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수록정보
수록범위 : 1권0호(1999)~47권0호(2022) |수록논문 수 : 401
음악과 문화
47권0호(2022년 09월) 수록논문
최근 권호 논문
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KCI등재

저자 : 박미경 ( Mikyung Park )

발행기관 : 세계음악학회 간행물 : 음악과 문화 47권 0호 발행 연도 : 2022 페이지 : pp. 5-39 (35 pages)

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As we entered the 21st century global society and recognized art as the keywords of integration and insight, we dreamed of a new world. However, after 20 years, we are standing in the middle of a world we have never experienced before. Now, not only are we facing an environment in which the expression methods and methods of expression that artists have built have changed completely, but the strong foundations of artists' activities and philosophies have been shaken, weakening their deep-rooted expertise and identity. Artists in the 21st century, who must work in such an unfamiliar environment, are now armed with a new identity and stand at a desperate point to actively respond to the changing scene of the performance. We need time to share our experiences of research and exploration with a sense of the problem of the field that is taking place here and now.
So far, musicologists have only been interested in 'traditionally' meaningful music. In other words, they only paid attention to music or topics that had empirical data and that they were 'academic' worth of research. Now, it is difficult for us to easily challenge the task of finding an answer by seeking an academic challenge to find the problem consciousness generated while paying attention to the changed, constant, and unfamiliar field of the 21st century. Why?, We in the past did not focus on the music scene, were past-oriented in their selection and handling, were accustomed to disciplined studies, hesitated to cross boundaries, and applied a specific existing theory to understand the meaning and meaning of the theory. This is because, in terms of theories and methodologies, it is not enough to deal with the field of change of the times in terms of theories and methodologies, as no sharp numbers can come to mind other than the types of research that prove value or the method of developing a discussion by matching data by applying existing methodologies.
Now, it is necessary to discuss the immediate tasks such as critique of customs to be abolished and the formation of a new platform for an integrated approach beyond the overcoming of interdisciplinary divisions, from a national approach to an international communication approach. to form a suitable support, it is necessary to examine the method of implicit communication and expression among the former experts in the field, and to discuss the development of efforts and methods for communication with other departments.

KCI등재

저자 : 이건명 ( Lee Gunmyoung )

발행기관 : 세계음악학회 간행물 : 음악과 문화 47권 0호 발행 연도 : 2022 페이지 : pp. 41-66 (26 pages)

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In the case of musicians growing up in institutional education, they focus only on learning for nearly 10 years to cultivate basic skills until they graduate from art middle and high schools and universities. In addition, since it is rare for an independent artist to be able to stand alone as soon as they graduate from college, most of them gain experience in art activities and go to graduate school to study at the same time. At this time, those who cannot pay their tuition with the help of their parents will have to add the hours of work to earn tuition and living expenses. Considering this series of processes, it is no exaggeration to say that it takes more than 15 years to take the first step into society with your own art.
However, the reality in front of young artists who have to finally start their full-fledged artistic activities after such a long period of time is incomparably harsh with the competition-oriented, goal-oriented learning process. Modern society, which thoroughly evaluates the value of all beings around economic indicators, never helps a person's artist settle down safely in society if he or she fails to prove his or her economic value. This is because artists may be the most expendable and less socially valuable beings in terms of "economic utility". In the reality that a sufficient social safety net has not been established, it is virtually impossible to secure the sustainability of art with only one's own power. Therefore, almost all artists, regardless of generation, are forced to rely on government-supported projects to carry out their activities.
In addition, culture and arts policies centered on the metropolitan area, which have long emerged as a chronic problem in the art field, have faced a phase of full-fledged change in the era of cultural decentralization starting with the "blacklist crisis." And as the stage disappeared and the radius of art activities rapidly narrowed due to COVID-19, the art ecosystem in modern society has entered an era of "great transformation," from artists seeking new ways online to finding new governance paradigms centered on their residential and active areas. Therefore, the future art ecosystem needs fundamental and practical considerations to revitalize local art in terms of sustainability.
This article tries to understand the current state of the art ecosystem through the reality of young artists in modern society, and at the same time, try to summarize the possibility of a solution through governance that can be found in the era of cultural decentralization among the social systems that make it difficult to continue artistic activities. Through this article, I hope that artists who will live in the future will go beyond survival and establish their identity as subjects of creating a society that lives with art.

KCI등재

저자 : 신혜승 ( Hye Seung Shin )

발행기관 : 세계음악학회 간행물 : 음악과 문화 47권 0호 발행 연도 : 2022 페이지 : pp. 67-104 (38 pages)

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Musicologists who read, analyzed, and discussed sheet music and literature were given a new tool: digital technology. In musicology research, a new environment of study has been opened where new research methods and attempts can emerge. In order to explore what kind of music research can be derived under the digital environment, I first looked at the concepts and cases of digital humanities. Based on this, we discussed what kind of digital music research has been conducted so far and connected it with cases of digital musicology.
Digital musicology can be defined as a concept that encompasses various research topics, scope, and methods, as well as innovation in the method of research and education in musicology. For example, in digital musicology research, you can visualize the data, show the network, and analyze them so that the relationship can be easily understood. In addition, it is possible to provide a vivid sense of presence of music as an auditory art while storytelling by connecting information and materials in space and time. In this respect, digital musicology will be positioned not only as an academic achievement but also as a new way for the public to enjoy culture. Digital musicology will have cultural potential that can be used in various fields, and through this, the meaning and role of musicology will be further expanded.

