A Study on the Transmission Mode of “The Five Major Tunes of Lunan” in Schools from the Perspective of Ethnomusicology

좡 춘 메이 한국음악교육학회 2023 음악교육연구 Vol.52 No.4

This study examines the transmission mode of the "The Five Major Tunes of Lunan" in schools from the perspective of ethnomusicology. Using the "Twelve Continuum Transmission Framework" (TCTF) proposed by Huib Schippers in 2010 as the research framework, the researcher conducted semi-structured face-to-face interviews with nine interviewees, including inheritors of the "The Five Major Tunes of Lunan," music teachers of Tancheng County's First Experimental Primary School, teachers from Shandong University of the Arts and School of Music of Linyi University. The interview content mainly involves 11 questions in three fields: issues of context, modes of transmission, and dimensions of interaction. The results show significant differences in the modes of "The Five Major Tunes of Lunan" in school education and folk natural transmission. What worries the researcher is that when traditional music that is naturally inherited in folk is taught in a formal school setting, the risk of unsuccessful transmission will increase. Finally, based on the viewpoint of ethnomusicology that focuses on cultural context, the researcher puts forward suggestions for improving the teaching strategies when "The Five Major Tunes of Lunan" is transmitted in schools.

만당음악학의 국제성 지향 재조명

김희선 한국음악사학회 2015 한국음악사학보 Vol.55 No.-

한국음악학의 효시인 만당 이혜구의 업적은 초기부터 한국음악학의 국제성을 지향하고 있음을 보여주고 있다. 이 연구는 만당의 정치적 행위로서의 국제적 행보와 학문적 행위의 두 측면을 통해 만당 한국음악학의 국제성 지향의 성격을 재조명하는 것을 목적으로 한다. 1909년 식민지 조선에서 태어난 만당은 식민지 서구식 음악교육을 받고 바이올린을 연주하였으며 경성제국대학의 영문과를 졸업하였다. 어린 시절 바이올린의 학습과 영문학 전공의 사회문화적 배경은 이후 만당 음악학의 국제성의 향방을 제시해 주었다고 보여진다. 만당의 국제성 지향은 1950년대 구미에서 구성되기 시작한 두 개의 국제학회(International Council for Traditional Music, Soceity for Ethnomusicology)의 회원으로 적극적으로 활동하면서 맺게 된 주요 학자들과의 교류로 시작된다. 만당은 다양한 정치적 행보를 통해 한국전통음악을 해외학계에 소개하고 한국음악학의 존재를 해외에 드러내는 매개자의 역할을 감당하였을 뿐 아니라 본인 또한 해외 학계의 주요학자로 활동하였다. 또한 만당은 해외학계의 동향을 국내 학계에 보고함으로서 한국음악학계에 국제성 지향을 촉구하기도 하였다. 또한 만당은 대중매체의 지면을 통해서도 한국음악학의 국제성과 현대화 작업의 필연성을 지속적으로 주장하는가 하면 이에 대한 대중적 관심을 불러일으키고자 하였다. 만당은 1960년대부터 자신이 능통했던 영어와 일본어로 논문발표, 저서, 논문출판, 번역에 걸친 활발한 학술활동을 펼쳤다. 만당의 영어저작물의 주제는 한국음악의 개괄적 소개, 이론, 역사 악기, 장르, 창작음악을 망라하여 한국음악 전반을 영어권 독자에게 소개하고자 하였는데, 이들 연구물은 기본적으로는 자신의 연구물의 영어번역물의 성격을 지니고 있었다. 만당의 영어저작물은 대부분은 해당 분야 혹은 장르의 최초의 영문저작물로 이후 해외 한국음악학 연구자들에게 한국음악연구의 입문의 단초를 제공하여 해외 한국음악학의 발전에 결정적인 영향을 끼쳤다고 할 수 있다. 만당의 정치적, 학문적 행보는 이후 국제 음악학계의 형성과정에서 음악인류학계의 역사음악학 분과의 존립 및 아시아 음악학의 성립에 중요한 역할을 하였으며, 더 나아가 해외 한국음악학의 성립, 성장, 위상향상에 중요한 역할을 하였다. From early stages, writings of the late Lee Hye-ku 李惠求 [Yi Hye-gu] (1909-2010), pioneer in Korean musicology, aims for internationalism of Korean music. This study attempts to reinvestigate such international aspect of Mandang’s 晩堂 works, focusing both on his political/international activities and on his academic achievements. Mandang was born in 1909, while Korea was under the Japanese colonial period. He received Western music education, learned to play the violin and played at the Western orchestra and graduated from Keijō Imperial University 京城帝國大學 majoring in English Literature. Such socio-cultural background seems to have formed the foundation for his international tendency inherent in his later works as a musicologist. His internationalism became even more evident as he, as a member of two international organizations; ICTM (International Council for Traditional Music) and SEM (Society for Ethnomusicology), began interacting with other renowned international music scholars. Through political venue Mandang introduces Korean traditional music to foreign scholars and worked as a intermediary for Korean traditional music, while continuing to focus on his personal research activities. He also discussed international academic issues with scholars within Korean musicology, motivating Korean scholars to ‘view the larger picture.’ Also by means of popular media and magazines, he continued to pursue and bring general attention to the goal of modernizing and internationalizing Korean musicology. From the 1960s Mandang produced various writings in English and in Japanese, as well as many translating works, to be published in various journals and books. His writings in English usually dealt with general introduction and history of Korean music, as well as general theory, musical instruments, and modern compositions to be introduced to English-speaking readers. Mostly translated from his former research written in Korean, his English writings were the first in introducing respective Korean musical genres, and played a crucial role in providing basic research material for international scholars interested in Korean music. Mandang’s political and academic activities played an important role in both strengthening the position of historical musicology within ethnomusicology and developing Asian music studies in general, not to mention his contribution in nurturing and in raising the position of Korean musicology in the field of ethnomusicology.

