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
오류제보하기
This thesis aims to survey the characters of the ‘Gao li ji’, Goguryeo music which was respectively contained in ‘Qi bu yue, ‘Jiu bu yue’, and ‘Shi bu yue’, the music of the court banquet in the Sui and Tang Dynasties. As unconventional music styles introduced from neighboring countries, ‘Qi bu yue’, ‘Jiu bu yue’ and ‘Shi bu yue’ had their prime time in the Sui and Tang Dynasties’ court banquet.
‘Gao li ji’, the dance and music of Goguryeo, was one of the music in ‘Qu bu yue’, ‘Jiu bu yue’, and ‘Shi bu yue’. In spite of some changes of the music in ‘Qu bu yue’, ‘Jiu bu yue’, and ‘Shi bu yue’ by the period and the historical materials, ‘Gao li ji’ was always included in their music style. There is no controversy among the scholars on the foundation background of ‘Qu bu yue’, ‘Jiu bu yue’, and ‘Shi bu yue’. But, on the functions of the music, there are two different opinions. One is, pre-existing opinion, political function showing national forces based on the ‘Li-Yue Thought’. The other is entertaining function for the ruler’s fancy and appreciation.
This thesis has explained each function in the Sui and Tang Dynasties. Subsequently, it has explored the cause of ‘Gao li ji’s participation in ‘Qu bu yue’, ‘Jiu bu yue’, and ‘Shi bu yue’. It was long relationships with the neighboring countries based on the national strength. And ‘Gao li ji’ has its own musical originality borrowing from the music of the countries bordering on Western China and the music of the Han (Chinese) race.
Each of them, ‘Qu bu yue’, ‘Jiu bu yue’, and ‘Shi bu yue’, has musical components which show its unique characteristics and ethnicities. ‘Gao li ji’ had participated in them as a representative musical culture of Northeast Region. The higher development of musical culture in the region makes it possible to play an important role for their prosperity.
As a result, the banquet music has its heyday in the period of Sui and Tang Dynasties, Goguryeo had propagated her culture, and ‘Koryeomu’ was also in fashion at that time. So to speak, Goguryeo’s culture remained in Sino-centric arts in spite of the fall of the dynasty. Later, Goguyeo’s music style had handed down to that of Japan and the music style had still remained in existence.
‘Gao li ji’, the dance and music of Goguryeo, was one of the music in ‘Qu bu yue’, ‘Jiu bu yue’, and ‘Shi bu yue’. In spite of some changes of the music in ‘Qu bu yue’, ‘Jiu bu yue’, and ‘Shi bu yue’ by the period and the historical materials, ‘Gao li ji’ was always included in their music style. There is no controversy among the scholars on the foundation background of ‘Qu bu yue’, ‘Jiu bu yue’, and ‘Shi bu yue’. But, on the functions of the music, there are two different opinions. One is, pre-existing opinion, political function showing national forces based on the ‘Li-Yue Thought’. The other is entertaining function for the ruler’s fancy and appreciation.
This thesis has explained each function in the Sui and Tang Dynasties. Subsequently, it has explored the cause of ‘Gao li ji’s participation in ‘Qu bu yue’, ‘Jiu bu yue’, and ‘Shi bu yue’. It was long relationships with the neighboring countries based on the national strength. And ‘Gao li ji’ has its own musical originality borrowing from the music of the countries bordering on Western China and the music of the Han (Chinese) race.
Each of them, ‘Qu bu yue’, ‘Jiu bu yue’, and ‘Shi bu yue’, has musical components which show its unique characteristics and ethnicities. ‘Gao li ji’ had participated in them as a representative musical culture of Northeast Region. The higher development of musical culture in the region makes it possible to play an important role for their prosperity.
As a result, the banquet music has its heyday in the period of Sui and Tang Dynasties, Goguryeo had propagated her culture, and ‘Koryeomu’ was also in fashion at that time. So to speak, Goguryeo’s culture remained in Sino-centric arts in spite of the fall of the dynasty. Later, Goguyeo’s music style had handed down to that of Japan and the music style had still remained in existence.
목차
Ⅰ. 서론
Ⅱ. 隋의 九部樂과 唐의 十部樂
Ⅲ. 九部樂과 十部樂의 ‘高麗伎’
Ⅳ. 결론
참고문헌
참고문헌 (40)
참고문헌 신청
1. [단행본] - 林謙三 / 1994 / 隋唐代 燕樂調의 硏究 / 대일
2. [학술지(정기간행물)] - 김상현 / 2003 / 日本에 傳해진 高句麗樂과 그 衣服-正倉院의 뜹樂用具와 西大寺資財帳의 高麗樂을 中心으로- / 고구려발해연구 15 : 8 ~
3. [학위논문] - 김희정 / 2003 / 고구려 악기 연구 / 석사 / 중앙대학교 대학원
4. [학술지(정기간행물)] - 변미혜 / 1984 / 안악(安岳) 제3호분의 주악도(奏樂圖)가 갖는 문화사적 의의(意義)에 관한 고찰
5. [학술지(정기간행물)] - 岸邊成雄 / 1989 / 당속악 28 조와 龜玆西域 7調 / 한국음악사학보 2
2. [학술지(정기간행물)] - 김상현 / 2003 / 日本에 傳해진 高句麗樂과 그 衣服-正倉院의 뜹樂用具와 西大寺資財帳의 高麗樂을 中心으로- / 고구려발해연구 15 : 8 ~
3. [학위논문] - 김희정 / 2003 / 고구려 악기 연구 / 석사 / 중앙대학교 대학원
4. [학술지(정기간행물)] - 변미혜 / 1984 / 안악(安岳) 제3호분의 주악도(奏樂圖)가 갖는 문화사적 의의(意義)에 관한 고찰
5. [학술지(정기간행물)] - 岸邊成雄 / 1989 / 당속악 28 조와 龜玆西域 7調 / 한국음악사학보 2
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UCI(KEPA) : I410-ECN-0101-2015-910-001445943