Chinese traditional music is a representation of the intellectual accomplishments of the Chinese people and holds significant cultural and artistic attributes. To effectively showcase it to the general audience, it is necessary to implement visual design techniques that concentrate on the innovative progression of Chinese traditional music. This paper analyses the practical significance of visual design in the context of Chinese traditional music, using the unique characteristics of this music as a starting point. The paper maintains a clear structure with logical progression, ensuring a logical flow of information with causal connections between statements. Technical term abbreviations are explained when first used, and precise subject-specific vocabulary is employed where appropriate. The language used is formal and free from grammatical errors, while the text adheres to a consistent footnote style, format, and citation. Biased language is avoided, with positions on subjects made clear through hedging. Finally, conventional academic sections are included and titles are factual, unambiguous, and occasionally employ freer wording for interest. In addition, it examines the visual representation of Chinese traditional music. Building on this groundwork, the paper delves into a case study concentrating on “Four Seasons Scenery” to embark on a research journey and practical exploration of the visual design of Chinese traditional music. Through a combination of scholarly inquiry and practical application, the aspiration is that this pursuit may offer new perspectives and methodologies for the perpetuation and innovation of Chinese traditional music.

본 연구에서는 국악의 세계화를 위하여 ‘이날치’ 밴드의 음악과 세계적으로 큰 호응을 얻고 있는 일명 ‘이날치 현상’을 바탕으로 새로운 국악의 세계화에 관하여 연구하는 데 목적이 있으며, 이를 위하여 문헌연구와 설문 조사를 하 였다. 설문 조사를 통하여 현재 국악 세계화 논의에서의 문제점을 도출하고, 연구 결과를 ‘이날치’ 밴드가 가진 특징, 그들의 보여주는 장르 양식이 국악의 세계화에 어떤 영향을 미칠 수 있고, 국악의 세계화를 위한 새로운 방안 및 방향을 연구하는데 이바지하고자 하였다. 본 연구를 한 결과, 전통적인 국악의 형태보다는 현대적 재해석을 거친 음 악에 대한 선호도가 내국인은 물론 외국인에게도 높게 나타난다는 것을 확인 하였으며, 국악의 세계적 발전을 위해서는 이러한 점을 고려한 발전 방안이 필요함을 시사한다. 기존의 판소리는 한국인도 쉽게 이해하지 못하는 경우가 많았고, 가사가 명확하게 들리거나 이해할 수 없는 부분으로 인해 전통 음악 임에도 한국인도 크게 관심을 가지지 않았다. 반면, 이날치 밴드의 음악은 가사를 이해하지 못하는 외국인도 리듬과 소리만으로도 음악을 즐길 수 있고, 한국인의 경우 가사가 명확하게 들리고 이해하기 쉬운 어휘를 사용하기 때문 에 이에 대한 흥미가 더욱 높아지는 것을 알 수 있다. 이러한 결과를 통해 국악의 세계화를 위해서는 전통적인 국악의 형태를 전 승 및 보존하는 것도 중요하지만, 이를 현대적으로 재해석하여 세계적으로 한 국의 음악의 위상을 높이고 국악에 관한 관심을 증대하는 방안이 필요함을 알 수 있다. 본 연구의 결과가 이러한 방안을 뒷받침한다는 점에서 의의가 있으며, 이를 바탕으로 국악의 세계화를 위한 국악의 현대화가 필요하다고 생각한다.

The non-Western world has experienced many problems since the Western Powers have contacted them. The non-Western world had to accept the Western culture by force or by their needs. Music was one of them. The Western Music that I use in this paper is the music of the Classical and Romantic period. Harmony and chord progressions are the core of the music of those periods. In the present day most of the people in the world can understand the Western music no matter if they live in the Western Continents or not. The mass media contributes to overflow the Western music in the world. 'The Western Music' is used as a sign or a symbol to help to understand the extra-musical situations for those who live in the Western style life in the world. Since the most of the non-Western traditional music does not have the harmony and chord progressions and the people in the non-Western world began to loose the idioms of their indigenous music, the musicians of the non-Western culture began to use the Western harmony in their newly composed music to be accepted by their people. The word crossover is used in this way. The Western harmony and chord progressions are also used in the newly composed Korean traditional music. In this paper, I examine this cultural blending and how the future music would be.