만당음악학의 국제성 지향 재조명

김희선 ( Hee Sun Kim ) 한국음악사학회 2015 한국음악사학보 Vol.55 No.-

한국음악학의 효시인 만당 이혜구의 업적은 초기부터 한국음악학의 국제성을 지향하고 있음을 보여주고 있다. 이 연구는 만당의 정치적 행위로서의 국제적 행보와 학문적 행위의 두 측면을 통해 만당 한국음악학의 국제성 지향의 성격을 재조명하는 것을 목적으로 한다. 1909년 식민지 조선에서 태어난 만당은 식민지 서구식 음악교육을 받고 바이올린을 연주하였으며 경성제국대학의 영문과를 졸업하였다. 어린 시절 바이올린의 학습과 영문학 전공의 사회문화적 배경은 이후 만당 음악학의 국제성의 향방을 제시해 주었다고 보여진다. 만당의 국제성 지향은 1950년대 구미에서 구성되기 시작한 두 개의 국제학회(International Council for Traditional Music, Soceity for Ethnomusicology)의 회원으로 적극적으로 활동하면서 맺게 된 주요 학자들과의 교류로 시작된다. 만당은 다양한 정치적 행보를 통해 한국전통음악을 해외학계에 소개하고 한국음악학의 존재를 해외에 드러내는 매개자의 역할을 감당하였을 뿐 아니라 본인 또한 해외 학계의 주요학자로 활동하였다. 또한 만당은 해외학계의 동향을 국내 학계에 보고 함으로서 한국음악학계에 국제성 지향을 촉구하기도 하였다. 또한 만당은 대중매체의 지면을 통해서도 한국음악학의 국제성과 현대화 작업의 필연성을 지속적으로 주장하는가 하면 이에 대한 대중적 관심을 불러일으키고자 하였다. 만당은 1960년대부터 자신이 능통했던 영어와 일본어로 논문발표, 저서, 논문출판, 번역에 걸친 활발한 학술활동을 펼쳤다. 만당의 영어저작물의 주제는 한국음악의 개괄적 소개, 이론, 역사 악기, 장르, 창작음악을 망라하여 한국음악 전반을 영어권 독자에게 소개하고자 하였는데, 이들 연구물은 기본적으로는 자신의 연구물의 영어번역물의 성격을 지니고 있었다. 만당의 영어저작물은 대부분은 해당 분야 혹은 장르의 최초의 영문저작물로 이후 해외 한국음악학 연구자들에게 한국음악연구의 입문의 단초를 제공하여 해외 한국음악학의 발전에 결정적인 영향을 끼쳤다고 할 수 있다. 만당의 정치적, 학문적 행보는 이후 국제 음악학계의 형성과정에서 음악인류학계의 역사음악학 분과의 존립 및 아시아 음악학의 성립에 중요한 역할을 하였으며, 더 나아가 해외 한국음악학의 성립, 성장, 위상향상에 중요한 역할을 하였다. From early stages, writings of the late Lee Hye-ku 李惠求 [Yi Hye-gu] (1909-2010), pioneer in Korean musicology, aims for internationalism of Korean music. This study attempts to reinvestigate such international aspect of Mandang’s 晩堂 works, focusing both on his political/international activities and on his academic achievements. Mandang was born in 1909, while Korea was under the Japanese colonial period. He received Western music education, learned to play the violin and played at the Western orchestra and graduated from Keijo Imperial University 京城帝國大學 majoring in English Literature. Such socio-cultural background seems to have formed the foundation for his international tendency inherent in his later works as a musicologist. His internationalism became even more evident as he, as a member of two international organizations; ICTM (International Council for Traditional Music) and SEM (Society for Ethnomusicology), began interacting with other renowned international music scholars. Through political venue Mandang introduces Korean traditional music to foreign scholars and worked as a intermediary for Korean traditional music, while continuing to focus on his personal research activities. He also discussed international academic issues with scholars within Korean musicology, motivating Korean scholars to ‘view the larger picture.’ Also by means of popular media and magazines, he continued to pursue and bring general attention to the goal of modernizing and internationalizing Korean musicology. From the 1960s Mandang produced various writings in English and in Japanese, as well as many translating works, to be published in various journals and books. His writings in English usually dealt with general introduction and history of Korean music, as well as general theory, musical instruments, and modern compositions to be introduced to English-speaking readers. Mostly translated from his former research written in Korean, his English writings were the first in introducing respective Korean musical genres, and played a crucial role in providing basic research material for international scholars interested in Korean music. Mandang’s political and academic activities played an important role in both strengthening the position of historical musicology within ethnomusicology and developing Asian music studies in general, not to mention his contribution in nurturing and in raising the position of Korean musicology in the field of ethnomusicology.

