128 modernization is too big? What is modern and modernity in the world of music, in common and in specific term? Is anything coming up of something n

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1 Standing on the World of "In Between" A Quest of Modernity in the World of Music Suka Hardjana Conductor, Ensemble Jakarta T he word modern in all of its implications might not make any confusions to those people who live in a modem society or country with such a forwarding standard of economic development and super high technology - two factors mostly related to the word modem - such as the USA, most of European countries, Japan or Korea, where people are being used with the daily operations of modem life style. It is, however, obviously different when we imply the same word in some countries, probably even at the largest part of the world, which still have so many difficulties with the progression of so-called modem civilization. Is modem just a life style, a certain level of high enreachment of human civilization - a certain cultural standard of utopia mundi, or is it just simply an ignorable phenomenon of a shining world materialism? The sense of modem and modernization is in fact not quite the same from time to time and from place to place. Regarding the time progression there is always a certain inequality in the world. The discrepancies lie upon the difference of each condition in its definitive time, place and tool. Some people had already stepped down the moon and tripped the outer space by supersonic aeroplane, confronting parts of the world to each other by super modem human media without any constraint; while the rest of the world have never touched even a handset of a telephone or body side of a truck. They may have known the word "modem" but they have never been able to get a chance to grasp the meaning of to be "modem" in the real sense of the word. How could we then discuss the "Process of Modernization of Music," when the gap of our understanding about the notion of modem and! or

2 128 modernization is too big? What is modern and modernity in the world of music, in common and in specific term? Is anything coming up of something new and differing from an old creation or order could be considered as something modern? The question is naturally elementary and naive, but it still hasn't been answered until now. One day, a number of simple old songs were suddenly said to be modern just because they were played on a digital computerized keyboard. On the other occasion a refined old classical gerzding (a musical composition for gamelan ensemble) and a contemporary modern composition for gamelan were called to be old-fashioned, simply because both of compositions were played on gamelan ensemble. Gamelan as well as Western instruments are equally the same age and old established musical devise, but not necessarily the music. That simple incidents show how the notion of modern was misunderstood. Modernity and modernization would be considered as matter, not as spirit of invention. Modern would be something perceived as an action, not as an attitude or way of thinking. Perceivably many people and countries of the world become to be subject of modernization, not trigger or actor of modernization. Why is it so? In some cases, modernization was as it were something slipped or planted to people, precisely the same as a plantation technique in the farm. Since modernization was in some extent not something basically to be enlightened to people, the modernization and the feeling of "being modern" straggling all over the world were in many cases something in prior to be accepted as a final product (of the Western civilization). Modernity is merely "a must of" necessity, rather than a "necessity" of a need. It becomes a sort of symbolic (self-)esteem to a certain society, instead of accepting it as an attitude of mind to solve the struggle of life into something more productively better condition for the future. It has been acknowledged that the attitude of modernization was invented primarily in context with the Western civilization and Western culture and was adapted progressively by some Asian countries like Japan, Korea, Taiwan, Hong Kong, Singapore, etc. The attitude towards modernism, as a matter of fact, is quite a problem for the rest of the world. Indeed, cultural encountering among people could only be done in an equal basis, when the level of knowledge and cultural stages proportionedly equal, too. As it is known to us, the Western culture and civilization was introduced to Asian people mostly through the act of expansion-politics of the Western countries long time ago during the colonial period. The Western music l was lthe term "Western music" is actually exaggerated, because in essence it was not music in