The purpose of this study is to come to an understanding of the composition methods used in Korean Traditional Music and with it a finding of a new vocabulary for the subject with a comprehensive meaning. The history of music is the history of creativism. There are many different theories to the origin of music but one point we can be sure of is that humans created music. There also may be various theories as to what or how music was made, but there is no question that humans made it sung it, and performed it. And as we can sure that the history of Korea is the history of Koreans, I believe that at the beginning point of Korean history, music was made and that that music was played. But music can only be understood through written records if any were left, whether or not in the literal or illiteral era, if there was no system for writting down music and other records left of it, we am never know of that music. Korea did not develop a written language until a later period but even with having the use of Chinese letter, the music from ancient 15th century B.C. to 1st century B.C.(Era of three Kingdoms), and from 918 to 1392 (Koryo peiod) cannot be examined nor will its form ever be understood. Although Solmizationd(內譜) was used during the Koryo period the writting of it was incomprehensible. Also Letter Notation(律字譜), and High-Low Letter Notation(工尺譜)was used to record Chinese Ceremonial Music(雅樂) and Popular Chinese Music(唐樂) but being also incomprehensible and it not being Korean music, these have been excluded from my studies. 1392, the founding year of the Yi Dynasty is the first time one is able to study the musical forms in Korean Traditional Music, In 1443, King Se Jong(1419-1450) developed the Hun-Min-Jung-Um(訓民正音), the Korean alphabet, and in 1447 created a complete system for recording music, the Mensural Notation System(井間譜). It was developed to write down Native Korean Music(鄕樂) and through these written records we are able to analyze the forms in music from the beginning of the Yi Dynasty. Thus in studying the composition methods in Korean Traditional Music, the most appropriate material for reference would be the first written records left in this era. The purpose of this study is to analyze the music from 1392 when Yi dynasty began, to 1450 the era of King Se Jong in order to further understand the composition methods of their time. In this era, there was no completely separate system for composing a new piece of music. Koryo songs and some of musics from <Poonga 12 Sibo>(風雅12詩譜) a part of 「Uire KyungJun Tonghae」 (儀禮經傅通解)written by a Chinese named Joo-Hee(朱熹), was used as a base, piece for composing all new tunes. <Poonga 12 Sibo> is a collection of songs using text from Sikyung (詩經) which is one of Confucian Scriptures and these songs have been passed through from the Chinese Tang Dynasty(618-907) to Song Dynasty(960-1279). Therefore, we can conclude that the songs of <Poonga 12 Sibo> are Chinese. I have analyzed 8 pieces composed using <Poonga 12 Sibo> as their base pieces. These 8 tunes were written before the Se Jong era and have maintained the characteristic of the Chinese 7 tone system. But I have changed the notes of the Chungwhangjong(潢鐘)and Chungtaeju(汰簇) in 12th Yul(律) down one octave, changed the starting note to Hwangjong(黃鐘), and the ending notes to Taeju(太簇) - Hwangjong(黃鐘) as in the Korean system of downward movement for its ending form. There are all together 12 songs in the <Poonga 12 Sibo> and of these, I have taken <NokMyung>(鹿鳴)<HwangHwangJaWha> (皇皇者華) <UhRyuh> (魚麗) <NamSanYuDae> (南山有壹) as the originating base pieces and have composed 8 new ones <SuBoRok>(수보녹)<SuMyungMyung>(受明命)<HwaHwangUn>(荷皇恩)<YoongAnJiAk>(隆安之樂)<HyuAnJiAk>(休安之樂)<MunMyungJiGok>(文明之曲)<MuYulJiGok>(武烈之曲) and <GunChunJung>(覲天庭) with new lyries. Illustration 1 shows the relationship the base pieces and new songs. Illustration 1 ◁표 삽입▷(원문을 참조하세요) All thd songs in the <Poonga 12 Sibo> are long so they have used either one movement in each song or if the movement is too short, have used 2 to 3 movements. As a method of composing, they have either contracted the original piece or have used all of a melodic line to create the new piece. Before the SeJong era, the Chinese <Poonga 12 Sibo> was generally used as the base music for creating new compositions but King Se Jong used only Koryo songs of native Korean music (鄕樂曲) to base new songs. Using <chung San Byul Gok> (靑山別曲) as the base reference music <Nab Shi Ga>(納氏歌)and<Hyu Myung>(休命) were composed; with <Suh Gyung Byul Gok>(西京別曲) the <Jung Dong Bang Gok>(靖東方曲) was written ; with <Han Lim Byul Gok> (翰林別曲) came <HwaSan Byul Gok> (華山別曲); <Man Jun Choon> to <Soon Ung> (順應) <Poong Ib Song> (風入松) to <Yoong Hwa> (隆化); <Ssang Hwa Gok> (雙花曲); to <Jung Myung> (貞明); <Ga Shi Ri> (가시리) to <Hyung Gwang> (亨光); <Ya Shim Sa> (夜深詞) to <Bo Yae> (保乂) ; and with <Sa Mo Gok> (思母曲) wrote <Chang Hwi> (昌微). Illustration 2 shows the relationship of Koryo songs and the new songs based on them. <Illustration 2> ◁표 삽입▷(원문을 참조하세요) <Hwa San Byul Gok> was written by using all of <Han Lim Byul Gok> and <Yoong Hwa> was