Feel the Rhythm of KOREA” 6부작의 뮤직비디오 「수궁가」는 이날치의 노래와 앰비규어스의 춤, 실험적 연출기법을 통해 판소리 「수궁가」의 “토끼의 여행” 모티프를 재현해낸다. 본고는 판소리 「수궁가」의 동물우화의 기원을 『자타카』의 불교설화로 보는 주류학설과 달리, 고조선기에 이미 발생한 것으로 추정되는 한국 고유의 동물우화가 불교적 인식과 융합된 지혜담으로 전승되어 왔다는 주장을 제기해 보았다. 「수궁가」의 동물우화는 전란을 거친 조선 후기에 소빙하기의 천재지변까지 빈번해지면서, 참담한 현실에 절망한 민중들이 고대의 지혜담을 판소리에 소환한 것으로 여겨진다. 「수궁가」 뮤직비디오의 성공 요인은 유구하고 보편적인 지혜담 모티프를 활용했다는 점, 그리고 한국문화 특유의 ‘풍류도(風流道)’의 전통을 현대화했다는 점과 판소리의 ‘마당’의 느낌을 살린 실험적인 연출기법에서 찾을 수 있다. 아울러 「수궁가」에 내재한 자력구원사상과 ‘정토’라는 이상세계가 판데믹 시대의 대중들에게 고난 속의 지혜와 치유의 의미로 다가갔기 때문이라 결론지어진다. Feel the Rhythm of KOREA” 뮤직비디오는 판소리라는 전통음악예술을 통해 한국의 토박한 습속과 정서, 불교미학을 보여주는 성공적인 문화관광콘텐츠의 사례로서 주목될 수 있을 것이다.

Whereas the composition exists generally in written musical notation, the improvisation is caused by spontaneous process of making music with unfixed notes or without any notation. There is no doubt that the earlier the age was, the less notation system was developed and improvisation was practiced more. Ancient music historically covers the music from the invention of letters until the medieval times and regionally the music from Mesopotamia, Egypt, Israel and Greece. The music of each region had different musical characteristics but the tendency of improvisation was common according to the historical reconstruction. It would be well-matched for the brilliant lyre with a bull head from Mesopotamia to accompany the Epic of Gilgamesh. It is difficult to reconstruct the ancient Egypt music because the text material of the music is insufficient. The reconstructed instrument could bring the sound of the instrument and it often makes the pseudo-music, which comes from the imagination of composers or scholars. Many improvised Israelite songs are orally transmitted. One of the famous examples is Schema Israel, which reflects their religious confession. In comparison to other ancient musics, the ancient Greek music remains the most generous archeological evidence. The reconstruction of the ancient Greek music depends on the systematical system but it is performed in improvised style as well.

The purpose of this thesis is to give a perspective on the music theory of Ancient Greece & Rome through the study of original texts. Nine major theorists' treatises are discussed under the separate title, repectively. And also 7 minor theorists' treatises or theories are mentioned also in the course of discussion in relation to the major one. The rise of Western music theory can be traced back to the time of Pytagoras. His mathematical calculation of intervals set up the long tradition of treating music as mathematical scholarship. And the other branch of music theory was established soon also. That was an empirical one initiated by Aristoxenus who was a pupil of Aristotle. And then these two branches interacted in the course of development of music theory. That is, although most of the ancient theorists belonged to the Pytagorian school, those representatives such as Euclid·Ptolemy·A. Quintilian accommodated some of Aristoxenus' theory. Theorists represented the Aristoxenian school were Cleonides(cf. footnote 3) and Cassiodorus(cf. footnote 23). The topics dealt with in ancient treatises were intervals, scales, modes, scale systems, rhythm, tuning, notation, ethos of music, and Pytagorian concept of music of spheres. Intervals were discussed in depth particularly in relation to tuning (Ptolemy), tetrachord which was the basis of scales (Aristoxenus, A. Quintilian), and modes (Ptolemy, Gaudentius). The scale systems of the Greater Perfect system and the Lesser Perfect system became the norm throughout the ancient times. Of the rhythm, feets mentioned first by Aristoxenus were clearly explained and expanded by St. Augustine. Information on Greek notation relies on Alypius. Ethos of music and the idea of music of spheres were presented in length especially by Ptolemy and Boethius.