3 Standing on the World of UIn Between" 129 introduced to Indonesia during these period of colonial era ( ) by the Dutch, English, Spanish and Portuguese. Primarily it was simple music for church liturgy, official ceremony, military and exclusive entertainment. The Indonesian had been related closer to the "modem music" essentially at the beginning of 20th century. Yet it was limited to especially public entertainment music or so-called applied music, which most of all comes from Western popular and classical music. The emerging of nationalism in 1930's raised up the renewal of Indonesian music perspectively into a contemporary modem music. 2 In 1950's the National Radio Broadcasting Station represented the new model of Indonesian music in 3 genuses. These were Music Seriosa (serious music), Music Hiburan (entertainment music), and Music Kroncong (kroncong music). It is interesting to note that the first genus - the serious music - is principally a sort of vocal music in lead form strongly inspired by the music of the early Romanticism of the 19th century of European music such as - oddly to say - Beethoven, Schubert, Mendelssohn, Wolf, etc. The second genus - the entertainment music - has been associated strongly to American pop and jazz music. And the third genus has been characterized by both of remarkable influences of Indonesian music and Javanese gamelan music. When the first and the second kind of genuses could be determined as obviously adapted acculturacy music, the third genus was a sort of synchronic music of West and East. Later on, in post era of nationalism, appeared a lot of other "syncretic" music, as well as another genuses of modem music in Indonesia. One of the most popular among them are "Dangdut" music and the newest "Campur Sari" music. It is interesting to say that, other than Kroncong, Dangdut was derived from Indonesian ethnic music with Indian music and in some respect with the music of Middle East, while Campur Sari is a sort of newly syncretic music of Kroncong and Javanese gamelan music! The years 1950's saw also the beginning of period when several young Indonesian musicians for the first time were sent abroad to pursue the study of Western music, primarily to Holland, France, Germany, Italy, England, the USA and Japan. Those people studying music abroad (say, Western countries) and the "exponents" of Radio Music Competition were those of people who, among others, settled up the modem music in Indonesia today. terms of grassroot Western/European music culture. It was in fact just the peripherical surface of the so-called Western Music. 2The National Radio (later Radio and Television) Music Competition for Composer and Singer, and the opening of Music High School (later Academy of Music) in Yogyakarta, 1952, was evidently a new beginning of modern music in Indonesia.

4 130 It is needless to say that the discourse of popular music is all in all just the same symptomatic all over the world. It is under and depends on the American and Western industrial influences. It is also true that it differs from "time" and "space," the education system, radio, TV, film, recent high media electronic or computer system - as a tool - give the biggest influence to the forming of today's modern music. And apart from the modern public media, the affluent of productive manufacture of mass and modern music instruments have also definitively great part in the proceeding process of modern music in Indonesia today.3 Through the aggressively public media, school system, and especially politics of culture-mercantilism, since 1970's, the modern music has been spread over the land extensively. After all we seemingly know that this sort of cultural expansion was and is in essence not only a profile of merely modernization, but Westernization under the slogan and people's stimulus of global spirit that sounds like: "Westernization first, local next!" Paradoxically I'll quote a crucial critique of a Western composer, published in Music in Germany (1990): (Hans Zender) n.. it can be said that commercial considerations have established themselves in the arts in Western Europe today, following the American example, in a way that didn't previously exist. Or as Karlheinz Stackhausen recently and drastically put it: the celebrated German culture is nothing but... the ultimate feeble Coca Cola immitation? We are subjected to commercial dictatorship amid our outer freedom." Is what we care about Westernization in fact equal to Americanization? Evidently, like the power of politics and economy, the power of music tend to culturally seizing control, too. Some decades ago in early 1970's I was fortunate having the chance to reinterpret on playing a wonderful piece of Korean prominent maestro Isang Yun's Riul, The piece was not an easy one. It was full of complexities, high standard in technical term, very much folklorish (I supposed) and referring to those days was obviously modern. Because of its musically high standard, the piece is still not an easy one to be played even today. Some years later I was made familiar with some works of Japanese modern composers Maki Ishii, Toru Takemitsu, Yuji Takahashi etc. and some Indonesian composers: Paul Gautama Sugiyo, Slamet A. Sjukur etc. 3The expansion of Yamaha, Kawai, Roland, Casi<), Fender etc. music device in Indonesia caused thousands of thousand of young people involving into the music activities.

