지원사업
학술연구/단체지원/교육 등 연구자 활동을 지속하도록 DBpia가 지원하고 있어요.
커뮤니티
연구자들이 자신의 연구와 전문성을 널리 알리고, 새로운 협력의 기회를 만들 수 있는 네트워킹 공간이에요.
초록· 키워드
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To fulfill a welfare society, various policies are being practiced for the impaired, and the role of special education to improve the life quality of the impaired is highly imposing. At this point, the research to enlighten the historical life of the impaired is meaningful efforts. Intending to improve the positive understanding of the visually impaired, this study is on blind musicians at the royal palace orchestra of Joseon Dynasty, who had developed their career and practiced various social activities.
In historical point of view, the occupation of musician at the royal palace orchestra taken by the blind was demanding by their ability, social acceptance and royal family need. In this context, systematic social research is done on the title, origin, performance, instrument, garment style of the blind musicians at the royal palace orchestra of Joscon Dynasty.
The result is as follows;
First, blind musicians at the royal palace orchestra of Joscon Dynasty had developed their career by performing orchestral music or by accompanying singing and dancing in the banquet of the inner palace section. They began their career in the early era of Joseon Dynasty and belonged to Gwan-seupdogam(慣習都監) and Jangakwon(掌樂院).
Secondly, eighteen blind musicians were selected and trained at Kwanseupdogam in the 12th year of King Sejong(l430), which is in literature prior to the fact that blind people were instructed fortune-telling at Seowungwan(書雲觀) in the 27th year of King Sejong(l445). The former is meaningful in that it is the origin of special education in the history of Korea.
Third, acknowledgment of musical talents, substitute for traditional woman entertainers, poverty-relief policy, overlooking tendency to music are thought to be the background of their occupation.
Fourth, blind musicians performed at the ceremonies in the inner palace section, and played the instruments of string, wind and percussion.
Fifth, when performing at the ceremonies in the inner palace section, blind musicians wore in hat(頭巾), upper garment(團領), and leather belt(紅?帶).
Blind musicians developed their career as above, and devoted themselves to establish their occupation.
Though their descendants do not succeed to them in occupation, it is expected that many blind people will participate in this society as musicians like performers, composers and singers if adequate policy is practiced.
In historical point of view, the occupation of musician at the royal palace orchestra taken by the blind was demanding by their ability, social acceptance and royal family need. In this context, systematic social research is done on the title, origin, performance, instrument, garment style of the blind musicians at the royal palace orchestra of Joscon Dynasty.
The result is as follows;
First, blind musicians at the royal palace orchestra of Joscon Dynasty had developed their career by performing orchestral music or by accompanying singing and dancing in the banquet of the inner palace section. They began their career in the early era of Joseon Dynasty and belonged to Gwan-seupdogam(慣習都監) and Jangakwon(掌樂院).
Secondly, eighteen blind musicians were selected and trained at Kwanseupdogam in the 12th year of King Sejong(l430), which is in literature prior to the fact that blind people were instructed fortune-telling at Seowungwan(書雲觀) in the 27th year of King Sejong(l445). The former is meaningful in that it is the origin of special education in the history of Korea.
Third, acknowledgment of musical talents, substitute for traditional woman entertainers, poverty-relief policy, overlooking tendency to music are thought to be the background of their occupation.
Fourth, blind musicians performed at the ceremonies in the inner palace section, and played the instruments of string, wind and percussion.
Fifth, when performing at the ceremonies in the inner palace section, blind musicians wore in hat(頭巾), upper garment(團領), and leather belt(紅?帶).
Blind musicians developed their career as above, and devoted themselves to establish their occupation.
Though their descendants do not succeed to them in occupation, it is expected that many blind people will participate in this society as musicians like performers, composers and singers if adequate policy is practiced.
목차
Ⅰ. 머리말
Ⅱ. 音樂 관련 盲人의 名稱과 由來
Ⅲ. 朝鮮時代 管絃盲人의 活動
Ⅳ. 맺음말
Abstract
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