composed using only a part of <Poong Ib Song>; s melodic line. The rest of the pieces used parts of their base piece's melodic lines and supplemented changed lines to create the new songs. Some of these changed lines are completely altered and only keep minimal characteristics of the base melodic line and rather than to call it a changed version of the base piece, we might call it a completely original line. Also the structure of the pieces can be divided into two forms - contraction and expansion. The two methods of composing were either to use all parts or some parts of the original piece, and in the case of using only some parts, the added changed lines would make it difficult to establish any reference to the base piece, also bringing about the expansion and contraction of the forms. I have analyzed 18 pieces composed from beginning of the Chosun era (Yi Dynasty)to the SeJong era and have organized their composition methods. 8 new pieces composed using <Poong 12 Sibo> as the base music are its strophic form and the pieces asing Koryo songs as their base are in through composed form. A point to be aware of is that even when using the Chinese songs as the base piece, the new compositions always were written reflecting the Korean musical styles and during the King SeJong era, when independence was strongly stressed, they not only chose only Koryo songs for their base pieces but having supplemented she new compositions with varied melodies and so on. They showed beginning signs of creativism in composing new and original pieces without being bound to original melodic lines or the base piece itself. Of course, in Korean traditional music, the 'act of composing' did not just begin in the Chosun era. But in reaching my objectives in understanding of composition method, by having chosen mateial from this period not only can we understand the essence(substance) of the music itself but because so many new pieces were composed in the beginning of the Chosun era that these pieces are the first and the oldest material we have that can be used for references. In order to understand the degree and the position that the composition methods used from end of the 14th century to middle of the 15th century (SeJong era) holds, I have compounded the beginnings of composition activities in the western music history. The beginning of western composition can be summarized by trope and sequence. Sequence can be considered to be a derivative of trope so I'11 deal only with troping. Trope can be divided largely into 3 sorts ; one is to take the original melody and melismatize it ; two is to place its text differently; three is to use both methods at once; but there is also a variety of other methods too complex to include in these divisions. Also when writting a new piece, sometimes a part of the original melody line is inserted into the new piece and/or is placed at beginning of the new piece. Troping uses mostly only the given piece or a given line. This was a method of composing used since the 9th century but coming into the 12th century the insertion or supplementation of parts or lines gave way to the creating of new lines at one's will. The difference between the western troping method of using the given melody or a given piece as the base piece with that of Korean traditional method is that although the composition method used in the Chosun era was that of being able to use the given music or line as a reference piece but the note itself and the ending styles could be changed and that many changed lines to supplement the new piece. The second objective study is to be able to find the most appropriate vocabulary in naming the activities and methods related to creating and composing of Korean traditional music. The reason is that music whether traditional or being written in the present are all tailed 'composing' and there is a need to reorgnize these different ideas. As stated above, in the beginning of the Chosun era the method of composition was that of using a base (reference) piece to create a new piece. So, from the position that this method is different from the method of creating a completely separate and independent music. 1 come to introduce the word 「Formation」 (形成) as a new word to describe the composing method of Korean traditional music. The reason 1 conclude to use the word 'Formation' is that not only from the understanding of the music in the Chosun era as described above, but from the viewpoint of history, the various music forms such as San-jo. Pan-so-ri etc. that are included all have the qualities of having 'Formation', thus giving me reasons to qualify this word. The word 「Formation」, as in the past performers, is the creative action according to die performer, and composition is the creative action according to the composer. I summarize that these are the two creative actions related to Korean traditional music. This study being the very first in analyzing the composition methods in Korean traditional music, I conclude my thesis with the beginning of my studies in composition methods of the Korean traditional music.

