared outstanding performers and composers from Asia tended to combine the eastern culture and western culture. Not only Korean composers but also Japanese ones such as Toru Takemitzu also tried to combine western musical elements with Japanese ones.

This tendency among composers who appeared in the Second Period is also shown in some works by Ik-tae Ahn, one that belongs to the First Period. This shows that the harmony between western music elements and traditional Korean music elements seemed to have created a new tradition.

In the Third Period for composers starting in 1970, neo-romanticism and post-modernism appeared. But, still there were a lot of foreign composers continuously dedicating themselves to experiments and domestic composers actively developed western-style methods.

As a result, interest in western music in Korea seemed to have decreased. However, some composers mentioned in the present paper such as Seok-hee Kang, Byungdong Back, In-yong Nah showed through their work that they were actively adopting western music styles while pursuing Korean or oriental elements.

To illustrate, in 〈Catena〉 Seok-hee Kang uses some of Korean themes and structural devices inspired by Yi-sang Yoon. 〈Two Acts for Orchestra〉, an orchestral work composed by Byung-dong Baek made an attempt to achieve a balance between the tradition and modernity and expressed Korean sentiments and values in more an expanded sense. At the heart of In-yong Nah's orchestral work 〈Tae〉, philosophical themes are observed. While these composers reinforced western music techniques, they expressed Korean elements using traditional Korean music elements and in abstract and fundamental ways.

In the present paper, I have examined the history of orchestral works along with western music trends ranging from the Period One, Two and Three. To sum up, in both the Periods One and Two, they used traditional Korean themes and techniques. In the Third Period, their works began to be more idealized, abstract and fundamental. While the First Period can be described to have featured nationalism and romanticism, the Second Period showed nationalistic development and experimental combination of traditional Korean and western music techniques. In the Third Period, there was active employment of experimental techniques in line with the western music trend, and at the same time there was a distinct tendency to expand the traditional Korean heritages more greatly.

In conclusion, nationalistic trend and concepts became more expanded as time progressed and showed a change from romanticism elements to experimentalism. This is not irreverent from twentieth century picture. Overseas-based Ik-tae Ahn was an artist who developed Korea's creative classical music. Since Korean War, composers such as Yi-sang Yoon and Seok-hee Kang have played influences to Korean artists even up until present through a variety of music festivals held at home and abroad. They interacted with renowned western composers, contributing to promoting Korean spirit through music.

Analyzing and studying Korea's early classical music composers and their works can be achieved in relation with the development of modern music around the world. In order to do this, knowledge of Korean modern history is also required. Here are some important points that should be considered:

First, it is necessary to study where the nationalism in Korea's western-style music originates. The nationalism can be traced back to the social situation in the twentieth century.

Second, it is important to study how early composers were influenced from twentieth century music development, especially in orchestral works.

Third, it should be observed that how they incorporated Korean or oriental elements into their western-style music. The western musicians they interacted with along with their music must also be noted.

Fourth, through studying the composers' detailed history is very important. reat efforts made in their historical situations.

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