동서양 음악미학 고찰을 통한 한국음악의 정체성 연구: 고대 그리스 음악관과 유가, 도가, 샤머니즘을 중심으로의 참고문헌

동서양 음악미학 고찰을 통한 한국음악의 정체성 연구: 고대 그리스 음악관과 유가, 도가, 샤머니즘을 중심으로의 참고문헌

해당사항없음

해당사항없음

Chi K'ang 嵇康(224-263) and Hanslick(1825-1904) made great impacts on the history of aesthetics of music, respectively in the third-century China and nineteenth-century Europe. They lived in different cultures and periods. Accordingly, they had no ...

Chi K'ang 嵇康(224-263) and Hanslick(1825-1904) made great impacts on the history of aesthetics of music, respectively in the third-century China and nineteenth-century Europe. They lived in different cultures and periods. Accordingly, they had no interaction between themselves. Nevertheless, their viewpoints of music seem to have many common grounds. The author who oriented herself to concepts and system of western aesthetics, was astonished by the fact that Hanslick's formalistic viewpoint of music has a counterpart in the third-century China, approximately 1600 years ago.
Their common ground is that music can neither express a certain emotion, nor that is the goal of music at all. The author has chosen and discussed five aspects of their arguments, respectively in Sheng-wu Ai-lo-lun 『聲無哀樂論』and Vom Musikalisch-Scho¨nen : the interaction between music and mind, relationship between a content of music and emotion, the form as the content of music, relationship between music and nature, aesthetic attitude towards music. After that, the author has compared the concepts of art, music, nature in both aesthetics of music. As expected, we could find several similarities as well as differences. By this process, we can make our horizon of knowledge of music wider. the author hopes to make a small step toward establishing a new paradigm for both music in general and Korean music.

1. 들어가는 말
2. 혜강의 성무애락론
1) 집필배경
2)주요 논점
(1) 소리와 마음의 관계
(2) 소리와 감정의 양태
(3) 자율적 음악관
(4) 음악은 자연의 조화체
(5) 평화의 마음
3. 한슬릭의 음악의 미에 관하여 ...

1. 들어가는 말
2. 혜강의 성무애락론
1) 집필배경
2)주요 논점
(1) 소리와 마음의 관계
(2) 소리와 감정의 양태
(3) 자율적 음악관
(4) 음악은 자연의 조화체
(5) 평화의 마음
3. 한슬릭의 음악의 미에 관하여
1) 집필배경
2) 주요논점
(1) 음악 미의 인식 과정
(2) 음악의 내용과 감정
(3) 소리내며 움직이는 형식
(4) 음악과 자연
(5) 특수한 청취 태도
4. 혜강과 한슬릭
1) 음악의 개념
(1) 성, 음, 악
(2) Ton과 Klang
2) 자연과 예술(음악)
5. 나가는 말
참고문헌
Abstract