한국의 문화지형과 가야금 창작곡의 연주 (Socio-Cultural Landscape of Contemporary South Korea and Performance of New Kayag？m Music)

서지정보

· 발행기관 : 세계음악학회
· 수록지 정보 : 음악과 문화 / 18호 / 49 ~ 80페이지
· 저자명 : 김희선

초록

Present paper examines the historical background for newly composed music for the kayagŭm by studying the changes which have occurred in the socio-cultural landscapes of contemporary South Korea. The purpose is to understand the meaning of kayagŭm performance in its historical and socio-cultural context. This study especially focuses on the historical process of changes in terms of historical background, as well as the global changes which occurred in the areas of cultural landscapes, patterns of consumption, and technical environment. Its aim is to examine how performers from different generations have continuously produced new musical cultures and made them meaningful.
Neo-traditional music was born as a re-creation of traditional music in modernized South Korea. It first appeared as a means to practice nationalism and modernization, which eventually became a significant cultural capital for musicians in traditional music, offering them a chance to survive in the new social order. Broadly speaking, as a music created within the new social system and cultural landscape, it can be understood as localized process of a global trend. New music for the kayagŭm is not only a direct result of modernization/ Westernization and urbanization, but also a social phenomenon which reflects various post-capitalistic features. While creation of new compositions for the traditional instrument kayagŭm is an expression of new cultural essence, it is also reflection of the restless nature found in a post-capitalistic society. It is a multi-faceted mirror which reflects the following points; various discourses on our modern society, globalization process, anxiety of separation from tradition, routine and commercialized consumption, Present paper examines the historical background for newly composed music for the kayagŭm by studying the changes which have occurred in the socio-cultural landscapes of contemporary South Korea. The purpose is to understand the meaning of kayagŭm performance in its historical and socio-cultural context. This study especially focuses on the historical process of changes in terms of historical background, as well as the global changes which occurred in the areas of cultural landscapes, patterns of consumption, and technical environment. Its aim is to examine how performers from different generations have continuously produced new musical cultures and made them meaningful.
Neo-traditional music was born as a re-creation of traditional music in modernized South Korea. It first appeared as a means to practice nationalism and modernization, which eventually became a significant cultural capital for musicians in traditional music, offering them a chance to survive in the new social order. Broadly speaking, as a music created within the new social system and cultural landscape, it can be understood as localized process of a global trend. New music for the kayagŭm is not only a direct result of modernization/ Westernization and urbanization, but also a social phenomenon which reflects various post-capitalistic features. While creation of new compositions for the traditional instrument kayagŭm is an expression of new cultural essence, it is also reflection of the restless nature found in a post-capitalistic society. It is a multi-faceted mirror which reflects the following points; various discourses on our modern society, globalization process, anxiety of separation from tradition, routine and commercialized consumption, Present paper examines the historical background for newly composed music for the kayagŭm by studying the changes which have occurred in the socio-cultural landscapes of contemporary South Korea. The purpose is to understand the meaning of kayagŭm performance in its historical and socio-cultural context. This study especially focuses on the historical process of changes in terms of historical background, as well as the global changes which occurred in the areas of cultural landscapes, patterns of consumption, and technical environment. Its aim is to examine how performers from different generations have continuously produced new musical cultures and made them meaningful.
Neo-traditional music was born as a re-creation of traditional music in modernized South Korea. It first appeared as a means to practice nationalism and modernization, which eventually became a significant cultural capital for musicians in traditional music, offering them a chance to survive in the new social order. Broadly speaking, as a music created within the new social system and cultural landscape, it can be understood as localized process of a global trend. New music for the kayagŭm is not only a direct result of modernization/ Westernization and urbanization, but also a social phenomenon which reflects various post-capitalistic features. While creation of new compositions for the traditional instrument kayagŭm is an expression of new cultural essence, it is also reflection of the restless nature found in a post-capitalistic society. It is a multi-faceted mirror which reflects the following points; various discourses on our modern society, globalization process, anxiety of separation from tradition, routine and commercialized consumption, popular culture, and finally, the advent of cultural commercialism and the resulting adjustment process required of traditional musicians. The more these musicians are aware of their reality, the more they are compelled to become a type of cultural producers who must rely on self-administration and self-government in order to make their ends meet.
The new Korean music was devised as a program for constructing modern state and actively providing chances of survival for the musicians. However, it seems that it is now gradually becoming a full-fledged cultural industry by these musicians. Within the current of post-capitalism which is currently being globally re-structured, the concept of culture is changing. As a result, these musicians must be understood as participants in the global process of producing cultural commodities.
The aim of this paper is to understand the creation and development of new Korean music by placing the musicians and their performance practice in the center of focus, which is viewed within the large cultural landscape of Korea. The method of creation, circulation, and consumption of a new type of musical genre is closely related to the macroscopic issues such as changes in political and socio-cultural units. It is also influenced by various technological conditions. Nowadays few can deny that the concept of culture is changing. It is changing within the context of post-capitalistic trend of global re-construction, which also applies to Korean kayagŭm practitioners today. Therefore it is important to examine the dynamic relationship between the cultural producers and such various changes occurring in our society. Focusing on this aspect, this paper attempts to analyze the ways in which new compositions for the kayagŭm has become historically meaningful.

