An Observation on the Regeneration of Traditional Performing Arts – Illustrated by the Case Studies of the Sa-Mul-Nol-Ri in Korea

• Main Authors: WANG, MIN-CHUN, 王泯淳
• Other Authors: TSENG, YUH-FEN
• Format: Others
• Language: zh-TW
• Published: 2017
• Online Access: http://ndltd.ncl.edu.tw/handle/wqfq35

碩士 === 國立臺北教育大學 === 音樂學系碩士班 === 105 === When talking about Sa-Mul-Nol-Ri 〔 사물놀이, Korean "four objects" percussive ensemble〕, it usually shows a strong association with some traditional percussive genres of Korea. However, through a thorough explorotion upon this fact, I found out this is not the truth. Rather, Sa-Mul-Nol-Ri, a new form of Korean percussive music transformed and regenerated from the traditional Korean percussive ensemble Pung-Mul-Nol-Ri, appeared as late as 1978. Nevertheles, Sa-Mul-Nol-Ri has not only been spread to all levels of education in Korea, but also brought the ”Heung” 〔 흥, Ecstasy 〕 , the representative aesthetics of Korean percussion spirit, up to the world stage. As a Taiwanese traditional musician, based on academic interest and the practical need for the development of traditional performing arts in Taiwan, I started devoting myself into the research of Sa-Mul-Nol-Ri. The documentation concerning Sa-Mul-Nol-Ri is insufficient in Taiwan. In order to investigate the actual situation in terms of the development of Sa-Mul-Nol-Ri, I visited South Korea in person and conduct field-investigation during my field trips of various durations there. Meanwhile, applying the methods of participant observation and bi-musicality, I registered as a full-time students in the "Korean music department"〔한국음악과, Han-Guk-Eum-Ak-Gwa〕, took lessons and conducted in-depth interviews with the department professors, in order to realize the essence of "Jang-Dan"〔장단〕 and "Ga-Lak" 〔가락〕. All these first-hand research data which I got in South Korea will also be presented in this thesis. This Thesis is aimed to investigate Sa-Mul-Nol-Ri as a specific genre cultivated within a special historical context. Starting from the exploration of the cultural context to the performance practice and technique of this genre, and finally reaching the utilization of traditional elements, the significance of Sa-Mul-Nol-Ri as a vivid example of the innovation and regeneration of traditional performing arts, is revealed.