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dc.contributor.author鄭承姬-
dc.creator鄭承姬-
dc.date.accessioned2016-08-26T11:08:30Z-
dc.date.available2016-08-26T11:08:30Z-
dc.date.issued1970-
dc.identifier.otherOAK-000000057990-
dc.identifier.urihttps://dspace.ewha.ac.kr/handle/2015.oak/202748-
dc.identifier.urihttp://dcollection.ewha.ac.kr/jsp/common/DcLoOrgPer.jsp?sItemId=000000057990-
dc.description.abstractSome fifty kinds of beautiful ancient court dancing have been introduced to Korea for a long period of the Korean histrory. However, these precious cultural treasures seem to have been much forgotten, mainly because we scarcely have had any chances to perform them during the Japanese occupation of Korea. Nowadays, we can do no more than imagine or dream of the original types of these gorgeous court dancing. Needless to say, the present is an accumulation of the past, and the future is strictly based on the present. Art is something that progresses and improves upon its basis on the past: The main reason, in this study, to have selected the "Mugo" as a subject has come from this idea. The "Mugo" is a kind of the Hyang Ak dancing (Korea's traditional dancign) that consists of a big Korean drum and a dancing around. The secondary reason is that the "Mugo" can be a representation of all the Korean ancient court dancings, because it is full of elegance, beauty, and magnificence. The "Mugo" was created during the Chung Yul Dynasty of the Koryo Era. According to the records, we can find The Koryo Sa Ak Ji, The Ak Hak Kwe Bum, The Record of Kojong Dynasty's Mace, and the classification of the Mu Bo for 1920's According to these booklets and records, the "Mugo" has had much convulsion itself. The Korea's conservative and traditional "Mugo" has a commoness with the progressive styles of dancing of the Western countries. When we see this, we can't help admiring a high creative power of our ancestors. With pride and confidence, we are extremely proud of the "Mugo" and its art value. In order to have an accurate evaluation on the classical and traditional Korean dancings, the re-establishment of the Korean aesthetics is urgently required.-
dc.description.tableofcontents目次 = 0 ABSTRACT = 1 Ⅰ 序論 = 1 Ⅱ 舞鼓의 起源과 形式 = 5 1. 起源 = 5 2. 形式 = 5 Ⅲ 舞鼓에 관한 文獻的 考察 = 7 1. 高麗史樂志 = 7 2 藥學軌範 = 7 (3) 笏記 = 8 (4) 1920年代의 舞譜 = 9 Ⅳ 舞鼓舞譜의 比較 分析 = 10 Ⅴ. 舞鼓의 時代的인 變貌 = 33 1. 登場人員과 小道具 = 33 2. 音樂 = 35 3. 舞踊의 構成 = 36 4. 舞鼓의 變貌 = 46 Ⅵ. 舞鼓의 現代的 批判 = 51 1. 比較舞踊學(舞踊史) 的 見地 = 52 2. 舞踊 美學的 見地 = 60 3. 精神分析學的 見地 = 65 Ⅶ 結論 = 68 參考文獻 = 75-
dc.formatapplication/pdf-
dc.format.extent3242025 bytes-
dc.languagekor-
dc.publisher이화여자대학교 대학원-
dc.title舞鼓에 관한 硏究-
dc.typeMaster's Thesis-
dc.title.subtitle舞鼓의 時代的인 變貌와 그 現代的 批判-
dc.title.translatedA Study On the Mugo : On The Basis Of Convulsion of Korea's Ancient Court Dancing-
dc.format.page2, 76 p.-
dc.identifier.thesisdegreeMaster-
dc.identifier.major대학원 무용학과-
dc.date.awarded1970. 2-
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