Reality and Fiction: Audiovisual Representations of Traditional Musical Cultures in China

Leonardo D’Amico 아시아음악학회 2017 Asian Musicology Vol.27 No.-

‘Real’ and ‘fake’ in filmic representation is a long-standing dilemma. Reality is an age-old anthropological and philosophical debate characterized by the dialectical tension within things as they appear through our representation and what they ‘really’ are. Film as an audiovisual representation of the world is a textual “construct” in the same way as the written text; writing on musical cultures as well as filming musical cultures are both unavoidably form of “creative” treatment of a (musical) reality. The ‘crisis of representation’ of the 1970s in visual anthropology studies brought inevitably to redefine the boundaries between fictional and documentary film, encouraging new audiovisual languages, such as the docu-fiction or "ethno-fiction", as result of the hybridization of the documentary-style languages and the narrative conventions of fictional-theatrical film. This article offers an overview of different ways of representing traditional music -with a particular enphasis on documentary, fictional and docu-fiction films dealing with traditional music in China - through the use of a variety of cinematic languages, interweaving brief historical notes of the development of early Chinese cinema with different theoretical approaches expressed in visual anthropology and ethnomusicology.

10호 기념 논문 : 음악문화연구자가 갖춰야 할 두 가지 필수품성: 자성(Reflexive Study)과 대화(Dialogic Method)

채현경 ( Chae Hyeon Gyeong ) 세계음악학회 2004 음악과 문화 Vol.10 No.-

World music research has gone through enormous changes since the 1980s as a result of a new breed of musicologists entering the field of ethnomusicdogy. These new scholars, having acquired training not only in music but in the fields of humanities and social sciences, have promoted dialogue and academic exchange among scholars in various fields. Ethnomusicology at the present time appears to be in a perpetual state of active experimentation and gains strength from a diversity and plurality of varied approaches (Cooley 1997: 3). In this sense, world music researchers are now in a unique position to question the validity of established methods and goals of social sciences, and to explore new perspectives. In this paper I discuss the recent (since the 1980s) changes in the approach and methodology of ethnomusicology. My analysis will focus on topics, scopes, and diverse methods that provide the new perspectives in the field. Two approaches, `Reflexive Study` and `Dialogic Method,` in particular, are introduced as indispensible tools for the understanding of the current musicscape and scholarship in South Korea. Finally, a role of ethnomusicologists as cultural insiders is identified in the musicscape of South Korea that is predominated by Western art music.

