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. However, An Jae Hong criticized that not all the nationalism of reality is faithful to its essence. Especially, he criticized the right nationalism of advanced countries which indulged in imperial invasions. An Jae Hong stressed that, in order for a nationalism to be a natural idea which can extend its universal vitality in a human society, it should certainly secure the equality and freedom of social members inwards and go through a nationalism's course of 'elevating refinement and purification' outwards which aims at world peace of the international cooperative relationship

and the reciprocal assistance. He called this the new nationalism, and the political base, which would make this possible, was called the substantial democracy which is based on 'Dasari'ism, namely the new democracy. In order to establish 'Dasari', the discrimination between man and women, the poor and the rich, and high and low must be abolished and the equal society should be established. He maintained that only through the new democracy can a nation evolve into a cooperative society of national independence, and also play the role of a well-meaning partaker of international cooperation outwards. A study on Jung Seup Myung

Lee, Jong-mun (Keimyung University)

Key words : Jung Seup Myung, Epitaph of Jung Seup Myung, Hyangri, King Uijong, Death of Jung Seup Myung,「Seokjukhwa(=Dianthus Chinesis)｣.

This study aimed to analyze status situation, reality reaction method, historic significance and an aspect of poetic world of Jung Seup Myung who was an important politician in early Goryeo and poem with outstanding works but isolated in the academic world so far. As a result, the following conclusions were drawn. Understanding life and poetic world of Jung Seup Myung, it is the most important to understand his status. He was born as a son of Chief of Buho of Youngil-hyeon, far away region. Buho were given rights to apply the national examination after two preliminary exams. Jung Seup Myung passed such exams by stages and entered the central government. However, his status condition as a son of local officer in the noble oriented society in the early Goryeo period became a huge barrier in his official life. The fact that he was in charge of construction work despite his civil service officer seems not unrelated. What is the most distinguish feature of Jung Seup Myung is his character of determined subject. He was very integrated not allowing vague compromise or complacence. It was found that he choose to die when he realized that his honest advice would not be accepted. He was loyal by himself and determined to die. However, King Uijong felt a great deal of liberation at the death of Jung Seup Myung instead of reflection and it is not unrelated that the short epitaph of Jung Seup Myung, which was recently found, and caused by the intention of King Uijong. The death of Jung Seup Myung became

a starting point of devastation and destruction of noble society in early Goryeo. His death that caused collapse of a period reminds the death of Poeun Jung Mong Ju, his descendant in the 10th generation. While there are 3 poems left, the survived poems of Jung Seup Myung showed sympathy and affection of isolated beings. ｢His poem Seokjukhwa (=Dianthus Chinesis)｣ is drmaticaly demonstrate. While people in the world loved poeny, symbol of wealth, he loved Dianthus Chinesis, a symbol of isolation and marginalization. The reason why he felt special affection to Dianthus Chinesis could be find from his status situation. As mentioned before, he suffered from a sense of isolation as a person from far away region in the noble oriented society. In this regard, he like Dianthus Chinesis. Dianthus Chinesis is emotional equivalent of his depressed life despite outstanding ability. His warm affection to isolated people in other poems could be understood in the same context. A Paradox of Fostering Creativity in the Traditional Educational Paradigm1)

Kim, Gyu-won (Kyungpook National University)

Tradition, Modernization, Educational Paradigm, Creativity, Tacit-Knowledge, Specialization, Post-Modern Society, Education for All-the-Talented

This paper aims to reconsider the presupposition that a traditional educational paradigm has nothing to do with fostering human creativity. At the outset, the author has attempted to point out the limitations of the mainstream catego- rization for educational paradigms. Next, it follows that there are no explicit agreement on the definition of creativity, which is the key concept among the discourse of creative economy nowadays. In doing so, it stands out that the educational forms and ways of traditional societies are kin of promoting the creativity that is required in the post-modern society. The traditional educational paradigm characterized as both de-textbook curricula and non-formalized educational processes based on tacit-knowledge had been doing a better job in fostering human creativity, much better than the specialization educational paradigm managed by bureaucratic processes, which has been dominating in the modern society since western modernization. Therefore, the traditional educational paradigm left some clues to the education for all-the-talented, while they serve for the reflexive inquiry educational paradigm in exceeding the bounds of the specialization educational paradigm.

