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Music and Culture

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수록정보
수록범위 : 1권0호(1999)~43권0호(2020) |수록논문 수 : 376
음악과 문화
43권0호(2020년 09월) 수록논문
최근 권호 논문
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KCI등재

1사운드스케이프를 활용한 음악의 세계시민 교양교육

저자 : 손민정 ( Min-jung Son )

발행기관 : 세계음악학회 간행물 : 음악과 문화 43권 0호 발행 연도 : 2020 페이지 : pp. 5-31 (27 pages)

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This study is to develop a liberal arts program of global citizenship education utilizing soundscape, since it is socially, politically, culturally, and environmentally composed. Soundscape is a collection of sounds that occur in a specific area of a specific time period, and deeply influenced from various aspects of human system as well as natural atmosphere. The researcher suggests a liberal arts course geared toward critical, cultural, and environmental global citizenship education, titled “Understanding the world through soundscape,” and a five-step pedagogical model. This model, as a multi-layered approach to the critical mind of sound and society, consists of ear-cleaning, sound walk, sound analysis, soundscape design, and sound reflection.

KCI등재

2노랫말을 통해 보는 한국 현대사회의 상호종교적 소통구조: 번역과 의식(儀式)1)

저자 : 윤신향 ( Shin-hyang Yun )

발행기관 : 세계음악학회 간행물 : 음악과 문화 43권 0호 발행 연도 : 2020 페이지 : pp. 33-62 (30 pages)

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This study investigates an interreligious aspect of Korean modernism based on the examplary vocal text of the some selected composers 'inside' Korea and the composers 'outside' Korea who were (are) active in Germany. The religion includes in this study cultural symbols that is bound to the collective memory of a society. I selected the song texts in which the religious symbols are shown relatively well in both area.
In the vocal works of Geon-Yong Lee, the Song of Field (1994) which based on the text of Gang Baek Lee assumes 'God' in the sense of the Korean own religion Cheondo, and the Cantata for the Heenyeon-Jubilee (1991) which based on the text of Jeong Hee Goh assumes the Christian 'God'. These have different religious contexts but they share a social conciousness. In particular, the cantata for the Cantata for the Heenyeon-Jubilee shows the thought of Korean liberation theology which is important for social engagement. On the other hand, the vocal text of Ak-Jang (樂章 2000) of Man-Bang Lee based on his own poem sings the 'Eol'(soul) of the Confucian ancestors, and his Chan, Prajῆā-pra-mitā-sutra, Song (讚, 摩訶般若波羅蜜多心經, 頌2004) arranged a new song based on the Prajῆā-pra-mitā-sutra (般若心經) which is sung in Buddhist ritual.
The vocal text of Isang Yun which most of all based on Taoism, Buddhism, and Christianity is specially characterised through its interaction with the lyric poems of Nelly Sachs, a female Jewish poet in exile. And The wise man (1977) which mixes the Bible's Ecclesiastes and Lao-tzu's Tao Te King implicates the interreligious dialogue between the composer and German scriptwriter in a Christian environment. The emotion of silence in the Goethe's lyric Parable, on which is based the vocal text of Younghi Pagh-Paan's Bi-Yu (1999) overlaps with the characteristics of Eastern religious thought. In addition, the several works with the subject 'Nim' - a Korean own noun (which means a religious object or homeland or nostalgic person etc.) are connected organically. Since the year 2006 this topic is also connected to the subject 'light'.
The vocal works of the above-mentioned composers except for the text with the mother tongue belong to the category of translational reproduction. They hybridizise culture and religion. As long as composers 'outside' their homeland remember their mother tongue and culture, their vocal texts are compatible with the vocal texts of the composer 'inside' each other. This interaction of the both-area which materializes traditional religious symbols can be regarded as an aspect of an interreligious 'ritual'.

KCI등재

3정책공간에서 '순수'예술이 갖는 함의: 음악장르를 중심으로

저자 : 김경아 ( Kyoung-a Kim )

발행기관 : 세계음악학회 간행물 : 음악과 문화 43권 0호 발행 연도 : 2020 페이지 : pp. 63-106 (44 pages)

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Today, there are many different names that are used inattentively for music in the field of policies, including culture and arts, literature, Gukak, Yangak, cultural content, pure arts, pure music, and basic arts. These various names have been called or appeared in the context of new power or change of regime. Focusing on this point, this study summarized the implications of pure music in the field of policies into a battlefield of ideologies. The purpose of the study is to investigate the process of pure arts appearing in national records in the 2000s based on the patterns of the administration making an intervention into cultural policies with its political motivations and regulating the genre or music.
The way the government defines the domain of music institutionally and how music is transcribed in government documents reflect the way the government recognizes and perceives music. A common idea may be that music has been divided, becoming an internal musical factor or making a natural relation with the culture of the society. The fact is, however, that music has been incorporated and divided in a dominant ideology or has had its division controlled by the effect of ideology and the goal of a policy. The administration has expressed its political motivations with its ideology of cultural policies and regulated the division of the music domain via corresponding policies. This has been possible because music has formed close correlations with the ruling ideology of the administration as an object of its cultural policies.
In conclusion, Music was placed in the field of policies with different meanings as it was perceived by the government. During the military regime, music wandered between the options of self-censorship through creative support and compliance to the regime. It ended up into ambiguity that prevented pure music from being chosen as a policy term. It remained in the social and cultural consciousness as a non-policy transcription, forming relations with society. These findings suggest that the implication of pure arts' first appearance as a policy slogan during the people's government in the 2000s is an aphorism for pure that wandered around, not being included into the boundary of policy transcriptions during the military regime.

