Chosun Literati's Music, Kagok: Reconsideration of Its Aesthetical Grounds

Chosun Literati's Music, Kagok: Reconsideration of Its Aesthetical Grounds Park, Mi-kyung (Keimyung University) Sakdaeyop, Korean suite, Korean song-cycle, Fibonacci sequence, Chongan-bo(井間譜), musiking Kagok(歌曲) is a musical genre that literati class of Korean traditional society, Chosun, It had created, and enjoyed for a long period of time, but hidden under various modern music genres in our modernized society that cannot be seen easy in everyday life. The genre had grown derived from a song 'sakdaeyup (數大葉)' (a piece of fast tempo), existed 400 years ago as a manuscript. Since that time, up to 40 songs were generated through variation process, finally evolved during the late 19th century into a large scale song-cycle music genre, kagok. There are three ways of singing, ones by man, women, and man-and-women in alteration. The fact that the kagok genre seemed to enjoyed far beyond the early 20th century makes us wonder what is the reason for them to unfamiliar to modern Korean people. Stimulated from the question, this paper tries to answer what unique proper- ties the kagok has and criticizes the current status of scholarly research result. It further attempts to describe its theoretical aspects systematically analyzed. While there is also a claim that kagok as developed into the late Chosun society seemed pervasively enjoyed in various functional events through varied performing ways, but the genuine value of it is in its full-fledged performance as a suite. This paper thus examined it in every analytical parameter in detail to draw its complexity and excellence and further to provide its aesthetical grounds. Finally this paper points out that the kagok is the intellectual heritage of the literati of Korean traditional society and the matter of its right-positioning in modern society is in the hands of modern literati in Korea. A Study on the Gagok Enjoyment in Daily Life of the Gentry Class - Focusing on the Celebrating Gagok at the Birthday Feast for an Old Man Shin, Kyung-sook (Hansung University) Gagok, the birthday feast for an old man, the gentry class. Ak-Ka-Sam-jang, Geunhwaakbu This paper aims to reveal that Gagok had been common enjoyed throughout the daily life of the gentry class despite the fact that it was the most classical song form in the Joseon Dynasty. In support of this, evidential cases were found of Gagok being sung on the birthday of elders in gentry class family. As a result, it was revealed from Yeohang collections of Gagok that the way of celebrating the birthday of elderly family by singing Gagok. It was mainly found mainly since the 16th century and this celebrating way had became an age style, having lasted as the generation went by. Furthermore, this performing form of celebrating Gagok at the stylized birthday feast for an old man had affected Court Banquet, so celebrating Gagok at Court Banquet, which is called Ak-Ka-Sam-jang(Three Songs) of Ya-yeon(a night Court Banquet), had appeared in the early 19th century. It was started from a mere entertainment in a daily life it had became a powerful culture that generated an age style and influenced the established rituals. Rethinking gagok as a Music of Seonbi Jeon, Ji-young (Seoul National University) sak-daeyeob, gagok(Korean traditional lyric song), music of seonbi(learned men), jeong'ak, The National Gugak Center(National Center for Korean Traditional Performing Arts). Korean traditional lyric song, gagok has been regarded as the music of seonbi, learned men in the Joseon Dynasty. Gagok is still considered about a musical means to moral training of the learned man’s body and soul However, there were many records in the late Joseon period against this point of view ; the learned men regarded a'ak as a unique music of virtue and a lot of them regarded sak-daeyeob, the predecessor of contemporary gagok, as a harmful music. It can be argred that the image of gagok as a music of seonbi(learned men) was invented in the 20th century in South Korea by the The National Gugak Center. After the establishment of South Korean government, there had been various nationalization projects of traditions, among which gugak had also been 'invented' as the new forms and systems. Gagok was a representative genre of those 'inventions', so it should be argued that, though gagok is a music genre bequeathed from the late Joseon period, the image of seonbi music is the 'invented greatness' by the modern history of Korean 20th century. The Aspects of Existence of Gagok Seen with Old Scores and Collections of Songs Song, Ji-won (Seoul National University) Gagok 歌曲, Collections of Songs 歌集, Mandaeyeop 慢大葉, Jungdaeyeop 中大葉, Sakdaeyeop 數大葉, Isakdaeyeop 二數大葉, Gagok accompaniment. The origin of Gagok 歌曲 goes down to the period of Goryeo, but during late Joseon, it showed the aspects of rapid development due to Jungin 中人 or Literatti 文人. Among