Situated in the realm of non-European culture, Korean traditional music has often been treated as an autochthonous and particular musical phenomenon while western music has been dubbed "universal". This dichotomy results not only in the inadequate representation our traditional music but also in the inability to forge a desirable pedagogy of music. One possible solution to this problem may lie in the records of the International Congress of Musicolgy of Utrecht in 1952, where the French musicologist Jacques Chailley declared the creation of an original research field named Philology of Music designed to approach musical languages in an entirely new light. While the novel approach is on the verge of earning progressive recognition in the wider musical community, it does open new visitas on the problem of musical language. Jacques Chailley, born in 1910, played an important role in the French musical world of the twentieth century not only as a musicologist but also as a composer, a conductor, a pedagogue, and an administrator. By creating in 1962 the Department (U.E.R) of Musicology at the University of Paris IV-Sorbonne, he ushered in an imprecedented wave of research in the science of music in France. As a musicologist his contribution was exceptionally vast and fruitful. He explored music ranging from the Ancient Greeks to Messiaen and traversed diverse topics, old Chinese musical theories to French folk songs. His 350 works can be classfied under four different categories - philology, history, education and analysis of music. Of these, the category of philological research occupies the place of greatest importance by far in Jacques Chailley's scholastic career. He borrowed the term "philology" from literature, although in fact, he was not the first who applied the term to music. At the end of the nineteenth century, Italian musicologists used the word philology for their studies on the relationship between text and melody. But instead of adhering to the narrow sense of the teminology, Chailley broadened the concept by following the examples of Ferdinand Brunot, linguist and Henri Focillon, an art historian. Their philological methods showed him how seemingly meaningless facts can become a clue not only for understanding the spirt of a society or epoque, but also for finding affinities among dispersed historical and cultural events. Chailley's approach resembles that of philologists of linguistic. Both disciplines do not content themselves with syntactic analysis but make use of what might be termed depth analysis, such as studies of evolutionary process and semantic synthesis. What Chailley attempts is not so much a comparative description of simple musical phenomena as a discovery of universal laws out of evolutionary changes. He lets us understand the fact that artistic and cultural expressions, be they European or Asian, are rooted in the broader linguistic contexts transcending any particular time and space. Realizing the tensions between traditional and modern music, and conscious of the necessity of a universal framework for explaining Western and non-Western music, we hope that Chailley's works will engender fruitful insights for musical creativity and research.

Ⅰ. 서론 
Ⅱ. 쟉크 샤이에의 자전적 배경 
Ⅲ. 음악학자 쟉크 샤이에 
Ⅳ. 음악 문헌학 
Ⅴ. 결론 
참고문헌 
영문초록

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