A Study on the Music Theory in Choe Han-gi's Gicheukcheui

This study aims to examine musical views of the 19th-century thinker and philosopher Choe Han-gi through two parts “Singitong”(神氣通) and “Chucheukrock” (推測錄) of Gicheukcheui (氣測體義). To this end, contents of Volumes I and II of “Singitong” and Volume II and VI of “Chucheukrock” have been analyzed to consider his thoughts on music. In “Singitong”, Choi Han-gi accepted the concept of gas from Western modern science and emphasized that we should understand the principles of sound and vocal sounds through the gi (氣, generally translated as energy or strength) of physical objects, and that we should be able to distinguish the clarity and length of vocal sounds through experience. In addition, in “Chucheukrok”, he presented a theory of enlightenment through music based on the gi of the Eastern thought; his theory of enlightenment was a combination of the gi of Western science and the gi of Eastern thought. He emphasized that in order for education through rites and music to be carried out well, music that harmonized well with the sounds composed of the gi was necessary, and this should be played with the instruments made from eight materials that examined each temperament well. He suggested that if such music was communicated to the people, the ruler would be able to govern the people well. In addition, Choi Han-gi, who emphasized the practicality of learning, criticized the traditional theory of music that combined with ideology and believed that music could be used practically if it was notated with Western keys and notes. Choi Han-gi's music theory arose in the trend of the times when various perceptions were formed due to Western studies and ideas imported through the Qing Dynasty in the 19th century. It is significant in that it was intended to present a way to combine Western and traditional knowledge to be used in real society and music.