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The Aspect of the Performance on Kang T'ae-hong, a Kayag m Player This research, based on the broadcast and record materials under the rule of Japanese imperialism, is to consider the musical activity of Kang T'ae-hong 姜太弘. His musical activity hasn't been yet introduced to academic circles, and it has a meaning in that the mass media takes the central place in illuminating his activity. First, his sphere of musical activity is limited to kayagŭm pyŏngch'ang 伽倻琴倂唱 and kayagŭm sanjo 伽倻琴散調. He also has accompanied popular songs for a while. Second, he used to sing Chŏkpyŏkka 赤壁歌, Ch'angnangka 滄浪歌, Taejangbu 大丈夫, Undamp'ungkyŏng 雲淡風輕, Asŏrasaesangsa 아서라世上事, Pakt'aryŏng etc. in kayagŭm pyŏngch'ang. Especially Ch'angnangka, Taejangbu, and Saet'aryŏng seem to be the best ones he liked to sing. Third, his activity through the mass media by the broadcast and phonographic record began from 1933 to 1940, which was in his 40s. Fourth, his time-beat basically consists of chinyangjo, chungmori, chanmori in kayagŭm sanjo, and they were mostly made in mid-1930s. So it's proper to say that these days' Kangt'aehongnyu 姜太弘流 kayagŭm sanjo had been completed since 1940s. Fifth, his music put on a phonographic record consists of kayagŭm pyŏngch'ang and kayagŭm sanjo, two pieces each. kayagŭm pyŏngch'ang put Saet'aryŏng on a record, and kayagŭm sanjo had chinyangjo, chungmori, ŏsmori, chanmori recorded. As I saw above, the musical achievements he had made in that period are weak. Yet, it has a meaning in that his activity is for a proof data while he was living in Seoul in 1930, his 40s. Reflecting this research, I hope we could illuminate his musical life, and do much to help the researches on modern Korean music history.


The Aspect of the Performance on Kang T'ae-hong, a Kayag m Player This research, based on the broadcast and record materials under the rule of Japanese imperialism, is to consider the musical activity of Kang T'ae-hong 姜太弘. His musical activity hasn't been yet introduced to academic circles, and it has a meaning in that the mass media takes the central place in illuminating his activity. First, his sphere of musical activity is limited to kayagŭm pyŏngch'ang 伽倻琴倂唱 and kayagŭm sanjo 伽倻琴散調. He also has accompanied popular songs for a while. Second, he used to sing Chŏkpyŏkka 赤壁歌, Ch'angnangka 滄浪歌, Taejangbu 大丈夫, Undamp'ungkyŏng 雲淡風輕, Asŏrasaesangsa 아서라世上事, Pakt'aryŏng etc. in kayagŭm pyŏngch'ang. Especially Ch'angnangka, Taejangbu, and Saet'aryŏng seem to be the best ones he liked to sing. Third, his activity through the mass media by the broadcast and phonographic record began from 1933 to 1940, which was in his 40s. Fourth, his time-beat basically consists of chinyangjo, chungmori, chanmori in kayagŭm sanjo, and they were mostly made in mid-1930s. So it's proper to say that these days' Kangt'aehongnyu 姜太弘流 kayagŭm sanjo had been completed since 1940s. Fifth, his music put on a phonographic record consists of kayagŭm pyŏngch'ang and kayagŭm sanjo, two pieces each. kayagŭm pyŏngch'ang put Saet'aryŏng on a record, and kayagŭm sanjo had chinyangjo, chungmori, ŏsmori, chanmori recorded. As I saw above, the musical achievements he had made in that period are weak. Yet, it has a meaning in that his activity is for a proof data while he was living in Seoul in 1930, his 40s. Reflecting this research, I hope we could illuminate his musical life, and do much to help the researches on modern Korean music history.