5 Standing on the World of "In Between" 131 Those Asian prominent composers I mentioned are tiedly related to the path of Western music culture, determinate in their use of technical form, style, and modem way of composing method and system (in terms of articulated and artificially enlarged development in form, structure, technique and musical expression). The leading Korean composer Isang Yun and Indonesian composer Paul Gautama Sugiyo were both at the same period students of German Composers Boris Blacher in Berlin in 1950's. At the same time Japanese composer Yuji Takahashi brought 3 years in Paris and 6 years in the USA to carryon his music study, among others with Yanis Xenakis, Nadia Boulanger, Piere Boulez, John Cage, while the Indonesian composer Slamet A. Sjukur studied in Paris with Paul Schaeffler and Olivier Messiaen. Toru Takemitsu was the only "self made man" composer, was known as the new Japanese "impressionist," combining the Western technique of composition in the spirit of Eastern mysticism and symbolism. In 1998 there were three different music competitions in Indonesia. The first was Indonesian Music Competition for contemporary music, the second and the third were held by Asian Composers League (ACL), and there were Asian Music Competition for young composers and Music Competition for Young Indonesian Composers. There were included (final) new modem compositions, finally selected from more than those number of participants. Only 5 (ca 6%) from the whole compositions were written obviously in the spirit of the natural environment or traditional resources. They didn't win the prizes. The rest were written in Western style epigonic composition technic. Nevertheless, to my impression by the time being to recent days, the Asian composers were/are preoccupied by their model of Western music masters - until then in 1970's when a strong phenomenon of the spirit of "back to indigenous music and culture" reissued by some composers of Asian countries. However, roughly speaking, referring to the facts of our imperative reality, the terms modem, modernity or modernization haven't been changed until today: it suggested to a discourse of Western impact of culture and way of thinking. It raised to the first question of our discussion in looking for the Asian spirit of encountering East and West in the future. I shall put some lines of interesting notes from Korean composer Jin Hi Kim and American Musicologist Chau Wen-chung, published in ACL Bulletin 1997/1995, as follow: OinHi Kim) n.. Secondly, the dominance of Western music has left a deep imprint on Asian