본 연구에서는 2015 개정 교육과정을 기초로 하여 국악영재교육의 현황을 분석하고 대구예술영재교육원의 교육과정을 중심으로 백워드를 활용한 수업활용방안을 통해 국악영재교육과정에 대한 발전방안을 모색하는 것을 목적으로 한다. 또한 예술영재교육이 가지는 가치를 알고 국악영재교육에 대해 내러티브를 활용한 교육과정 재구성을 제시하여 국악영재교육이 활성화 되는 방안을 모색하고 제시하고자 한다. 나아가서 예술영재교육 수업에 있어 교사와 학생의 내러티브가 어떻게 적용되는지 살펴보고 이를 바탕으로 영재교육의 나아갈 방향에 대해 제시한다.

본 연구는 국악을 통한 말놀이 활동이 다문화가정 유아의 음운인식능력과 어휘력에 미치는 영향을 알아보는데 목적이 있다. 본 연구의 대상은 경기도 안산시에 소재하고 있는 A초등학교병설유치원 만 5세 3명, 만 4세 3명의 다문화가정 유아였다. 국악을 통한 말놀이 활동을 1주일에 2회씩, 16주 동안 총 32회 실시하였고, 매주 생활주제에 맞춰 국악곡을 선정한 후 1차시는 국악 익히기, 2차시는 국악 부르기와 말놀이 활동을 하였다. 연구 결과, 국악을 통한 말놀이 활동은 다문화가정 유아의 음운인식능력과 어휘력 신장에 긍정적인 영향을 미쳤다. 이러한 연구 결과를 통하여 다문화가정 유아의 음운인식능력과 어휘력 증진 측면에서 국악을 통한 말놀이 활동의 가치를 발견하고 유아교육 현장에서 다문화가정 유아의 언어능력 향상에 도움을 줄 수 있는 교육활동을 제시하였다는 점에서 의의가 있다.

아동에게 전래동화는 상상력과 창의성을 무한대로 만들어 주는 매개체이며, 아동에게 교육가치 및 체험이라는 관점에서 창의적 신장을 위한 매개체로도 매우 적합하다. 또한 전래동화는 한국적 정서와 가치관, 인간관계, 환타지 등 올바른 사고력과 창의력, 언어능력의 교재로서도 매우 적합하다. 이러한 전래동화의 가치에 미술의 활동과 원리, 음악의 활동과 원리의 통합을 통하여 융화와 수업의 효율성을 증진시킨 수 있는 통합적 프로그램을 제시하였다. 전래동화 속에는 우리 조상의 리듬감이 내재되어 있어 가락을 즉흥적으로 적용하여 다양한 음악적 표현활동을 할 수 있게 하고, 상상표현을 통한 미적체험도 할 수 있다. 따라서 본 연구는 아동들에게 전래동화 속에서 살아있는 우리문화와 전통을 자연스럽게 익히게 하고 또한 그 전통에서 미술과 음악, 즉 예술이 우리의 생활과 밀접한 관련이 있음을 인식하게 하는 통합 프로그램을 제시하였다.