간행물

세계음악학회> 음악과 문화

음악과 문화 update

Music and Culture

  • : 세계음악학회
  • : 예체능분야  >  음악
  • : KCI등재
  • :
  • : 연속간행물
  • : 반년간
  • : 1229-5930
  • :
  • :

수록정보
수록범위 : 1권0호(1999)~46권0호(2022) |수록논문 수 : 395
음악과 문화
46권0호(2022년 03월) 수록논문
최근 권호 논문
| | | |

KCI등재

저자 : 김희선 ( Hee-sun Kim )

발행기관 : 세계음악학회 간행물 : 음악과 문화 46권 0호 발행 연도 : 2022 페이지 : pp. 5-43 (39 pages)

다운로드

(기관인증 필요)

초록보기

“World Music”―the transnational production and consumption of “local music”―has grown along with the development of twentieth-century popular music and deepened with twenty-first-century globalization. Since its introduction as a marketing term during the 1980s, “World Music” has consistently been criticized. After a long period of objections, the Grammy Awards and major music industries in the West changed their terminology to “Global Music” in 2020. Meanwhile, over the last thirty years, “World Music” also relocated to other parts of the globe, culturally translated and practiced within local musical landscapes, with new subjects, mediators, and desires.
Since its relocation to South Korea in the early 2000s, the practices of Korean World Music have shown major differences from the practice in the West. World Music has been practiced and consumed in various contexts including gugak, music education, and music festivals in Korea, while this paper focuses on its practice in the Korean popular music scene. In particular, this paper pays attention to the emergence of a very few pop musicians who select “non-Western” music as their musical property, based on their inclination against the dominant popular music industry of Korea. I call them “Post-Western Subjects,” and this paper highlights Korean world music artist Hareem and alternative rock musician Sung Kiwan, migrant artist Amidou Diabate and their multinational group AASSA (AfroAsianSSoundAcr) and TRES BONBON.
These musicians' performative practices in Korean world music have aroused their awareness of contradiction and inequality in the Western-centered, business-minded Korean popular music industry. For them, world music is another way of making their voices heard in Korean society and they have expanded their musical boundaries from popular music to various other music scenes in Korea. Thus, their music cannot indicate a genre, but rather directions and attitudes, and both emphasized that their practice of world music is “to share not to possess.” Over the last 100 years of Korean history toward modernization, music practice has been conflicted, distorted, and disrupted based on imperialistic modernity. The appearance of “Post-Western Subjects” and their performative practice of world music in the Korean popular music scene starkly illuminates the landscape of twenty-first century Korean music culture, while at the same time, becoming a site to expose conflict, collision, ambiguity, and coexistence between Local and Global.

KCI등재

저자 : 김묘신 ( Myoshin Kim )

발행기관 : 세계음악학회 간행물 : 음악과 문화 46권 0호 발행 연도 : 2022 페이지 : pp. 45-96 (52 pages)

다운로드

(기관인증 필요)

초록보기

This paper examines Koreanized Protestant hymns applying Korean traditional music in South Korea. It first explores the creation of Koreanized hymns through the history of attempts in the early years of Protestantism in Korea and then via hymnbooks published by individuals, institutions, and churches. Next, characteristics of the Korean Hymnbook published by Dongwol Church, a representative minjung (mass or people) church of the 1970s and 1980s, are discussed in terms of notation, melody, rhythmic patterns, and lyrics.
Although efforts to use Korean traditional music as church music ―beginning with Rev. KIL Seon-ju and missionary James S. Gale in the early twentieth century―were not accepted by people of the time, Koreanized hymnbooks have been actively published since the 1980s. Dongwol Church's Korean Hymnbook, in use for over 20 years in weekly worship, can be highly recognized for its use of jeongga (traditional Korean lyric song)-style hymns which were chosen symbolically as the proper musical genre to express Korean identity. However, despite the composer's initial musical intentions, the fact that he composed folksong-style and Western music-style hymns with pentatonic scales in addition to jeongga-style hymns reflects his consideration of the musical level of the church members who sang the hymns.
The Korean Hymnbook was used as an appropriate cultural tool to represent the spirit of the national, democratic, and communal church sought by Dongwol Church; furthermore, it is a cultural symbol representing the influence of the contemporaneous minjung cultural movement. Based on Minjung theology, the lyrics of the hymns contain autobiographical stories of church members who were the urban poor, their perspectives on the socio-political situation of the time, and a human-centered confession of faith. Different from the 1980s, today the perception of Korean traditional music has changed, and it is now possible to create various types of church music incorporating Korean traditional music genres. In addition, the spirit embedded in lyrics of the Dongwol Church hymns can be employed in singing not only the expression of vertical faith toward God but also the practice of horizontal love toward neighbors in Korean churches with weaker public faith traditions.