6 132 composers. Many composers train in Europe and America and strive to function within the standards of composition set in the West." (Chau Wen-chung) "Five hundred years ago cultural change seized Western Europe. This change was fed, in part, by ideas and events from beyond its geographical boundaries. The rest of the world was unaware, unable to actively participate and consequently suffered the predictable fate of not being able to influence change or to escape from being a helpless victim of that cultural change. Today, when every society in the world could choose to be an active partner in cultural change, are we willing? Are we prepared?" (From speech given at the International Symposium, Berlin, 1988) The indigenous music or the local genus, or the traditional music - or whatever you call it to point out the other music, which you might not consider as "modern music" - has indeed its own problematic and complexities in looking the way to its own development and forwarding its musical expansion. Looking the way of its musical expansion, the gamelan music in Indonesia has developed its own world and its music expression. Its encounter to the Western world was/is uniquely "face to face" resistendable. In short, it could be said, that the Western style of music composing technology in terms of form, structure, technique, and technics does not significantly interfere so much, but the other way around. There are a lot of experiments had been made to combine and fit on both of Western and gamelan instruments. It always failed, merely not only because of the differences of physically natural outlook of the instruments - concerning the scale and tuning system, the coloration of the sound character, musical form and structure, detail technical term and proceeding etc. - but even so more it is because of its different fundamental approach in its natural and philosophical conception of the musical contents. It is not just a sort of different common sense of taste and beauty in arts believe. It is because of aesthetic principle concept resulting from