2012, Vol.20, No.1

Journal of the Korean Society for Musicology 2024 KCI Impact Factor : 0.64

eISSN : 3092-2410
https://journal.kci.go.kr/musicology

Recently, Asia Traditional Orchestra is paid attention to by the scholarly communities of Korea. 11 Asian countries participate in launching Asia Traditional Orchestra and have sought to construct Asia’s indigenous cultural values. Thus, it seems that the launch of Asia Traditional Orchestra mirrors a first step to reconstruct an imagined community of Asia in the era of globalization. Asian Traditional Orchestra can be seen as a decolonization and glocalization of postcolonial Asian communities, adopting the strategies of juxtaposition and intertextuality of one’s own musical tradition. In this sense, the main goal of my paper is to analyze the dynamics and imbalance between global and local which is reflected in Asia Traditional Orchestra. On the one hand, my argument is more centered on how this orchestra consciously or unconsciously observes Asia herself as others. That is, my paper not merely mediates the dialogics between the ‘West/global’ and the Asian communities/local and between modernity and tradition but also uncover the modernist and Orientalist discourse hidden in this project. On the other hand, my paper also explores the way which Asia Traditional Orchestra can serve as a meaningful proposal for overcoming the ambivalence of globalization.

This paper focused on several aspects of E. T. A. Hoffmann’s review of Beethoven’s Fifth Symphony in order to understand it’s philosophical, aesthetic and historical importance. First of all, the difference between the listening attitude in his review and that of previous centuries as well as the reason for that change were investigated. The listening aesthetics before Hoffmann was based on the rhetorical framework which considered music as a language. It was composer’s responsibility to make his music readily comprehensible. On the contrary, the romantic music aesthetics considered music as a means of finding the truth or the absolute like philosophy. Accordingly, music became an object of contemplation rather than that of understanding. The romantic aesthetics urged a listener to participate actively in constructing a meaning of music through his imagination. After that, we looked into the important concepts such as the sublime and the infinite in the review of Beethoven’s Fifth Symphony and tried to find out how these concepts were related to contemporary philosophical issues. The sublime was perceived by many writers as an epistemological means toward the integration of the finite and the infinite. It was also acknowledged that the sublime could be most strongly generated in the genre of symphony. Accordingly, the reason why Hoffmann emphasized various aspects of the sublime in his review was not only a personal outpouring of his passionate feelings but also a broader strategy reflecting the epistemological tendency of idealism.

C. Czerny (1751-1857)’s Piano Exercises are one of the favorite teaching materials in Korean piano education. Recently, most Korean music companies have been rushing to publish a brief type of Czerny piano exercises’ that eliminate repetitive and difficult exercises from the original Czerny’s works. Even though it is popular to Korean piano teachers and students, it is uncertain whether this brief type of Czerny’s exercise still contains same level of performance skills that is equivalent to his original works. Therefore, it is necessary to examine the Czerny piano exercises published in Korea to survey how piano teachers are utilizing Czerny piano exercises in their teaching. In this research, the required performance techniques of each exercise especially in the original Czerny’s piano works (Op. 139) was analyzed so as to provide a guideline to Korean piano teachers in utilizing Czerny’s teaching materials. Based on this result, the 100 exercises were stratified into 7 group which have similar performance techniques. The result of this research is expected to provide the specific teaching goals of each exercise of Czerny’s piano works (Op. 139). In addition, the stratified samples will guide piano students to reduce the repetitive rote playing and practice efficiently.