KCI등재

저자 : 성혜인 ( Hyein Seong )

발행기관 : 세계음악학회 간행물 : 음악과 문화 47권 0호 발행 연도 : 2022 페이지 : pp. 105-122 (18 pages)

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In this study, the method of the Korean traditional performing arts industry that is responding to digital transformation after the spread of COVID-19 is outlined and critically examined. However, this study does not aim to suggest a way to quickly acquire digital literacy to adapt to the new environment. Rather, it captures the impact of digital transformation on the Korean traditional performing arts industry, reads the back of digital capitalism, and reconsiders the deleted questions. In particular, this paper examines what has remained since the discourse surrounding the digital-centered paradigm took over the Korean traditional performing arts industry.
The Korean traditional performing arts industry recognizes digital transformation or an online-based creative environment as a crisis or a new opportunity. However, rather than looking back on the conditions of performing arts, this change seems to be an opportunity to utilize technology and media as a commercialization strategy for Korean traditional performing arts. In this study, it was considered that this problem was essentially caused by the "survival politics" that has existed deeply in the Korean traditional performing arts industry for a long time. It also pointed out that the condition of COVID-19 is being reversed as a mechanism to justify the results of using new technologies and media without any special awareness of problems, rather than attempts to use various technologies and media due to COVID-19.
The spread of infectious diseases, wars, and climate crises is asking us about what art can do. These social issues are very specific 'reality' that greatly affects the artist's own existence. The reality we face goes beyond the trend of adapting quickly to the digital environment and not falling behind. A destructively shaken society is a paradigm we face.

KCI등재

저자 : 서민정 ( Min-jung Suh )

발행기관 : 세계음악학회 간행물 : 음악과 문화 47권 0호 발행 연도 : 2022 페이지 : pp. 123-148 (26 pages)

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The word paradigm comes from the word “paradeigma” which means “fundamental” in the philosophy of ancient Plato. At a paradigm shift, when you don't know where to go, you have to think about its essence. Music education philosophy is the work of discussing reasons for music education.
This study looks at B. Reimer's empiricism and D. Elliot's pragmatism among the different perspectives found in contemporary music education philosophy. It points out various problems that have emerged in contemporary music education and, within these philosophies, presents different types of experience, musical thinking and knowledge (MTK), in new directions for music education.
Since music is an art that expresses human thoughts and feelings with sound, it can form a stem to search for new directions in art education. In addition to reusing the essence of art in an era that pursues change, another thing that society expects from art is creativity. Based on Webster's creative music thinking model, we will explore the direction of art education to produce creative products.
The fastest way is to see reality correctly. The clumsiness of trying to find the direction of art education necessary for the paradigm shift based on several important theories of music education. hope and hope.

KCI등재

저자 : 이기선 ( Lee Ki Seon )

발행기관 : 세계음악학회 간행물 : 음악과 문화 47권 0호 발행 연도 : 2022 페이지 : pp. 149-178 (30 pages)

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This study focused on examining the current state of research related to Cheol Ajaeng and discussing the current state of passing down and its application prospect in the future.
Even though Cheol Ajaeng has been invented more than 30 years, it still does not be the mainstream and is only played by some because most Ajaeng players concern that iron strings are very sensitive and hard to handle and Cheol Ajaeng is only for an optional instrument depending on their choice. However, at this point in time, it is important to look into the availability of Cheol Ajaeng and discuss its potentiality in the future because it can look back on a part of the development process of Ajaeng.
The first Cheol Ajaeng was invented by Ajaeng virtuoso, Yoon yoon-seok (1939 4.14 - 2006 1.6) He had made from 1991 to 1992, and considered of bowing and Jibeomjil technique. Since then, some Ajaeng performers have used it to Sanjo, Sinawi, folk-song and dance accompaniment, and even some original compositions, and unlike the first invented Cheol Ajaeng, currently, it has changed the body shape and the materials of strings.
Until now, Cheol Ajaeng for professional Ajaeng performers has been recognized as an optional instrument because it is hard to play, and its penetration rate is very low because it is made in a custom-made. However, in terms of its application prospect, it still has a lot of potentials to use in Sanjo, Sinawi, folk-song and dance accompaniment, and even some original compositions. The unique tone color when playing Cheol Ajaeng by the bow and the clear and delicate resonance when playing with Jibeomjil technique are distinguished from the sound of So Ajaeng and Dae Ajaeng, thus it gives more special effects and can be stood out in the original compositions. However, the original compositions for Cheol Ajeang are still limited in the solo recital, chamber or Gugak orchestra concerts, so audiences are rare to listen to music for it.
Generally, Ajaeng performers are difficult to try playing Cheol Ajaeng because it is not only a basic instrument to learn like So Ajaeng and Dae Ajaeng, but also does not have many original compositions. Therefore, it needs to compose music more for Cheol Ajaeng so that Ajaeng players can have chances to play it in the environment. After the original compositions for it increase more, for sure, Cheol Ajaeng players will increase as well, so it will be developed as a solo instrument, not just for the instrument for effect.
It can also be compared to the case when the original compositions for Dae Ajaeng have been composed since 2000, so it is rapidly developed as a solo instrument, now it has more diverse repertoires and its strings even are added. In this regard, Ajaeng players and composers have to consider the potentials of Cheol Ajaeng which has been a new tradition. In the future, Cheol Ajaeng will not only have more values in accordance of the changes of the times, but also establish itself. In addition, it looks forward that Cheol Ajaeng related music will be more diverse and developed. Also, it hopes that this study will be helpful to study about Cheol Ajaeng related contents and give some motives to compose various original compositions.

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