the distinct environmental and cultural background that makes both gamelan and Western music unfit to each other. In encountering the East and West, we can try to transform the inner spirit of the musical concept or the musical instrument, but not translate the basic culture into each other. It is needless trying to make a concerto or a variation on Beethoven's theme for gender or gong (sorts of gamelan instrument) with gamelan or symphony orchestra, or on the otherhand, composing a symphony form for gamelan orchestra. Debussy's Pagodas, Syrinx, Nocturnes, La Mer; Mesiaen's Turanggalila, or Orff's Carmina Burana, as we know, is a good way in transformatting the

7 Standing on the World of "In Between" 133 spirit of the "inner" beauty (art) of different culture. In this regard I would like to note two of American musicologists and composers: (Jody Diamond, Festival of Indonesia, conference summaries) "... I've been playing Javanese music since I was 17 years old, and I consider that many of the musical rules of karawitan have supplanted the flute lesson in the third grade. When I hear a piano it actually makes me kind of uncomfortable - I don't like the tuning, it sounds a little sterile and predictable. I'm very much attuned to things coming at the end, and I find myself liking music where lots of things are going on at the same time and my ears has to sort out relationship to them. As a composer I don't have the struggle between East and West because I had very little Western compositional training. I compose mostly for gamelan, and I take as a model for composition what is (to the extent that I can understand it) Javanese and Balinese models for composition." (Michael Tenzer, Festival of Indonesia, conference summaries) "... Were all the composers who have been involved in various ways with crosscultural processes? I wanted to raise a couple of points: do we have common ground in our aesthetic paradigms? There's a difference in a ways that Western musicians perceived temporality (the pasage of time) and the Indonesian perceived it. I think this has a profound impact on the way we conceptualize music composition. With the more linear paradigm that Western composers use, sound is an ongoing developmental component of a piece of music. With a circular temporal paradigm it's more a self-contained unit. Are