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Melodic Variation, Regional Identity, and Meaning in the Xianshi String Ensemble Music of Chaozhou, South Chinal
차오저우 셴스(弦詩)의 가락변주, 지역 정체성, 의미

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Authors
Dujunco, Mercedes M.
Issue Date
2001
Publisher
서울대학교 음악대학 동양음악연구소
Citation
동양음악, Vol.23, pp. 17-54
Abstract
In 1990, while in Hong Kong before embarking on ethnomusicological fieldwork in the Chaozhou region of Guangdong Province in South China, I was asked by a Cantonese university student whom I had met what music I was going to do my research on. When I told him that it would be on the xianshi string ensemble music tradition of Chaozhou, he said rather incredulously: "Why do you want to study that music? It is so boring and monotonous. Those Chaozhou musicians repeat a melody over and over again and play it to death. Why don't you study our folk music (i.e. Cantonese music or Guangdong yinyue) instead? The melodies are much more varied and livelier; they're shorter too." Such a remark may be attributed in part to the subethnic and regional bias that the Hong Kong Cantonese student might have felt towards Chaozhou Chinese or Teochiu, as members of the Chaozhou subculture refer to themselves in their native dialect.



1990년, 남중국 광둥(廣東)성 차오저우(ì朝州)로 종족음악학 현장연구를 떠나기 전 홍콩에 있을 때 만난 광둥어를 쓰는 대학생 하나가, 무슨 음악에 대해 연구하러 가느냐고 내게 물었다. 아마 차오저우 셴스(拉詩) 전통일 거라고 하자, 학생은 조금 의아해하며 말했다. “왜 그 음악을 연구하려고 하세요? 그건 따분하고 단조로운데. 차오저우에서 음악 하는 사람들은 똑같은 가락을 죽어라고 되풀이만 하잖아요. 차라리 이 동네 민속음악(광둥음악)을 하시지요? 가락도 훨씬 다양하고, 생동감 있고, 게다가 짧은데.” 이 말은 어쩌면 광둥어를 쓰는 홍콩 학생이 차오저우인(그네들 방언으로는 ‘떠추인 Teochiu’)에 대해 갖고 있는 향족적(椰族的, subethnic) 및 지역적 편견 탓일 수 있다.
ISSN
1975-0218
Language
English
URI
http://hdl.handle.net/10371/87845
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College of Music (음악대학)Asian Music Research Institute (동양음악연구소)Journal of the Asian Music Research Institute (동양음악)동양음악 Volume 23 (2001)
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