KCI등재

저자 : 김승민 ( Seungmin Kim )

발행기관 : 세계음악학회 간행물 : 음악과 문화 46권 0호 발행 연도 : 2022 페이지 : pp. 97-121 (25 pages)

다운로드

(기관인증 필요)

초록보기

This study is the first attempt to portray Daegu jazz through field studies and interviews with participants in the 'Jazz Jam Session in Daegu,' and to present countermeasures for its growth. The researcher recognized the importance of jazz jam sessions and participated in this event, the only one held in Daegu. Through the process, the operation method of 'Jazz Jam Session in Daegu' was constructed and its role in the region was diagnosed. The 'Jazz Jam Session in Daegu' played a role in providing aspiring students with an opportunity to educate and play. However, there was no opportunity to gain momentum in the operation flow, so it showed its limitations due to repeated performance practices. Through interviews with related people, this paper depicts the jazz present in Daegu, and expects the 'Jazz Jam Session in Daegu' to play the role of an educational venue outside the institution and a rehearsal stage for creating a new jazz style.

KCI등재

저자 : 유은선 ( Yu Eun Sun )

발행기관 : 세계음악학회 간행물 : 음악과 문화 46권 0호 발행 연도 : 2022 페이지 : pp. 123-150 (28 pages)

다운로드

(기관인증 필요)

초록보기

This study examines the reproduction and improvement cases of the Korean musical instruments undertaken by the Musical Instrument Research Center of NGC. It is found that the Korean musical instruments have been reproduced either by referring to relic instruments or by utilizing literature materials. The study also figures out the achievements and problems in the tasks. presenting their periodic features from the 1960s to 2010s to seek a desirable direction in the modernization of Korean instruments. The study results can be summarized as the following:
Firstly, the reproduction cases of string instruments by relics include the string instrument from Shinchangdong, gayageum from Wolpyeongdong, yogo from Yiseongsanseong Fortress, buk from Hwawangsanseong Fortress, five instruments engraved in Gilt-bronze Incense Burner of Baekje, and geomungo of Yunseondo (Gosan by pseudonym).
Secondly, the literature materials utilized for the reproduction of the Korean musical instruments include 『Sejongsillok』(Annals of King Sejong), 『Akhakgwebeom』(Musical Encyclopedia), 『Sinchuk J inchanuigwe』(Royal Protocols on Queen Myeongheon's 70th Birthday Celebration), 『Geumhapjabo』(Tablature Manuscript for Geomungo), and 『Injeongjeon Akgijoseongcheong Uigwe』(Royal Protocols for the Manufacture of Musical Instruments).
Thirdly, the Korean musical instruments should be modernized to the extent to which does not undermine their essence, and also the mere transplantation of the western style should be avoided.
Fourthly, not only the gugakgi materials and their structures but also the acoustic performance in performance halls need consistent research and improvement.
Lastly, it is also necessary to continue seeking ways to enhance musical effects through the development of the playing techniques, along with the modernization of the Korean musical instruments.

KCI등재

저자 : 이기선 ( Lee Ki Seon )

발행기관 : 세계음악학회 간행물 : 음악과 문화 46권 0호 발행 연도 : 2022 페이지 : pp. 151-182 (32 pages)

다운로드

(기관인증 필요)

초록보기

This study is about the history, the major, the curriculum, the current status of education since Covid-19 focusing on Tehran music school(girls branch) located in Teheran, Iran.
Since the Islamic Revolution in 1979, Iran has strictly been under control of government regardless of the field of classical, traditional, and popular music. Therefore, music subject was not educated separately in the curriculum of the general elementary, middle, and high schools except for a few private schools, and because of this reason, it is very hard to explore the current status of music education in the public education of Iran. However, students who want to study or to major in music still can enter related music schools to have professional education, so it is still possible to study the current status of music education by it.
Tehran music school located in Teheran, the capital of Iran, is a prestigious music school with a history of more than about a century. Since the established in 1914, the name of the school and the curriculum has reorganized. So, now the school is divided and operated into boys and girls separately. Since the spread of Covid-19, Tehran music school(girls branch) has been conducting both face-to-face and non-face-to-face classes, and non-face-to-face classes have been conducted from March 2020 to August 2021, and since September 2021, both face-to-face and non-face-to-face classes have been conducted.
The teaching methods of face-to-face and non-face-to-face classes are similar with other music middle and high schools since Covid-19, so it was confirmed that the school follows the global educational trends. Moreover, there were some problems, for example, the use of government-provided “Shad” platforms being not familiar in the early non-face-to-face classes as well as other factors such as slow internet speed and unstable connection, pointed out. Moreover, other major issues, for instance, the lack of infrastructure, the spread of Internet networks, the government's regulation of Internet speed, the lack of educational restrictions like laptops and mobile phones for students in poor areas, have emerged as well.
The changes in the education field because of Covid-19 are still in progress, and this remote education system will continue in the future. Therefore, the efforts of Iranian government for improvement of many problems sincerely need to establish stable Internet infrastructure system, provide an appropriate environment for art education classes, and develop user-friendly educational platforms.
This study is meaningful as a basic study because there is no any other research related to music education in Iran and nothing has not been introduced in Korea yet, so based on this study, it hopes to continue discussions on the music environment of Islamic culture countries as well as understanding the current status of music education in Iran.

1
권호별 보기

내가 찾은 최근 검색어

최근 열람 자료

맞춤 논문

보관함

내 보관함
공유한 보관함

1:1문의

닫기