these barriers breaking down, or do they remain fundamental differences between us?" Finally, to enclose the topic, allow me to tell you something from my respective cultural experiences in encountering to the "otherness," that like many other musicians or artists, I personally realized, that I stand in the world of "in between" of any two extremely distinctive worlds, so-called East and West, modem and traditional, old and new etc. Let me give you some music examples and we will discuss it in context then.

8 렌세계 에서셔 음악세계의요더니리요색 수카하르자나 ( 앙상플자차료타지휘자 ) 강용식옮김 ( 서울대석사과정 ) 여러가지함의를갖고있는근대 (modern) 라는말은, 미국이나유럽국가대부 분, 일본이나한국둥근대사회또는국가에살면서고도의경제발전과초고 도의과학기숭 돈대하면연상되는두요소 - 을누리고근대적일상의방식에익 숙해진사람들에게는혼란을얼으킬여지가없다. 그러나같은말을아마도세계 의훨씬많은부분올차지하면서이른바근대분명의발전에아직까지어려움을겪 는다른국가들에쓰면사정이다르다 근대는그저삶의양식, 고도의인간문명단계, 문화적지상낙원인가, 아니면화 려한세계적물질주의속의보찰것없는현상에불과한것얼까? 근대와근대화의 의미는사실시간과장소에따라전혀같지만은않다. 시간의흐름으로볼때세계에는언제나불평등이존재한다. 괴라는특정시간, 장소, 도구에서각세계의조건이같지않다는데있다. 어떤사람들은이미달에 발을디댔고초음속비행기로바깜세계를여행하면서, 초현대적매체를이용해아 무런제약없이세계이곳저곳파접한다. 반면, 세계의나머지부분은전화의 ;ζ 나트럭의 E 조차모른다. 그곳사람들도 끈대 란말을알고있을수는있지만, 근대 라는말의진정한의미를이해할기회를결코가져본척이없다, 근대나근대화라는의미의이해에존재하는간극이너무나도큰데, 어떻게 음악의근대화과정 을논의할수있을까? 음악세계에서근대, 근대성 (modernity) 의일반적, 그리고특별한의미는무엇일가? 새로나타나는것, 혹은기존의산물 이나질서와는다른새로운것들을근대척이라할수있을까? 이질문은당연히 가장기본적이고소박한질문이지만, 아칙껏대답은주어진적이없다. 어느날갑자기단순한옛노래들이컴퓨터를이용한디지털건반악기로연주된 다는이유만으로근대척이라불린다. 반면, 옛고전음악겐딩 ( 가블란합주음악 ) 과 가플란을위한현대작품들은가블란합주로연주된다는이유만으로구식이라불

9 낀세계 에서서 135 린다. 가블란악기나서구의악기나다마찬가지로오랜역사의음악적장치이지만, 음악은꼭그렇지만은않다이단순한보기는근대의개념이어떻게오해받고있는지보여준다. 근대성과근대화는발명의정신이아니라질료로여겨지는경향이있다. 근대는태도나사고방식이아니라일종의행위로이해된다. 세계의많은민족과나라들픈근대화의촉발자나행위자가아니라근대화의지배를받는대상이되었다왜이렇게되었을-까? 몇몇의경우에근대화는말하자면사람들에게주어지거나이식된어떤것으로, 농장의플랜테이션기법과똑같은것이다. 근대화는어떤면에서기본적으로사람들에게계몽할수있는무엇이아니었기때문에, 현재전세계에퍼져있는근대화와 근대화되었다는느낌은많은경우에 ( 서구푼명의 ) 최종생산물로받아들여지는것의전 ( 前 ) 단계이다. 끈대성은욕구의 필연성 이라기보다단순히필연성의 의무. 이다. 어떤사회에서는근대성은삶의투쟁을해결해미래를위한더낫고생산적인조건을만들기위한마음의태도로받아들여지는젓이아니라일종의상징적인 ( 자기 ) 명가가된다. 근대화의태도는주로서구문명과서구문화의맥락속에서발명되었고일본, 한국, 타이완, 홍콩, 싱가포르등등일부아시아국가들에의해서진보적으로수용되었다는사실은잘알려져있다 모더니즘에대한태도는사실상세계나머지지역에서는고민거리가아닐수없다. 정말이지민족들사이의푼화적조우란, 지식수준과문화단계가비례척으화똑같은경우라야만평등한조건에서이루어질수있는것이다. 잘알려져있듯이서구의문화와푼명은대부분오래전식민지시대서양국가들의팽창정책에의해아시아에소개되었다. 인도네시아의경우서양음악1은네덜란드, 영국, 스페인, 포르투갈등에의한이식민지시가 (1 602 ~ 1945) 에들어왔다. 이것은주로교회예배나공공행사, 군대, 순수오락등을위한단순한음악이었다. 인도네시아인들은본질적으로 20세기초에야 근대음악과긴밀한관계를갖기시작했다. 그러나근대음악은특히대중오락, 이른바실용읍악에한정되어있었고, 이는대부분서구대중음악과클래식음악에서온것이다. 1930년대민족주의의출현은인도네시아음악의부홍을현대음악의장속으로끌어올렸다 년대국영라디오방송은인도네시아의새로운음악을세부류로나누는모탤을내놓았다. 곧세리오사 (seriosa, 진지한음악 ), 히부란 (hiburan. 오락음악 ), 크론총 (Kroncong) 이다. 홍미로운것은, 첫째부듀의음악 ( 셰리오사 ) 은무엇보다유럽의 19세기초낭만주의음악-베토벤슈베르트. 멘텔스존, 볼프등-의영감 1 서양음악 이란용어는실제로과장되어왔다본질적으로서양 / 유럽옴악문화의풀뿌리적인의미의음악이아니라, 사실은이른바서양음악의껍데기였기때문이다 2국영라디오 ( 뒤의라디오 - 텔레비전 ) 의작곡및성악콩쿠르와. 1952년요그야카르다의음악고등화교 ( 뒤의음악아카데미 ) 설립은인도네시아끈대유악의새로운시작융의미하는것이었다

