BIMONTHLY MAGAZINE GUGAKNURI 2012 11+12 vol.128 National Gugak Center 2012 / vol.128 11 + 12 11-1370132-000057-06 ISSN 1739-9599
11 + 12 National Gugak Center 2012 / vol.128 section. 1 16 28 36 44 11-1370132-000057-06 02.580.3397 02.580.3322 www.gugak.go.kr 04 05 08 10 13 16 18 20 24 28 32 34 36 40 42 44 section. 2 section. 3 48 52 56 62 63 64 66 COVERSTORY
카툰 송년 특집 - 국악봉사단 글, 그림 차승민 대금연주자 정리 김보람 국립국악원 국악진흥과 작은 불씨가 되다 송 / 년 / 특 / 집 - 국 악 봉 사 단 우리음악나눔봉사단 무지개다리 우리음악나눔봉사단 무지개다리 는 국립국악원 소속의 전현직 예술단원들과 직원 그리 고 약간명의 외부 연주자 등 20여 명이 의기투합하여 만든 모임이다. 각자 혹은 몇몇이 해 오던 봉사 활동을 국악 공연 나눔 으로 구체화해 2007년 1월 우리음악나눔봉사단 무지개 다리가 정식으로 출범했다. 무지개다리의 주요 활동 무대는 도시에서 멀리 떨어진 지역의 마을회관이나 노인복지관, 대안학교 등이다. 알음알음으로 찾아가기도 하지만, 소문을 듣고 먼저 청해오는 곳도 있 다. 서울 경기 지역은 물론 전국 방방곡곡 가리지 않고 그들을 필요로 하는 곳이라면 어디 든 가지만, 다른 봉사단들이 주로 찾는 대도시보다는 봉사의 손길이 덜 미치는 곳으로 가 려고 노력한다. 0405
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Searching for the Origin of Arirang through Sound Sources A set of six Edison wax cylinder Recordings of Korean singing in 1896 Jeong, Changkwan (Vice President, the Society for Korean Discology) On July 24, 1986, the three Korean men came to the house of a female anthropologist near the US Capitol in Washington DC. Man 1: It is a disgrace for yangban(aristocrats) like us to visit the house where a woman is living alone Man 2: We are in America. Furthermore, we are going upon invitation. Man 3: All we have to do is to sing toward a kind of machine. They record our singing voice for next generation. I think we ought to help them because they are doing this for academic purpose. Above conversation is a scene imagined by Rovert Provine, professor of University of Maryland, who first discovered this sound source. It explains how Alice C. Fletcher, an anthropologist specialized in American native Indians, came to record songs of Korean men in Edison wax cylinder recording upon request of a colleague scholar Anna Tolman Smith. Mrs. Fletcher asked the three Korean men to sing Korean traditional folk songs or child songs in duo or solo to preserve them in a set of Edison wax cylinder recordings. It is the very earliest recordings of Korean music. Ten musicians of Jangakwon, Bureau of Music in Joseon dynasty, came to America to participate the Chicago Columbian Exposition in 1893. Some raised the possibility that they did the recording but it is unlikely hypothesis in my opinion. The ten musicians stayed only for 5 days and the level of recording technique at that time was not as good as to record instrumental music of 10 musicians. Moreover, such recording is not mentioned in any record reported to the King Gojong. It is certain that this is the earliest recordings of Korean music that a set of six Edison wax cylinder recordings conducted on July 24, 1896. It was Professor Provine who first discovered the set of 6 Edison wax cylinder recordings of Korean singing in his research of catalogues in the US Library of Congress around 1998. 11 songs are recorded in the 6 cylinders with notes handwritten by Alice Fletcher, all of which are now preserved in the US Library of Congress. One of the six cylinders had been destroyed before donated to the library and the other damaged after donation. The sound source of these cylinders were transferred to digital format with explanations on the cylinder recordings itself according to The Federal Cylinder Project in 1980. A set of Edison wax cylinder recordings in the Library of Congress in the U.S.A. Mrs. Alice Fletcher Notation marked as Ararang / but confirmed it is not. The three Korean men who came to the house of Alice Fletchers for recording were identified as those fled Korea for Japan and then the United States for their education around the time of Agwanpacheon (the king s refuge to the Russian legation). The identification of Ahn, Jeong-Sik and Lee, Hee-Choel have been confirmed, whereas Son Rong still remains otherwise. Of the three pieces of Ararang is in the recording, two pieces are successfully recorded except for the piece of 8 seconds with ill recording. The two pieces of Ararang shows considerable difference to what we know as Arirang thesedays. It sounds quite different from the Arareong notated by Dr. Hulbert in 1986. The refrain of Arirang in the two Ararang is not identical. The one used Ararang, Ararang, Arariyo, Arirang Eolssuk Arariyo and the other Arirang Arirang Arariyo Arirang Eolssuk Arariyo. Such discrepancy confirms no serious distinction between Ariang and Ararang at that time. Considering Arareong by Dr. Hulbert, it is certain that the phrase was pronounced based on the regional dialects of singers. The songs were titled Ararang since Ahn, Jeong-Sik was from Gwangju, Gyeonggi province and Lee, Hee-Choel from western Seoul. This shows that it was sung in Ararang in the region of Seoul and Gyeonggi province. It is interesting to see that Ararang is written as Love Song. It is not difficult to imagine they were only able to answer, with their poor English, to the question of Alice Fletcher about the song after recording, simply by saying Love Song. The notation of the recordings in 1986 has been found in the National Anthropological Archives, Smithsonian Institute in the U.S.A. Six of eleven pieces are notated. Some Ararang notation are written seemingly by Mrs. Fetcher (Box 7. No 11 / 3rd Record), but like other notations, they do not justly refelct the actual recorded music. No refrain part is notated. This shows the ability of notation by American exposed to Korean music for the first time. The music recorded on July 24, 1896 is a kind of popular song performed by Korean students studying in the U.S.A. in their 20 s, not by professional singers. It should be possible to trace the origin of Arirang, the representative song of Korean people, from the refrain part of the song Ararang, a love song, preserved in one of the six cylinder recordings. 2223
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