서울시 소재 4개 국악관현악단의 레퍼토리 연구

Abstract

모든 악곡에는 작곡가의 생각이 반영되며 더 나아가 무대화된 작품에는 연주자의 의도가 나타나기 마련이다. 이렇듯 악곡과 작곡가 및 연주자는 서로 긴밀한 관계를 맺고 있다. 그러므로 곡의 이해와 작곡가의 의도를 반영한 공연을 위해서는 악곡과 작곡가 및 연주자에 대한 정보가 필요하다. 그러나 90년대 이후에 나타난 국악 관현악곡의 경우 서양식 작곡기법의 도입과 더불어 음악적 변화가 발생함에 따라 음악사적으로 중요한 의미가 있음에도, 충분한 정보가 전해지지 않으므로 연구에 어려움이 있다. 이에 본 논문에서는 이러한 문제점에 주목하여, 서울시 소재 4개 악단(서울시, KBS, 국립, 창작)이 2000년부터 2021년까지 참여했던 연주회를 중심으로 악단별 국악 관현악곡 레퍼토리를 분석하는 것에 목적을 둔다. 관현악단의‘레퍼토리’개념에는 서사성이 내재하므로 관현악곡의 구성 및 내용 전개에 관한 내용이 모두 포함된다. 이에 21년 동안 연주되었던 악곡들을 1시기(2000~2010)와 2시기(2011~2021)로 구분하여 작품의 형식과 성향 및 협주곡의 편성 변화 그리고 작곡가와 작품의 양상을 비교하였다. 그 결과 2000년대 국악관현악의 흐름 및 악단의 성향을 파악할 수 있었으며 공연수의 빈도가 높은 곡과 초연곡 및 작곡가의 분포도와 협연 악기를 정리할 수 있었다. 21년 동안 연주된 자료를 분석하여 도출한 내용을 정리하면 다음과 같다. 첫째, 두 시기의 공연 횟수와 작곡가를 분포한 결과 1시기에 비하여 2시기에는 정기 연주회와 작곡가의 수가 감소하였음을 확인하였다. 둘째, 악곡형식을 분류한 결과 1시기까지는 기악협주곡이나 성악협연곡이 많았으나, 2시기에는 창작관현악곡이 증가하고 기악협주곡에 국악기와 서양악기가 모두 편성되었다. 특히, 서양악기의 경우 3종류에서 10종류로 확대되었으며 2중, 3중 협주곡에서도 국악기와 서양악기 혼합편성의 협주곡들이 등장하였다. 셋째, 전체 악곡의 성향을 분석한 결과 1시기에 비하여 2시기 이후로 전통악곡의 비중이 축소되었으며 서양 어법의 창작곡이 확대되었다. 특히, 창작 악곡의 성향을 살펴보면 전통적인 어법으로 표현한 작곡가는 소수에 불과하였고 서양 어법을 사용한 작곡가는 다수에 해당하였다. 그러나 가장 많이 연주된 10곡 내에는 전통적인 성향의 악곡이 5곡 포함되어 주목된다. 넷째, 악단별 레퍼토리를 분석한 결과 서울시관현악단의 경우 창작작품은 45%에서 71%로 확대됐고, 전통곡은 34%에서 16%로 축소되었다. 또한, 외국인 작곡가의 작품은 3%에서 8%로 증가하였고 대중적 악곡은 16%에서 5%로 감소하였다. KBS 국악관현악단은 악곡의 형식이나 성향에 큰 변화가 발견되지 않았으나 전통곡이 축소되고 창작곡이 확대되었음을 확인하였다. 그러나 현대적인 성향의 악곡은 연주되지 않았으며 대중적인 성향의 악곡 비중이 타 악단에 비하여 높았다. 국립국악관현악단에서는 많은 변화가 확인되었다. 정기연주회를 대신한 각 프로그램의 성격이 명확하게 나타났고, 시즌 음악회에서는 인물 중심의 공연을 기획하였으며 창작국악관현악의 초연 및 재연주를 통해 지속적으로 창작관현악 작품을 연주하였다. 또한, 2시기에는 전통음악의 비중이 감소하고 창작작품과 현대적 성향의 작품이 증가하였다. 한편 작곡가의 경우 서양 작곡가와 외국인의 비중이 확대되었으나 국악 작곡가는 비슷했다. 다만, 국악 연주자의 작품이 줄어들고 전통적인 어법의 악곡도 감소했다. 국립국악원의 창작악단에서는 창작 음악이 90% 이상 연주되었다. 요컨대 2000년부터 2021년까지 4개의 국악관현악단에서 기획했던 연주회의 방향은 전통음악에서 창작국악관현악 중심으로 변화하였고 악곡의 내용은 전통적인 어법에서 벗어나 서양 어법이 더 많은 비중을 차지하였다. 또한, 초연곡 목록을 통해 2시기 이후로 작곡가의 활동이 더 다양하게 나타남을 확인하였다. 이렇듯 본 논문에서 진행한 분석결과가 2000년부터 2021년까지 이루어진 창작국악관현악 공연의 흐름을 이해하고 앞으로 나아가야 할 국악계의 방향 모색에 도움이 되기를 기대한다. ;The composer's thoughts are reflected in every piece of music, and furthermore, the performer's intentions are bound to appear in the staged works. In this way, the musical piece, the composer, and the performer have a close relationship with each other. Therefore, in order to understand the music and perform a performance that reflects the composer's intentions, knowledge of each element is required. Since the 1990s, traditional orchestral music has an important meaning in music history as musical changes have occurred along with the introduction of Western-style compositional techniques, but there are difficulties in research because there is not enough information about the orchestral musical pieces created during this period. Therefore, paying attention to this problem, this paper aims to analyze the repertoire of Korean traditional music orchestras by each orchestra, focusing on concerts in which four orchestras (Seoul Metropolitan Traditional Orchestra, KBS Traditional Music Orchestra, National Orchestra of Korea, Contemporary Gugak Orchestra) located in Seoul participated from 2000 to 2021. The concept of ‘repertoire’ of the orchestra has inherent narratives, and it implies both the composition of the orchestra and development of its contents. Therefore, this study divided the pieces of music played for 22 years into the first period(2000~2010) and the second period(2011~2021) and compared the forms and tendencies of the musical pieces, the change in the arrangement of the concerto, and the aspects of the composers and the musical pieces. As a result, it was possible to understand the flow of Korean traditional music and the tendencies of the orchestra in the 2000s, and it was possible to organize information on the most frequently performed and firstly performed music, the distribution of composers, and the instruments performed together. The following is a summary of the data derived by analyzing the data on the pieces of music played over the past 22 years. First, as a result of analyzing