10 136 을크게받은일종의성악이주도했다는점이다. 둘째부류 ( 오락음악 ) 는미국의팝및재즈음악과의연관이크다. 그리고셋째 부류는인도네시아음악과자바가블란음악의영향이두드러진다첫째와둘째 부류의음악이분명히수용되고변용된음악인반면, 셋째부류는서양과동양의 공시적인음악이다. 나중, 1950 년대이후민쪽주의시기에여러가지또다룬 혼 혈 (syncretic) 음악과함께다른종류의근대음악들이인도네시아에나타났다. 그 중에서가장인기있는것들가운데 당풋 (Dangdut)' 음악과최신의 캄풀사리 (Campur Sari) 음악이있다. 홍미롭게도크론총파달리당뭇은언도네시아민족 음악에서나왔으면서도인도음악과어떤변에서는중동음악의특정도가지는반 면, 캄풀사리는크론총과자바가을란사이의새로운혼혈음악이다 년대는또젊은인도네시아음악인들이처음으로서양음악을공부하기위 해네덜란드. 프랑스, 똑일, 이탈리아, 영국, 미국, 일본등지로유학을긴 - 다. 시기이 외국 ( 즉서구국가 ) 에서음악을공부하고국영라디오음악콩쿠르를 개창 한 이사람들이누구보다오늘날인도네시아에근대음악을정착시킨사람들이다. 대중음악의담론이전세계에걸쳐똑같은징후로나타나고있다는것은두말 할필요가없다, 대중음악은미국과서구산업의영향아래있고거기의존하고있 다. 또, 시간 과 공간 을달리하며 ( 도구로서의 ) 교육제도, 라디오, TV, 영화, 최근의첨단전자매체와컴퓨터시스댐등이오늘날의근대음악형성에가장많은 영향을주고있다는것도사실이다. 근대의대중매체와는별도로, 근대대중악기 의양산또한오늘날인도네시아의근대음악진행과정에서결정적으로중요한역 할을한다 3 공격적대중매체, 학교제도. 그리고특히문화상업주의정치학을통해근대음악 은 1970 년대이후나라전역에퍼졌다. 아무튼이런종류의문화팽창은본질척으 로맹목적근대화의한단면일뿐만아니라, 선 ( 先 ) 서구화, 후 ( 後 ) 지방화 같은 슬로건아래서세계정신의고취를의도로행해진서구화였고, 지금도그러하다, 역설적으로여기서 독일음악 (Music in Germany),iJ (1990) 에나오는한서양작 곡가의신랄한비판을하나인용하겠다. ( 한스첸더 ) 상엽적고려는오늘날서유럽의예술속에미국의예를따라전에없이확고한모습으로자리잡았다고할수있다. 또는최끈카를하인츠슈토크하우첸의독설처럼. 고귀한독일문화는결국... 초라한코카콜라의모땅에불과한것인가? 우리는외적자유속에서상업의독재에종속해있다 3 인도네시아에서야마하. 가와이, 홀랜드, 차시오 펜더등등의장비의확산은수많은젊 은이들이음악활동에심취하도록만들었다

11 낀세계 에서서 137 서구화에서우리가걱정하는것은사실상미국화와같은것언가? 분명히정치적 및경제척권력처럽음악에서도권력이문화를장악해가고있는경향이었다. 수십년전인 1970 년대초에나는한국최고의거장윤이상의 융 (Riul)) (1968) 이라는멋진작품을연주하는행운을얻었다. 쉬운곡은아니었다. 온통복잡하고, 기교적으로도높은수준을요구했으며, 한국의토속요소가많은것같았고, 당시 기준으 ~ 로는분명모던한곡이었다. 음악적으로높은수준때문에오늘날에도이 작품은연주하기쉬운곡이아니다. 몇년뒤나는이시이마키, 다케미쓰도루, 다 차하시유지등등일본현대작곡가와, 파울구타마수기요, 슬라메트 A. 슈쿠르같 은인도네시아몇몇작곡가의작품들을접하게되었다. 이들아시아최고의작곡 가들은서구의음악문화가결은길과밀접하게연판되어있고, 테크니컬한형식과 스타일, 그리고 ( 형식, 구조, 테크닉, 음악적표현을명료하고용의주도하게펼쳐 나간다는점에서 ) 현대적인작곡방법과시스댐을딴탄하게구사한다. 한국의대표적인작곡가윤이상과인도네시아작곡가파울구타마수기요는 1950 년대베를린에서독일작곡가보리스블라허밭에서같은시기에함께공부했 다. 그와동시에일본작곡가다카하시유지는파리에서 3 년, 그리고야니스크세 나키스, 나디아불랑제, 피에르불레즈, 존케이지등의제자로미국에서 6 년올더 공부했다반면에인도네시아작곡가슬라메트 A 슈쿠르는파리에서따울쉐플러 (Paul Schaeffler) 와올리비에메시앙에게배웠다. 유일하게 자수성가한 작곡가 인다케미쓰도루는서양작곡기법을동양의신비주의및상정주의와결합하여일 본의새로운 인상주의자 로알려졌다 1998 년인도네시아에서는 3 개의음악콩쿠르가열렸다. 하나는현대음악대상의 인도네시아음악콩쿠르, 다른둘은아시아작곡가연맹이주최한아시아청년작곡 가음악콩쿠르와인도네시아청년작곡가음악콩쿠르였다수많은출품작가운데 본선에오른것은각각 20 편.48 편 15 편이였다. 