Korean Adolescent's Moral Education and Maum Education -Focus on Criticism on the Maum Education In Japan-

Lee, Seung-yeon (Kyoungbook National University)

maum education, moral education, character education, Japanes maum education

Recently in the academic world, such as spirituality education, maum education etc. have been appeared, which are distinguished from existing character education or moral education. It is originated from the reflection of modern education based on competition. It can say that modern society has not chased material value and efficiency but sought for the restoration of an atavistic form. Spirituality education, However, the spiritual education is based on the christianomical tradition whose origin and meaning are clear compared to the maum education. But maum education has much wider meaning and more various historic background. It is difficult to define what the maum education is in the word. Therefore this paper is written for not only reconsider- ing of the meaning of maum education but also examining critically our moral education in the point of maum education which is based on the examples of Japan that focused on maum education to reform education. In addition, this paper's purpose is not introduce and analyse of Japanes maum education. Maum education regarded to this paper and has differences from Japanese maum education. In spite of that, Japanes maum education center on the discussion. That is why the current argument for Japanese maum education is very useful to clarify our maum education's meaning. Korean's Way of Life and a Solution of Lao-tzu

Lee, Hyun-ji (Keimyung University)

way of life, modern society, Lao-tzu, satisfaction, mind training

The speed of economic development in Korea has been very rapid. But Korean's life satisfaction is not so high. What's the problems that Koreans meet? In this paper, we will diagnose the problem of Korean's way of life and look for a solution. Moreover, we will use Lao-tzu to find out solution about the problem of Korean's way of life and a post-modern way of life. We think that the fundamental problem of Korean's way of life is that Koreans do not have the way of life which is ponds to the social change. Based on this recognition, we will look for a post-modern way of life.

The Ideological Influence of Chang, Hyeon-Guang on Yi Ik`s Emotional Manifestation Theory

Choo, Je-hyeop (Kyungpook National University)

Yi Ik(李瀷), Chang, Hyeon Guang(張顯光), emotional manifestation (感發), Libalkisu(理發氣隨), Gongsa idea(公私論)

This thesis is aim to investigate Chang, Hyeon_Guang affects on Yi Ik to pretend both Four beginnings and Seven Feelings(四端七情) are Libalkisu(理發氣隨). First of all, Yi Ik said if Four beginnings are Libalkisu caused by Libal, then Seven feelings are also Libalkisu caused by Kibal. It means Libalkisu that leads emotional manifestation and Ki follows. But it can be chang from differentiation of reasons between emotional manifestation is directly cause Sung(性) or indirectly cause Sung by Hyungki(形氣). For that reason, he mentioned Libal and Kibal. Therefore we can say the idea of Four beginnings and Seven feelings are Libal and Kibal which separated by different Sojonglae (所從來) follows Yi Hwang`s thought, the idea which insist appearances of emotions are originally same is the character of Yi Ik`s Four-Seven theory and it shows this idea affected by Chang, Hyeon Guang`s. In this point, Chang, Hyeon Guang pretends both Four beginnings and Seven feelings are Libal.He said Four beginnings and Seven feelings are one Jung(情) because Sung is also only one. But he just made a distinction by time as Four beginnings are yet become Jung even Sung already came through then Seven feelings became Jung. Even he said Libal understood by monistically, it is same as Libalkisu because relationship of Li and Ki is inseparable. When we are consider about appearance of emotions only, Yi Ik and Chang, Hyeon Guang`s ideas has no difference. But differentiation is made by position of wickedness. Yi Ik thought Seven feelings are emotions made through Hyungki from Sojonglae in Gambal(感發). So it should accepted in Ki part. But Chang, Hyeon Guang thought after emotion appears, Sawee(私僞) interrupt and change it as part of Ki. However, this differentiation get confused by Yi Ik understood Four beginnings and Seven feelings as Gongsa(公私) idea. In other words, even Seven feelings are originally from Hyungki, it can be Gongchiljung(公七情) by getting righteousness. Then it is possibly shown as Libal not Kibal. In this point, we can read his purpose that he wants to explain wickedness as speculative in Gambal`s monistic point of view. Until now, we tried to find influences of Chang, Hyeon Guang`s idea on Yi Ik`s idea. But overinterpretation is unnecessary. These are only small parts of his neo Confucian idea. However, he evaluate Chang, Hyeon Guang`s studies, academic acquisitionfrom Heo, Mok and similarity of thoughts with Jeong, Si Han. And we can find pieces of his idea in Jeong, Yak Yong`s idea also. Therefore it should not be viewed lightly.