KCI등재

4세계 음악의 인식조사와 교과서 내용분석을 통한 다문화 교육의 성찰: 초등학생과 예비교사를 중심으로

저자 : 임혜숙 ( Lim Hye Suk )

발행기관 : 세계음악학회 간행물 : 음악과 문화 43권 0호 발행 연도 : 2020 페이지 : pp. 107-139 (33 pages)

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The purpose of this study is to investigate the perception of world music as multicultural music education for 5th and 6th grade elementary school students and pre-service elementary teachers, analyze the learning contents of world music in the 5th and 6th grade music textbooks, and find out if multicultural music education is being carried out effectively and desirable direction in the future. The results of this study were as follows. First, 5th and 6th grade elementary school students and pre-service elementary teachers recognized that singing a fork songs from different country was effective in understanding the culture of various countries. However, 30 percent of elementary school students who participated in the study negatively perceived on understanding other countries through music. Second, elementary school music textbooks mainly introduced folk songs to learn world music. The countries introduced in the textbooks are varied, but the number of songs, which represent of the countries, were very little. Third, the major learning activities of each music textbooks were singing in the original language, however, activities were organized to understand the music and culture of other countries by singing along with body expression, traditional play, and instrumental accompaniment. The contents were organized to familiarize by singing with unfamiliar culture and to understand the music and characteristics of other cultures through appreciation, so that students effectively learn other countries's music and culture through various music activities through appropriate steps. Fourth, as the results of the survey on the perception of elementary school students and pre-service elementary school teachers indicated that the activities of singing songs from other countries, especially folk songs reflecting the country's emotions, have been found to be helpful in understanding the culture of other countries. In other words, although elementary music textbooks mainly introduce folk songs, such learning contents are beneficial to multicultural music education, so collection and research on folk songs of various countries should be conducted. Fifth, various countries are introduced in music textbooks, however, the activities to understand the music of different countries were mostly similar, such as 'singing in native language', 'singing with body expressions.' To carry out better multicultural music education, the development of teaching and learning materials and programs are needed through the collaboration of ethnomusicologists and music educators.

KCI등재

5노스텔지어를 넘어: 20세기 초 하와이의 “아리랑”

저자 : 최희영 ( Heeyoung Choi )

발행기관 : 세계음악학회 간행물 : 음악과 문화 43권 0호 발행 연도 : 2020 페이지 : pp. 141-168 (28 pages)

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본 연구는 20세기 초 하와이에서의 한국의 대표적인 민요이자 2012년 무형 문화유산으로 등재된 아리랑에 관한 연구이다. 미주에 최초의 한인 이민은 1903년 102명의 한인을 태운 '갤릭(Gaelic)호'가 하와이 호놀룰루에 도착하면서 시작되었다. 이후 1924년 미국 이민법에 의해 모든 형태의 아시안 이민이 금지되기까지 이주한 노동자, 사진신부, 노동자와 사진신부 사이에서 태어난 2세, 유학생, 정치 망명자로 이루어진 한인 사회는 한국인들보다 훨씬 이전부터 도착한 일본계 및 중국계 이민자들이 다수를 차지하는 다민족 사회에 거주하고 있었다. 본 연구는 한반도가 일본 제국주의 영향력 안에 있던 20세기 초의 상황 속에서 하와이 한인들이 어떻게 아리랑을 향유하고 있었는지 고찰하고자 한다.
필자가 수집한 신문, 소책자, 기존 연구에 의한 인터뷰 자료 분석결과, 아리랑은 본국보다 약 10년 정도 이후인 1930년 후반부터 젊은 세대의 한인들로부터 불리기 시작했으며 이는 다양한 민족 배경을 가진 관객을 대상으로 하는 독창회와 문화 행사에서 불렸음을 확인하였다. 또한, 미국이 일본을 적국으로 선전포고를 하면서 참전한 제2차 세계대전 중에는 미국의 전쟁에서의 승리를 기원하고 동시에 한국의 독립에 대한 열망을 나타내는 행사에서 불렸다. 즉 1930년 후반부터 한국을 대표하는 노래로 공연에 오른 하와이에서의 아리랑은 세대 차이에 상관없이 민족 정체성을 확인하고, 다문화 환경을 갖춘 하와이 사회에 소속감을 일깨워주며, 한반도의 독립에 대한 염원을 주류 사회에 보여주는 중요한 레퍼토리였다. 본 연구는 이민사회 속 아리랑이 단순히 본국에 대한 향수나 이민사회의 결집을 드러내는 노래의 의미를 뛰어넘어 20세기 초 하와이의 문화, 사회, 정치적 맥락 속에서 특이할 만한 아리랑의 존재를 분석했다는 점에서 의의가 있다.

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7종족음악학의 역사연구

저자 : 김희선(역) , 루쓰스톤 ( Ruth M. Stone )

발행기관 : 세계음악학회 간행물 : 음악과 문화 43권 0호 발행 연도 : 2020 페이지 : pp. 197-213 (17 pages)

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1연안해역에서 석유오염물질의 세균학적 분해에 관한 연구

(2006)홍길동 외 1명심리학41회 피인용

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2미국의 비트코인 규제

(2006)홍길동심리학41회 피인용

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2미국의 비트코인 규제

(2006)홍길동41회 피인용

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