the number of performances and the distribution of composers during the two periods, it was confirmed that the number of regular concerts and the number of composers decreased in the second period compared to the first period. Second, as a result of classifying music types, there were many instrumental and vocal concertos during the first period, but during the second period the number of newly-created orchestral music has increased and both Korean and Western instruments have been organized in the instrumental concerto. In particular, in the case of Western instruments, 3 types of instruments were expanded to 10 types of instruments, and concertos with a mixture of Korean and Western instruments appeared in the double and triple concertos. Third, as a result of analyzing the tendencies of music, the proportion of traditional music decreased during the second period compared to the first period, and the number of original compositions applied with Western methods was expanded. In particular, if we look at the tendency of creative music, only a few composers expressed in the traditional way, and many composers used Western methods. However, it is noteworthy that among the 10 most performed musical pieces, 5 pieces with traditional tendencies are included. Fourth, as a result of analyzing the repertoire of each band, in the case of the Seoul Metropolitan Traditional Orchestra, creative works increased from 45% to 71%, and traditional musical pieces decreased from 34% to 16%. Also, foreign composers' works increased from 3% to 8%, and popular pieces decreased from 16% to 5%. In the case of the KBS Traditional Music Orchestra, there was no significant change in the form or tendency of music, but it was confirmed that the proportion of traditional musical pieces was reduced and the original musical pieces were expanded. However, despite being an affiliate of a broadcasting station, the proportion of popular music was small from 9% to 7%, and the fact that modern music was not performed is what sets it apart from other orchestras. In the case of the National Orchestra of Korea, many changes were confirmed. The nature of each program in place of the regular concert was clearly revealed, and the composer and conductor were illuminated at the seasonal concert, and the original orchestra work was continuously performed through the first performance and reenactment planning of the original Korean traditional orchestra. Also, during the second period, the number of traditional music decreased from 27% to 3%, and the number of creative works and contemporary works increased. On the other hand, in the case of composers, the proportion of Western composers increased from 21% to 40% and foreigners from 2% to 8%, but the proportion of works by Korean traditional music composers was similar. However, the number of works by Korean traditional musicians decreased from 15% to 3%, and the number of pieces with traditional usage gradually decreased. However, the number of works by composers who used to be the musical players of Korean traditional musical instruments decreased from 15% to 3%, and the number of pieces with traditional usage gradually decreased. In the case of the Contemporary Gugak Orchestra of the National Gugak Center, more than 90% of musical pieces performed were creative works. In short, from 2000 to 2021, the direction of the concerts planned by the four Korean traditional music orchestras has changed from traditional music to centered on creative Korean traditional music, and the content of the music moved away from the traditional usage, and the Western usage took more weight. In addition, it was confirmed that the composer's activities have appeared more diverse during the second period through the list of musical pieces of the first performance. As such, it is expected that the results of the current status analysis conducted in this paper will help understand the flow of creative traditional orchestra performances from 2000 to 2021 and help find the direction for the future.