로컬의 제스처와 전통의 현재화: 한국 창작음악에서 작곡가 강준일의 의미 (Seeking Local Gestures and Spirit of Tradition: Joon-il Kang’s Significance in the Contemporary Korean Music)

서지정보

· 발행기관 : 민족음악학회
· 수록지 정보 : 음악과 현실 / 50호 / 199 ~ 230페이지
· 저자명 : 이희경

초록

Joon-Il Kang(1944-2015) holds a unique place in the contemporary Korean music. After studying physics, he became a self-taught composer; his oeuvre, more than 150 pieces, embraces various ensembles including Western and Korean traditional instruments. As he encountered masters of Korean folk music in the 1970s, he became fascinated by traditional music. Since then, he first gained attention and success as a composer with his Concertos for Samulnori and Orchestra (1983), which were the product of his encounter with the Kim Duk-Soo Samulnori Band. During the 1980s and 1990s, Kang explored the use of traditional folk music gestures through Western musical instruments; in the new millennium, he has focused on the coexistence and assemblage of those different musical worlds in a new framework.
Indeed, Kang was an exquisite composer who devoted his entire life to scrutinize how to revive the spirit of Korean tradition in the context of fast modernizing South Korea. He musically expressed the local gestures that he obtained in his everyday life, instead of superficially imitating elements of traditional music; he inquired the fundamental essence ingrained in traditional music and attempted to elevate it into a new musical idioms. He was a truth seeker who strived for the identity and the spiritual value of Korean music.

영어초록

Joon-Il Kang(1944-2015) holds a unique place in the contemporary Korean music. After studying physics, he became a self-taught composer; his oeuvre, more than 150 pieces, embraces various ensembles including Western and Korean traditional instruments. As he encountered masters of Korean folk music in the 1970s, he became fascinated by traditional music. Since then, he first gained attention and success as a composer with his Concertos for Samulnori and Orchestra (1983), which were the product of his encounter with the Kim Duk-Soo Samulnori Band. During the 1980s and 1990s, Kang explored the use of traditional folk music gestures through Western musical instruments; in the new millennium, he has focused on the coexistence and assemblage of those different musical worlds in a new framework.
Indeed, Kang was an exquisite composer who devoted his entire life to scrutinize how to revive the spirit of Korean tradition in the context of fast modernizing South Korea. He musically expressed the local gestures that he obtained in his everyday life, instead of superficially imitating elements of traditional music; he inquired the fundamental essence ingrained in traditional music and attempted to elevate it into a new musical idioms. He was a truth seeker who strived for the identity and the spiritual value of Korean music.

참고자료

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