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세계음악학회> 음악과 문화> 현상학과 경험적 종족음악학

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현상학과 경험적 종족음악학

루드스톤 ( Ruth M. Stone ) , 김묘신
  • : 세계음악학회
  • : 음악과 문화 42권0호
  • : 연속간행물
  • : 2020년 03월
  • : 211-227(17pages)

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  • : 예체능분야  > 음악
  • : KCI등재
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  • : 반년간
  • : 1229-5930
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  • : 학술지
  • : 연속간행물
  • : 1999-2020
  • : 369


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1민족성에서 지역성으로: 한국음악의 '탈식민적 세계시민주의

저자 : 최유준 ( Yu-jun Choi )

발행기관 : 세계음악학회 간행물 : 음악과 문화 42권 0호 발행 연도 : 2020 페이지 : pp. 5-27 (23 pages)

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Euro-centrism has been accepted as the unconscious premise of universal music discourse in Korea. In this essay, I took issue with this colonial dichotomy of "The West and the Rest," and sought alternative ways of thinking for overcoming it. My views on this is summed up by the phrase “from ethnicity/nationality to locality.” This means that the word "Korea" in "Korean music" would cease to be an essentialist sign of "ethnicity/nationality," and instead refers to a physical and specific place where bodily experiences and cultural memories are entangled. In this case, the institutional dichotomy between Western music and Korean music would lose effect, and the boundary and contact zone would be productively highlighted. Overall, I am looking for a path to what Walter D. Mignolo calls “cosmopolitan localism” or “decolonial cosmopolitanism,” which aims for a polycentric and “pluriversal” world based on “border thinking.” This could ultimately be shaped in translocal encounters that are set against globalization

2바흐연구와 2020년을 맞는 한국음악학 안의 기억과 기록

저자 : 이가영 ( Kayoung Lee )

발행기관 : 세계음악학회 간행물 : 음악과 문화 42권 0호 발행 연도 : 2020 페이지 : pp. 29-55 (27 pages)

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This study traces various ways in which Western Bach scholarship has changed its aim, direction, and methodology for the last three decades, implicitly or explicitly, reflecting new criticism and attitude perceived in the studies of the Western musicology for the last couple of decades. It also illustrates that Bach scholarship in West has moved from the traditional source studies to the contextualized discussions in which Bach's music is read in respect to the emergence of Postmodernism and even Globalization. Finally, this study turns its attention to Bach reception here in Korea, pointing out the critical and indigenous efforts to read Bach's music given by Korean musicologists since 1980s. And this study argues that the kind of effort need to be carried out by our generation as well.

3국악학 지형의 재검토와 동시대 한국음악학을 향한 사유와 모색

저자 : 김희선 ( Hee-sun Kim )

발행기관 : 세계음악학회 간행물 : 음악과 문화 42권 0호 발행 연도 : 2020 페이지 : pp. 57-89 (33 pages)

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Since the beginning of the 20th century, music of Joseon have been studied by various scholars and writers including Western missionaries, Japanese musicologists and local Korean scholars and musicians with various backgrounds. Even though their studies encompass various areas of study, yet, their studies have remained at the boundary of colonial modernity.
After the independence, an institutionalized Korean musicology has established by several individual scholars including Yi Hye-ku, Chang Sa-hun and former musicians of the Yi Wangjik Aakpu, a former court musicians of Joseon. Along with endeavors to establish the rightful history and theory for Korean traditional music after 36 years of colonial period, the field of Korean musicology have developed during last 70 years. However, the aim and purpose of Korean Musicology remained narrow while its perspectives and methodologies were limited, mostly focus on music analysis which resembles the attitude and direction of colonial modernity. To overcome colonial modernity in current Korean musicology, this paper suggests that Korean music should be treated as a process not as a product. At the same time, scholarly perspective of Korean musicology should be broadened including examination of context and culture, away from a simple musical analysis and examination of historical documents and music books. By doing this, Korean musicology would achieve its contemporary meaning in a changing society in Korea and beyond.

4대중음악학, 대안적 학문성으로서의 흐름과 전망

저자 : 송화숙 ( Song Hawsuk )

발행기관 : 세계음악학회 간행물 : 음악과 문화 42권 0호 발행 연도 : 2020 페이지 : pp. 91-111 (21 pages)

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The purpose of this article is to examine the process of becoming a ology of popular music studies and to examine its significance and limitations. The period when the humanities interest in popular culture and popular music rose rapidly in Korea was a turning point from the 1980s to the 1990s, when the "cultural thing" that had been considered secondary to issues on political and social expanded enough to embrace the existing metadiscourse and various academic approaches to popular culture have exploded. Under the evaluation, that in the last three decades popular music studies has exploded on its extension, but the academic integrity has not been imploded, this paper focuses on aspect of historiography and aesthetics of Korean pop music.