오용록의 현지조사와 민속음악 현장

이용식 한국국악학회 2021 한국음악연구 Vol.69 No.-

오용록은 현지조사를 통해 전통음악의 본질을 파악하려고 노력한 학자이다. 오용록의 현지조사 방법론 은 서구의 (음악)인류학에서 통상적으로 수행하는 것이 아니었다. 그는 우리 학계와 민속음악 현장과 부합 하는 우리식 현지조사 방법론을 개발하고자 하였고, 현지조사를 통해 민속음악을 충실히 기록하고자 하였 다. 오용록의 현지조사 방법론과 현지조사 자료의 검토를 통해 한국적 현지조사 방법론의 가능성과 당대 민속음악 현장의 모습을 재구할 수 있다. 오용록은 20세기식 서양학문 방법론에 입각한 학계의 연구방법론을 비판했다. 그는 외부자적 관찰과 내부자적 관찰이 종합을 이루는 시각을 중요하게 여겼고, 내부자적 감수성의 회복을 위해 민속음악 현장을 중요시 했다. 오용록은 1년 이상 현지에 체류하면서 음악문화를 참여관찰하는 (음악)인류학의 현지조사 방법론보다는 장기적 지속적 관찰을 시도했다. 그는 관찰자적 입장으로 객관적 기록을 추구했다. 그리고 그의 기록에 대한 진정성은 조사자와 제보자 사이의 라포 형성에 중요한 동인이 되었다. 오용록의 자료는 20세기 후반에서 21세기 초반의 민속음악 현장과 변화양상을 알 수 있는 자료이다. Oh Yong-rok is a scholar who search for the deep structure of Korean music through field-work. His method of field research did not follow the conventional method of field research in ethnomusicology. He tried to develop a new method to suit the condition of the Korean musicology and to record the folk music as deep as possible. Through the examine of his field-work method and material, we can develop a new methodology of field research and reconstruct the folk music world of the time. Oh Yong-rok criticized the conventional methodology and orient of Korean musicology which is heavily relied upon the Western academic trend of the 20th century. He emphasized the synthesis of views of outsider and insider and the field of folk music in order to recover the insider’s susceptibility. Oh did not follow the conventional field research methodology of ethnomusicology which needs a year’s participant observation. Rather, his research was a long-term consistent observation. He tried to record the music in objective observer’s view. His sincerity was the key to establish rapport with the informants. His field material is a valuable source to uncover the situation and change of folk music in the late 20th and early 21st centuries.

Ethnomusicology in Practice : Learning and Performing Pansori as a Research Tool

Anna Yates Lu 한국예술종합학교 무용원 2021 무용과 이론 Vol.3 No.-

It is widely accepted in contemporary Western* 9) ethnomusicological scholarship that, as part of fieldwork, researchers will themselves learn the genres they are studying, often not just to the level of ‘bi-musicality’ (Hood 1960) but to the level of professional performance (Baily 2001). In contrast, Korean musical scholarship, while especially strong in musicological analysis and historical musicology, has only received limited impact from Western traditions of ethnomusicological research (Park Mikyung 2013: 25). In examining the different scholarly traditions encountered in my research on Korean sung storytelling form pansori, I postulate that it is through the practical learning and performance of a musical genre that the gap between different research approaches can be breached. By showing demonstrable skill and in-depth knowledge of a genre in terms acceptable to local music scholars, an ‘outsider’ scholar can build a path to engage with and thus build bridges between academic traditions that have so far mostly developed independently, fostering the potential for constructive future debate.

음악인류학의 방법론에 관한 실제적 고찰 -트로트 연구 사례를 중심으로-

손민정 ( Min Jung Son ) 민족음악학회 2013 음악과 민족 Vol.45 No.-

This study is an alternative exploration of Ethnomusicological research methodology, particularly dealing with three issues involved in a case study of t`uro t`u, a Korean popular song style. The three issues are (1) Researcher’s Double Standpoint: Emotional Spectator vs. Participant Observation, (2) Researcher’s Double Identity: Insider vs. Outsider, and (3) Researcher’s Multilineal Communication: Reality vs. Cyber. Differentiated from existing theoretical studies regarding the ethnomusicology methods published in Korean academic journals, this article tries to examine practical and experiential issues that researchers can face in their fieldwork, the key element of the ethnomusicology research. In addition, this article tries to transform ethnomusicological methodology into an open-ended (or subject-centered) discipline, while the existing researches tend to be mostly theory-centered. The first issue, “Researcher’s Double Standpoint: Emotional Spectator vs. Participant Observation”, interrogates the process in which a researcher becomes a welcomed spectator and then turns to be a participant observer/scientific analyst. As seen in the 16th century ethnography, particularly Jean De Lery’s, a researcher needs to be emotionally attached to the research subject. Meanwhile, a researcher, as a legitimate scholar, applies scientific methods to the analysis of the subject, as witnessed in the archival studies between 17th century and 19th century. The second issue, “Researcher’s Double Identity: Insider vs. Outsider”, examines the diverse relationships between informants (insiders) and a researcher (outsider), a native researcher (insider/outsider) and the international academia (outsiders). In particular, this article points out that native scholars who study working people’s music should consider the innate tension running through the Korean social structure as well. Finally, the third issue, “Researcher’s Multilineal Communication: Reality vs. Cyber”, explores the contemporary cyber communication, since this modern cyber media refer to mass yet dynamically interactive communication characteristic of recent times. Moreover, this article suggests that researchers should also consider an alternative multilineal way to communicate with readers/viewers/users through the hypermedia.