전체가운데 5 곡 ( 약 6%) 만이자 연환경이나전통척자원의정신을명백히띠고있었는데, 업상하지는못했다. 나 머지곡뜰은서구양식의아류기법으로작곡되었다. 당시부터줄곧내인상 o 로 는아시아작곡가들은서구의음악대가플을모렐로삼는데골몰해온듯했으나, 1970 년대에아시아나라일부작곡가들사이에서 고유의음악과문화로 돌아가 자는강력한정신운동이다시얼어나기도했다. 그러나대체로말해, 우리가당면 한현실에비추어볼때근대, 근대성, 근대화같은용어플은오늘날까지도변함없 이문화와사고방식에끼친서양의충격이라는담론올불러일으킨다. 여기서, 동 양과서양의만남에서아시아의정신을장차찾으려는우리논의의첫번째물음 이나온다 1997 년과 1995 년 F 아시아작곡가연맹회보 에설련한국작곡가검진회와미국 음악학자차우원충의흥미로운글을잠깐인용해보겠다.

12 138 ( 김진회 ) 둘째, 서양음악의지배는아시아작곡가들에게커다란인상올남겨놓았다, 많은작곡가플이유럽과미국에서공부하고, 서양에서정해진작곡기준안에서기능하기위해노력한다 ( 차우원충 ) 500년전, 문화적변화가서유럽을휘감았다이변화는부분적으로는서유럽이라는지리적경계밖의사상과사건들로부터자양분을얻었다. 나머지세계는이것을지각하지못했고적극척으로참여하지못했으며, 따라서변화에영향을끼철수없고문화적변화의힘없는회생자가되는것을피하지못하는예측가능한운명을겪어야만했었다. 세계모든사회가스스로의선택에의해분화적변화의척극척인참여자가될수있는오늘날, 우리는그렬의사가있는가? 우리는그렬준비가됐는가?" (1 988년베를린국제심포지엄연설에서 ) 고유음악이든지역장르든전통음악이든-그밖에 근대음악 이라고여겨지지않는음악을가리키는어떤딸이든-나룹의발전방향을모색하고음악적확장을이루어나가는데는참으로나름의복잡한문제들에봉착한다. 음악적확장의길을찾아인도네시아의가블란음악도나름의세계와음악표현을개발해왔다 가블란과서구세계와의조우는유례없이직접척이고지속척언것이었고, 지금도그러하다. 요컨대형식, 구조, 테크낙등서구양식의작곡기법은의미심장한영향을그다지끼치지않았고, 영향은오히려다른변에서발견된다고하겠다. 서양악기와가블란악기를결합시키기위해서많은설험들이행해지고있다. 실험은언제나실패였다. 음계와조융체계, 음색업히기, 음악의형식과구조, 세세한기술용어와진행등악기의물리적이고자연적인외양의차이때문이기도하지만, 더욱중요한이유는음악내용의자연적이고철학적인개념에서기본적인접근방식이다르기때푼이다그것은예술적신념에서상식으로받아들여지는취향과아름다움이다르기때문만은아니다. 가블란파서구음악이서로어울릴수없는것은판이한환경과문화척배경에서기인하는미척원리와개념때문이다. 동양과서양올마주세우면서, 이쪽의음악개념이나악기의내적정신을저쪽으로이식하려는노력은할수있지만, 이쪽의기초운화뜰저쪽의문화로해석할수는없다. 가블란이나교향악단에겐더 (gender) 나공 (gong) 을더해협주곡이나베토벤주제에의한변주곡을쓰려는시도, 반대로가블란합주를위한교향곡형식을작곡하려는시도플은불필요하다우리가잘알고있듯이드뷔시의 파고다). < 시링크스 ). < 녹턴 >. < 바다 ). 메시앙의 투랑갈릴라). 오르프의 카르미나부라냐 는다른문화의 내척 아름다움 ( 예술 ) 의정신을환골탈태한좋은예들이다. 이점에서나는두명의미국음악학자와작곡가의견해에주목해보려고한다.

13 낀세계 에서서 139 조디다이아몬드 ( 인도네시아 1991 헤스티벌학술회의자료집요약 ).. 냐는열일곱살때부터자바음악을연주해왔는데, 카리위탄 (karawitan) 의규칙가운데다수가 3학년플룻수업올대체했다고생각한다. 피아노를들으면어딘지거북한것은, 내가피아노의조율을싫어해조금메마르고뻔하게들리기때문이다나는맨마지막에일어냐는일들을아주좋아하며, 수많은얼들이동시에진행되는가운데내귀가사건들사이의판계를교통정리해야하는상황을즐긴다. 나는서양식작곡수업올거의받지않은것이나다름없으므로, 작곡가로서나에게동과서사이의투쟁이란없다. 나는대부분가플란음악을작곡하고. ( 내가이해하는한에서 ) 자바와발리음악올내작품의모텔로삼는다 마이클텐저 ( 인도네시아 1991 페스티벌학술회의자료집요약 )... 모든작곡가가다양한방식으로교차문화척과정에참여하고있었을까? 여기서두어가지를지척하고싶다. 우리의미척패러다임에공통의바탕이있는가? 서양읍악가들과인도네시아인이시간성 ( 시간의흐름 ) 을지각하는모습사이에는차이가있다음악작콕을개념화하는데이것은근본적인영향올끼친다고생각한다. 서양작곡가들이사용하는선적 (linear) 패러다임에서보면, 소리는하나의음악작품에서진행중인발전의요소이다. 순환척시간패러다임에서보면작품은더욱더자기완결척인단위가된다이장벽들은파연무너지고있는가, 아니면우리사이의근본척인차이로계속남아있는가? 마지막으로결론삼아, 다름 (otherness) 을조우한그때그때의경험을몇가지말하고자한다. 곧, 여느많은음악가나예술가들과마찬가지로나도극단적으로구별되는두세계, 이른바, 동과서, 근대와전통, 옛것과새것둥등사이의 낀세계 에서었다는사실을개인척으로깨달았다는것이다. 몇가지음악을보기로들면서논의를계속하고자한다.