영어초록

Present paper examines the historical background for newly composed music for the kayagŭm by studying the changes which have occurred in the socio-cultural landscapes of contemporary South Korea. The purpose is to understand the meaning of kayagŭm performance in its historical and socio-cultural context. This study especially focuses on the historical process of changes in terms of historical background, as well as the global changes which occurred in the areas of cultural landscapes, patterns of consumption, and technical environment. Its aim is to examine how performers from different generations have continuously produced new musical cultures and made them meaningful.
Neo-traditional music was born as a re-creation of traditional music in modernized South Korea. It first appeared as a means to practice nationalism and modernization, which eventually became a significant cultural capital for musicians in traditional music, offering them a chance to survive in the new social order. Broadly speaking, as a music created within the new social system and cultural landscape, it can be understood as localized process of a global trend. New music for the kayagŭm is not only a direct result of modernization/ Westernization and urbanization, but also a social phenomenon which reflects various post-capitalistic features. While creation of new compositions for the traditional instrument kayagŭm is an expression of new cultural essence, it is also reflection of the restless nature found in a post-capitalistic society. It is a multi-faceted mirror which reflects the following points; various discourses on our modern society, globalization process, anxiety of separation from tradition, routine and commercialized consumption, Present paper examines the historical background for newly composed music for the kayagŭm by studying the changes which have occurred in the socio-cultural landscapes of contemporary South Korea. The purpose is to understand the meaning of kayagŭm performance in its historical and socio-cultural context. This study especially focuses on the historical process of changes in terms of historical background, as well as the global changes which occurred in the areas of cultural landscapes, patterns of consumption, and technical environment. Its aim is to examine how performers from different generations have continuously produced new musical cultures and made them meaningful.
Neo-traditional music was born as a re-creation of traditional music in modernized South Korea. It first appeared as a means to practice nationalism and modernization, which eventually became a significant cultural capital for musicians in traditional music, offering them a chance to survive in the new social order. Broadly speaking, as a music created within the new social system and cultural landscape, it can be understood as localized process of a global trend. New music for the kayagŭm is not only a direct result of modernization/ Westernization and urbanization, but also a social phenomenon which reflects various post-capitalistic features. While creation of new compositions for the traditional instrument kayagŭm is an expression of new cultural essence, it is also reflection of the restless nature found in a post-capitalistic society. It is a multi-faceted mirror which reflects the following points; various discourses on our modern society, globalization process, anxiety of separation from tradition, routine and commercialized consumption, Present paper examines the historical background for newly composed music for the kayagŭm by studying the changes which have occurred in the socio-cultural landscapes of contemporary South Korea. The purpose is to understand the meaning of kayagŭm performance in its historical and socio-cultural context. This study especially focuses on the historical process of changes in terms of historical background, as well as the global changes which occurred in the areas of cultural landscapes, patterns of consumption, and technical environment. Its aim is to examine how performers from different generations have continuously produced new musical cultures and made them meaningful.
Neo-traditional music was born as a re-creation of traditional music in modernized South Korea. It first appeared as a means to practice nationalism and modernization, which eventually became a significant cultural capital for musicians in traditional music, offering them a chance to survive in the new social order. Broadly speaking, as a music created within the new social system and cultural landscape, it can be understood as localized process of a global trend. New music for the kayagŭm is not only a direct result of modernization/ Westernization and urbanization, but also a social phenomenon which reflects various post-capitalistic features. While creation of new compositions for the traditional instrument kayagŭm is an expression of new cultural essence, it is also reflection of the restless nature found in a post-capitalistic society. It is a multi-faceted mirror which reflects the following points; various discourses on our modern society, globalization process, anxiety of separation from tradition, routine and commercialized consumption, popular culture, and finally, the advent of cultural commercialism and the resulting adjustment process required of traditional musicians. The more these musicians are aware of their reality, the more they are compelled to become a type of cultural producers who must rely on self-administration and self-government in order to make their ends meet.
The new Korean music was devised as a program for constructing modern state and actively providing chances of survival for the musicians. However, it seems that it is now gradually becoming a full-fledged cultural industry by these musicians. Within the current of post-capitalism which is currently being globally re-structured, the concept of culture is changing. As a result, these musicians must be understood as participants in the global process of producing cultural commodities.
The aim of this paper is to understand the creation and development of new Korean music by placing the musicians and their performance practice in the center of focus, which is viewed within the large cultural landscape of Korea. The method of creation, circulation, and consumption of a new type of musical genre is closely related to the macroscopic issues such as changes in political and socio-cultural units. It is also influenced by various technological conditions. Nowadays few can deny that the concept of culture is changing. It is changing within the context of post-capitalistic trend of global re-construction, which also applies to Korean kayagŭm practitioners today. Therefore it is important to examine the dynamic relationship between the cultural producers and such various changes occurring in our society. Focusing on this aspect, this paper attempts to analyze the ways in which new compositions for the kayagŭm has become historically meaningful.

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