5사실의 간극을 채우는 페미니즘적 상상: 클라라 슈만 관련 전기영화 비평

저자 : 이미배 ( Meebae Lee )

발행기관 : 세계음악학회 간행물 : 음악과 문화 42권 0호 발행 연도 : 2020 페이지 : pp. 113-138 (26 pages)

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Three films feature Clara Schumann (1819-1896) as a character: Song of Love (1947), Fruhlingssinfonie (1983), and Geliebte Clara (2008). While all three films deal with same topic―Robert and Clara Schumann's life together―they differ in several details. Song of Love, directed by Clarence Brown, was produced and distributed by a major film company in the United States; Brown's film covers the longest period, from the couple meeting in the 1830s to Clara's death in 1896. Fruhlingssinfonie, directed by Peter Schamoni, was produced in the former West Germany; Schamoni focuses on the musicians' love story, from their courtship to the 1840 premiere of Robert's Symphony No. 1 “Spring”, soon after their wedding. Geliebte Clara, directed by Helma Sanders-Brahms, was the product of a “Franco-German-Hungarian” collaboration, spanning the couple's move to Dusseldorf and Robert's last years.
As the Schumanns left extensive archival resources regarding their life together, audiences are apt to believe their cinematic representations are largely based in fact. Yet in comparing the films, the portrayal of Clara differs dramatically depending on the time, place, and director of each film, raising the question of the extent to which her image was constructed according to fact and fiction. By analysing and comparing Clara's characterization in each film, this paper explores how the history of a real woman musician was altered to reflect the contemporary interpretation - among the film maker, audience, and in the wider cultural context - of a woman's role and position: from a traditional mother who willingly manages both domestic work and a professional career, to a more realistic woman who struggles to survive in the face of her husband's illness. This will ultimately lead to consideration of the relationship between musicology and artistic representation of music history.

6호머 헐버트(Homer B. Hulbert)가 기록한 구한말 서울의 음악문화

저자 : 윤영해 ( Younghae Youn )

발행기관 : 세계음악학회 간행물 : 음악과 문화 42권 0호 발행 연도 : 2020 페이지 : pp. 139-169 (31 pages)

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In the middle of 1880s, Korea started to open the gate to the western. Homer B. Hulbert (1863~1949) in his age of mid 20s came to visit Korea in 1886 as a English teacher of the nation first Royal English College. His first mission was teaching English to the future hierarchy of Korean government in national college, but he broadened his occupation in various field like Koreanology scholar, Seoul correspondent in American Newspaper, diplomat and a magazine publisher and editor. The most significant Hulbert's publication will be the book of Korean history The Passing of Korea(1906), and the main field of his research will be the Koreanology.
Most of his papers are published through the monthly magazine The Korean Repository and The Korea Review which was published by the Western missionaries in Seoul. Until now, Korean musicologist value of his paper 'Korean vocal music' (1896) because of the significance of the music script of Korean folk song Arirang which was the first folk song written in western score. Also, scholars recently find out that the first Korean national anthem which was composed by the german composer Eckert was not composed by him but revised melody from Hulbert's song Parami-Punda. Because of the significance of these scholastic finding, Hulbert's research paper Korean Vocal Music regained attention from the Korean musicologist.
Homer Hulbert came to Korea when the westernization wave was just begun. It means that the relationships between cultural context and the musicing are still bonded strong. As a former Seoul correspondent and missionaries who conveyed the realities of Korean to the United States, he preserved the records in terms of conveying detailed information and respecting local culture, preserving the pre-western music culture and the way of existence in traditional society.
In this paper, we reviewed the existence of music related to the customs of traditional society and reconstructed the performance of music in the traditional society that has disappeared through Hulbert's paper. It is a great achievement of this paper that we confirmed the archetypes before the decontextualization of traditional music, such as festival performances related to New Year's Day in Seoul, women's musical activities, and specific aspects related to shamanism.

7로빈드로 숑깃(Tagore Songs), 벵골의 아리랑

저자 : 윤지선 ( Jiseon Yun )

발행기관 : 세계음악학회 간행물 : 음악과 문화 42권 0호 발행 연도 : 2020 페이지 : pp. 171-209 (39 pages)

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This study began with a viewpoint of comparative musicology on Arirang, the sentiment of Korean people and Bengali Rabindra Sangeet (Tagore Songs). The purpose of this study is to discover cultural anthropological value of Rabindra Sangeet as a global heritage and symbolic contents of Bengali people by exploring the connections between Tagore songs and meanings of Arirang.
In the process of transitional period of Arirang from rural folk songs to popular urban cultural contents, the significant momentum was the film 'Arirang' directed by Na, Woon Gyu in 1926, colonial era of Chosun. In contrast, but similarly, Rabindra Sangeet which had urban Indian classical music background by nature got a great turning point to be reformed its musical characteristics as well as philosophy of music aesthetics when Tagore met rural Baul whose musical elements were based on pure folklore of Bengal. Consequently during Bengali independence movement, Tagore composed several patriotic songs and those Rabindra Sangeet became representative 'songs of Bengali people' as Bengali resistance hymn and national anthem.
< Arirang > songs in about 1910∼1940 are poetic poems, narratives as well as storytelling of Korean people's lives and history. In this paper, through reflections of those 'Arirang meanings' on Rabindra Sangeet composed in 1905∼1911, the article argues differences and similarities in between Arirang of Bengal and Arirang of Chosun. Eventually, this is an attempt to illuminate cross cultural value and contemporary directions as world heritage of Rabindra Sangeet.

8현상학과 경험적 종족음악학

저자 : 루드스톤 ( Ruth M. Stone ) , 김묘신

발행기관 : 세계음악학회 간행물 : 음악과 문화 42권 0호 발행 연도 : 2020 페이지 : pp. 211-227 (17 pages)

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59권 0호 ~ 59권 0호

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24권 1호 ~ 24권 1호

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