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가야금 초기 학습 방법론 연구(1) - 신체 운동 원리와 연주 자세-A fundamental study for an establishment of the teaching method for gayageum(Ⅰ) - on the basis of the posturing the performance and the principle of body movemt-

Other Titles
A fundamental study for an establishment of the teaching method for gayageum(Ⅰ) - on the basis of the posturing the performance and the principle of body movemt-
Authors
송혜진
Issue Date
Dec-2004
Publisher
한국국악학회
Keywords
가야금 교수법. 연주자세. 연주법. 신체운동원리. 이영희
Citation
한국음악연구, v.36, pp.263 - 282
Journal Title
한국음악연구
Volume
36
Start Page
263
End Page
282
URI
https://scholarworks.sookmyung.ac.kr/handle/2020.sw.sookmyung/15954
ISSN
1975-4604
Abstract
My major concern on this paper lies on the educational performing methodology of gayageum for the beginners focused on the rightful posture of the performance and the principle of the body movement. To get a result, at first, I had surveyed more than 100 gayageum players to find out if they have earned any specific habits in terms of performing posture and performing while they were receiving gayageum lessons. Secondly, I taped the players' performing posture and analyzed each problem that the players had presented based on their educational experiences. Finally, I discussed several types of teaching methods of gayageum which are useful to performers in understanding the need of rightful performance posture and the principle of the performance mainly based on the teaching method created by Lee, Young-hee, the master of gayageum. Through the research, I discovered that the gayageum players tended to be just imitated the instructors' performance style without any other systematic methods or educational principles. That's why the most of the players have had troubles in having rightful posture and performance, and even more, some people have ever experienced the pain or paralysis of the body. To reduce the current problems that a number of the gayageum players are suffering with, I introduced the Lee, Young-hee's teaching method whose main point was to enhance elimination of the player's useless power and tension on their shoulders, arms and hands. Another features of Lee's teaching method were about the precise and resilient touch by right hand and a stable nong hyeon and keeping balance between the instrument and the posture of the performer's body. To be summarized, I indicated the eight bad habits in posturing and playing the instrument that can often happen to gayageum players who are on the beginning course according to my research result. I attempted to suggest a systematic method composed of the threestages named as "diagnosis- prescription-confirmation" based on the previous works done by Lee, Young-hee and other musical theorists to improve the learner's learning process. I hope my work in which I suggested a detailed gayageum performing method that is useful in eliminating the useless tension and power of the body, will be able to bring a even small help in establishing a fundamental step of the educational performing theory of gayageum.
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