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A Study on the Techniques of Creation for Choe Uzong’s Opera Arriving on the Waters like the Moon - Focused on the Cyclic Technique of the Musical Elements -

  • Journal of the Korean Society for Musicology
  • Abbr : JKSM
  • 2019, 27(1), pp.7~43
  • DOI : 10.34303/mscol.2019.27.1.001
  • Publisher : The Korean Society for Musicology
  • Research Area : Arts and Kinesiology > Musicology > Other Musicology
  • Received : April 15, 2019
  • Accepted : June 13, 2019
  • Published : June 30, 2019

Chun, Chung-im 1

1충남대학교

Accredited

ABSTRACT

Choe Uzong (1968- ) is a composer who distinguishes himself particularly in the musical play. His opera Arriving on the Waters like the Moon was born through ‘Sejong Camerata’ attached to Seoul Municipal Opera Company; ‘Sejong Camerata’ is a cradle of the creative opera where script writers and composers gather to study and discuss the works. Choe Uzong’s opera that is based on the script written by Go Yeonok was produced by Saito Rieco and then, conducted by Yun Hogeun at Sejong M Theater for Nov. 20~23, 2014. The purpose of this study is to review the cyclic musical elements among composer Choe Uzong’s techniques of creation for his opera Arriving on the Waters like the Moon to have the music match the play. The effects of the musical elements used cyclically are multi-faceted. First, the major motif and theme would continue to be repeated in the vocal part of the song as well as the orchestra only to ensure the unity of the entire work. Secondly, as the several cyclical musical elements are used simultaneously, the characters’ psychological changes and conflicts are expressed complexly. Lastly, as the cyclical elements are used in introduction part, interlude and postlude of each scene, the audience would well predict the development of the play, while being aware of the atmosphere of the play. The opera is a musical drama. When “music” and “drama” are interlinked organically, a genuine musical play would be born. From such perspectives, Choe Uzong’s Arriving on the Waters like the Moon must be a good work having the characteristics of the musical play. It is not that “a beautiful melody” is attached to “a lyric” but that “music” plays another role of “lyric” to reveal the meaning of the work. In addition, the introduction, interlude and postlude are engaged closely in the development of the play, expressing characters’ psychological change and progression of the events. Choe Uzong’s work must be a good model work for us who are longing for a high level of the Korean Opera.

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This paper was written with support from the National Research Foundation of Korea.
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