@article{ART001369689},
author={Cho Yoo Mi},
title={Yun Seon-do's Perception of the Geomungo Found in "Gosan Yugo"},
journal={Journal of Humanities},
issn={1598-8457},
year={2009},
number={44},
pages={173-192}
TY - JOUR
AU - Cho Yoo Mi
TI - Yun Seon-do's Perception of the Geomungo Found in "Gosan Yugo"
JO - Journal of Humanities
PY - 2009
VL - null
IS - 44
PB - Institute for Humanities
SP - 173
EP - 192
SN - 1598-8457
AB - This Paper is to examine how the passages of the Gosan-Yugo(孤山遺稿) involving the geomungo describe not only Yun Seon-do's personal music taste, but also the significance of how the geomungo impacted the lives of the intellectuals of the Joseon Dynasty. In particular, the geomungo was widely enjoyed by upper-class intellectuals, centering on the scholar officials of the Joseon Dynasty. This certainly was significantly influenced by Confucianism and the influence of ancient Chinese ideas of ‘Qin(琴)’ in addition to ancient traditional meaning and value of the geomungo. Although Qin was considered the idealistic instrument in practicing the ideas of ancient music among intellectuals of Joseon Dynasty, its realistic limitations as musical instrument brought in the geomungo as its replacement. The nobles of Joseon Dynasty believed that the intention of musical values and ideals are to build virtuous minds within people, mange the human nature, and furthermore, bring political enlightenment by altering the negative cultures to positive ones, based on the theories regarding music in Confucianism.
The primary purpose of geomungo in Joseon Dynasty was to suppress negative human mind while enriching human nature by playing geomungo. Additionally, the geomungo was an outstanding media through which people could communicate their feelings ease their troubled the hearts. This is because even though the geomungo was a method for disciplining the mind by inheriting the spirit of ancient music, it was also an instrument used to play music. "Sori(聲) is a way to unravel the intentions of our hear,'' many intellectuals including Yun Seon-do(尹善道) loved using metaphors in their poems and melodies to show their true intentions, thereby sharing the process of mutual understanding. Moreover, playing the geomungo was a cultural code in itself and had the additional benefit of being sublimated into an artistic state. This was also a fundamental reason how the komun’go was able to lead the folk music culture since the middle of the Joseon Dynasty.
KW - Geomungo;Gosan-Yugo;Yun Seondo;Idea of Qin;The theories regarding music in Confucianism
DO -
UR -
ER -
Cho Yoo Mi. (2009). Yun Seon-do's Perception of the Geomungo Found in "Gosan Yugo". Journal of Humanities, 44, 173-192.
Cho Yoo Mi. 2009, "Yun Seon-do's Perception of the Geomungo Found in "Gosan Yugo"", Journal of Humanities, no.44, pp.173-192.
Cho Yoo Mi "Yun Seon-do's Perception of the Geomungo Found in "Gosan Yugo"" Journal of Humanities 44 pp.173-192 (2009) : 173.
Cho Yoo Mi. Yun Seon-do's Perception of the Geomungo Found in "Gosan Yugo". 2009; 44 : 173-192.
Cho Yoo Mi. "Yun Seon-do's Perception of the Geomungo Found in "Gosan Yugo"" Journal of Humanities no.44(2009) : 173-192.
Cho Yoo Mi. Yun Seon-do's Perception of the Geomungo Found in "Gosan Yugo". Journal of Humanities, 44, 173-192.
Cho Yoo Mi. Yun Seon-do's Perception of the Geomungo Found in "Gosan Yugo". Journal of Humanities. 2009; 44 173-192.
Cho Yoo Mi. Yun Seon-do's Perception of the Geomungo Found in "Gosan Yugo". 2009; 44 : 173-192.
Cho Yoo Mi. "Yun Seon-do's Perception of the Geomungo Found in "Gosan Yugo"" Journal of Humanities no.44(2009) : 173-192.
