중국 작곡가 주젠얼의 작품세계 연구 (A Study on the Major Works of Zhu Jian Er)

서지정보

· 발행기관 : 세계음악학회
· 수록지 정보 : 음악과 문화 / 19호 / 53 ~ 82페이지
· 저자명 : 유정은

초록

This study attempts to examine the works of Zhu Jian Er, a Chinese composer from right before the foundation of People's Republic of China (1949) to the end of the 20th century with a new perspective. It mainly focuses on his interactions with rapid social changes of modern China.
Zhu Jian Er, born in 1922, considered to be a part of the older generation, has radically changed his style from Romanticism to Serialism in 1980s. Since 1986, he has presented his momentous symphonies one after another by applying modern techniques. His first composition, "Lullaby," Op.1, No.1, appeared in 1940, and his latest work, "Water," Op. 46, came out in 2001. His works largely reflected the social, economic, and political changes at different times, and revealed the impact of these changes on music. However, from the very beginning of his compositional career, like other Chinese composers, Zhu consistently demonstrated the effort to create New Chinese Music by combining "modernity" from Western music culture with "ethnicity" from Chinese musical heritage.
Moreover, the idea in Zhu’s compositions is controlled by a special principle which he calls ‘creative combination’. This represents Chinese composers’ synthetic way of thinking; "It pays attention to any valuable ideas and techniques, both from the Western and the Oriental world." It is noticeable that ever since the concept of Ju Jian Er had entered Chinese ground, other Chinese composers attempted to harmonize and amalgamate elements of both cultures-tradition and western, old and new, Chinese and Western instruments etc. –in order to pursue new hybrid forms.
As more Western materials become available to Chinese composers, there would doubtlessly be more exploration of combining two different musical cultures. The open"]door policy since 1978 gave Chinese composers golden opportunities to get to know the new developments of contemporary music in the West, and also it enabled Chinese and Western musical cultures to interact, synthesize and transform each other that a new unity has been produced in deeper and more various forms.
Although Chinese composers, like other artists, experienced being pushed into successive political and cultural movements between 1949 and 1976, their compositions are not at all "poor copies from the masters of the West" or "simple propaganda serving for the Communist Party." Chinese composersnever intended to transplant Western music culture or to replace their indigenous musical styles with new types. Instead, they believed that as Western music was absorbed into the Chinese culture, it would inevitably become an integral part of their rich artistic life. Their primary pursuit was to create New Chinese Music through the combination of artistic modernity and national traits which would be accepted in its own right by those who practice it as truly Chinese genres of contemporary music. Ju Jian Er was one the influential pioneers of this trend.

영어초록

This study attempts to examine the works of Zhu Jian Er, a Chinese composer from right before the foundation of People's Republic of China (1949) to the end of the 20th century with a new perspective. It mainly focuses on his interactions with rapid social changes of modern China.
Zhu Jian Er, born in 1922, considered to be a part of the older generation, has radically changed his style from Romanticism to Serialism in 1980s. Since 1986, he has presented his momentous symphonies one after another by applying modern techniques. His first composition, "Lullaby," Op.1, No.1, appeared in 1940, and his latest work, "Water," Op. 46, came out in 2001. His works largely reflected the social, economic, and political changes at different times, and revealed the impact of these changes on music. However, from the very beginning of his compositional career, like other Chinese composers, Zhu consistently demonstrated the effort to create New Chinese Music by combining "modernity" from Western music culture with "ethnicity" from Chinese musical heritage.
Moreover, the idea in Zhu’s compositions is controlled by a special principle which he calls ‘creative combination’. This represents Chinese composers’ synthetic way of thinking; "It pays attention to any valuable ideas and techniques, both from the Western and the Oriental world." It is noticeable that ever since the concept of Ju Jian Er had entered Chinese ground, other Chinese composers attempted to harmonize and amalgamate elements of both cultures-tradition and western, old and new, Chinese and Western instruments etc. –in order to pursue new hybrid forms.
As more Western materials become available to Chinese composers, there would doubtlessly be more exploration of combining two different musical cultures. The open"]door policy since 1978 gave Chinese composers golden opportunities to get to know the new developments of contemporary music in the West, and also it enabled Chinese and Western musical cultures to interact, synthesize and transform each other that a new unity has been produced in deeper and more various forms.
Although Chinese composers, like other artists, experienced being pushed into successive political and cultural movements between 1949 and 1976, their compositions are not at all "poor copies from the masters of the West" or "simple propaganda serving for the Communist Party." Chinese composersnever intended to transplant Western music culture or to replace their indigenous musical styles with new types. Instead, they believed that as Western music was absorbed into the Chinese culture, it would inevitably become an integral part of their rich artistic life. Their primary pursuit was to create New Chinese Music through the combination of artistic modernity and national traits which would be accepted in its own right by those who practice it as truly Chinese genres of contemporary music. Ju Jian Er was one the influential pioneers of this trend.

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