the three musical bodies of Man 慢, Jung 中, and Sak 數, ‘Mandaeyeop’ was taken as the ancestor of those; however, before Yeongjo Dynasty, Mandaeyeop disappeared, and Jungdaeyeop was not popular, either, but in Sakdaeyeop, they formed the ground of Gagok that is similar to what we have now. On account of this, research on Gagok has been more focused on Sakdaeyeop and Gagok derived from it, and it mostly has been concentrated on the music itself only. Even some of the research on Mandaeyeop or Jungdaeyeop has been mainly focused on the scores or ways of conduction, so research on the music’s aspects of communication, field of communication, or cultural significance has not been able to be developed considerably in diverse ways. Considering that aspect of it, this article has analyzed various old scores 古樂譜 and collections of songs 歌集 to examine the aspects of existence of Gagok in the society of Joseon. First of all, this study has examined the meaning of the fact that Isakdaeyeop derived from Sakdaeyeop is contained in late Joseon’s collections of songs a lot comparatively. Next, the study has explored the aspects of Gagok that were performed at the court. And it has considered the possibility of tradition that the Gagok contained in a variety of scores were necessarily the scores for accompaniment but performed as music being recognized as ‘another kind of independent instrumental piece’. Through this, the study intends to be aware of the new aspects of Gagok. Also, with the extension of our view to Gagok, the study aims to take a chance to present the discourse that the world of Gagok conducted in Joseon did secure a more extended prospect. A Female Gagok Singer: Her Musicking and Psychology Based on GagokSilgyeok (NoLongerGagok) by Park Min-hee Lee, So-yong (Myongji University) Contemporary Characteristics, Musicking, Psychology, Gagok, Invented Tradition In order to achieve contemporary characteristics of traditional gagok, it is thought to equally important to create new works as well as to preserve and transmit the old repertoire. This article examines a certain aspect of musicking of the female singer, Park Min Hee, who becomes a self-creative subject in the creation of new gagok works. In Particular, I attempt to read and observe microscopically a series of performances, GagogkSilgyeok or “NoLongerGagok”. Park creates new works by having a critical viewpoint and deconstructing the traditional form in her recent work. GagokSilgyeok contains the paradoxical expression that brings the disappearing tradition back by losing and dismissing the performance formality structured by the“created tradition.” In addition, in the sound performance embodied in GagokSilgyeok: FourthNight, Park intention- ally avoids the traditional performance patterns of gagok, presenting it through a performance that mixes composite performing genres. This attempt is considered as a new work unfolding gagok's persona which has become a Canon such as a fossil without evolving and representing its hidden shadow. In doing so Park brings the secondary elements of traditional gagok right up front. In this sense then, GagokSilgyeok reveals the psychology of female singer who lives in the 21st. Century. It is a successful musical activity, presenting the contemporary characteristics of our time and no longer consider in ggagok as restoration of the past but as a continuum of the present, and thus discovers its place in our modern time. This work also represents the object of the aesthetic desire of the young female singer, who reveals her own artistic desire. An Jae Hong’s Critique of Nationalism and New Nationalism Lee, Yun-gap (Keimyung University) An Jae Hong, new nationalism, new democracy, ‘Dasari’, nationalism An Jae Hong formed the theory of the new nationalism and the new democracy in the course of defining his view of life. An Jae Hong's political ideas are integrated into the new nationalism and the new democracy which he suggested as a way of building country right after Korea's liberation. These ideas are fruits of his intense national movements during he was imprisoned nine times by Japanese Empire but never succumbed to its hardship. An Jae Hong's political ideas were formed from his view of life which was established by his fierce religious, philosophical thoughts and social science studies, while he was imprisoned for his youth's national movements. He believed that a man cannot help but do 'live like a man' deeds as 'a child of the great universe', and in order to do that, man should fight and endeavor to secure man's due rights of survival against the power of negating and suppressing it. An Jae Hong saw that act as the national movement of Joseon and recognized the national movement as a sort of instinctual inclinations, namely a fundamental movement of mankind's survival, thus the national movement as universal justice.

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