문화음악학의 정립을 위한 소고

신현남 한국음악교육공학회 2010 음악교육공학 Vol.- No.11

In his book, How Musical Is Man?, John Blacking defined music as ‘Humanly Organized Sound’(the title of Chapter One), and presented ethnomusicology as a new method to analyze music and music history. However, ethnomusicology has shown its own limitations, and, as an alternative, Cultural Musicology is proposed. Cultural Musicology is defined as ‘a study that examines the similarities and differences of musical activities among human groups, and that delineates the idiosyncrasies of diverse music cultures in the world and stability, transformation, and the process of development of each culture from humane and socio-cultural perspectives.’To establish itself as an academic discipline in Korea, Cultural Musicology has to dispel the notion of being an "alternative" or "integrative" discipline, and to accept its position as "the third academic discipline in music." Whether Western musicology, Korean musicology, or ethnomusicology, musicological discourses are ultimately incorporated into "the study of music" with multi-focal and multi-vocal expressions. The perspectives and methods of Cultural Musicology should not be used as they are imported from Western academic circles: rather, they have to be adjusted in relation to the particularity of Korean society. Furthermore, as an "academic discipline," Cultural Musicology has to keep up with academic achievements accomplished by other disciplines in music both in Korea and the West. Differentiating itself from the previous image of being a non-academic discipline, Cultural Musicology has to be active in accepting the newest academic theories while staying close to the field of musical activities. 존 블래킹은 그의 저서 「인간은 얼마나 음악적인가?」에서 음악이란 인간을 위해서 인간에 의해서 조직화된 소리라고 정의하고, 음악과 음악사를 분석하는 새로운 방법론으로 종족음악학을 제시했다. 그러나 종족음악학에도 여러 가지 제한점이 있고, 그 대안으로 문화음악학이 대두된다. 문화음악학이란 ‘인간 그룹들 가운데 행해지는 음악적 행위의 비슷한 점과 다른 점들을 연구하고, 세계의 다양한 음악 문화들의 특징 및 이들의 저마다 독특한 안정성․변화 그리고 발전의 과정들을 인간적․사회문화적 측면에서 묘사하는 학문’이라고 정의되고 있다. 한국의 문화음악학이 진정한 학문분과로 자리매김 하려면, 음악학의 ‘대안’이나 ‘통합’ 등의 수사가 불러일으킨 이물감을 불식하고 ‘제삼의 음악학 분과’로 몸을 낮출 준비가 먼저 되어있어야 한다. 서양음악학이든 한국음악학이든 민족음악학이든, 종족음악학이든, 음악학의 담론들은 결국은 ‘음악의 연구’라는 이름으로 만나게 될 여러 초점(multifocal), 여러 목소리(multivocal)이기 때문이다. 조망과 방법은 수입된 그대로가 아니라 지금, 우리에 맞게 다듬어야 하고, ‘학문’ 분과인 이상 서구와 이 땅에서 축적된 학문적 성과들과의 격차를 따라잡아야 한다. 그리고 기존의 비학문적 교과 과정과 별도로, 현장과 늘 가까이 있되 최신 방법론의 수용에도 적극적이어야 한다.

Changjak Gugak as viewed in the ethnomusicological perspective

CHUN In pyong 아시아음악학회 2013 Asian Musicology Vol.22 No.-

It has been passed more than 70 years since Changjak Gugak (newly composed works based on traditional music) started to emerge in Korean traditional music. Now Changjak Gugak is firmly established as one of the musical genres. However its critical comments have still lingered on the people who are engaged in the music domain. Their main criticism lie in that it is difficult for them to perceive any sense of Korean traditional elements in the Changjak music produced. From an ethnomusicological perspective, tradition paradoxically changes slowly, with changes from one generation to the next not being seen as significant. Even if a tradition undergoes major changes over many generations, it will still be seen as unchanged. Changjak music is a music that was born in response to the stimuli from Western art music introduced to Korea in the early 20th century. It is, thus, inevitable as a mode of the times that Changjak music is vulnerable to be influenced by the idioms of Western music. This phenomenon is not unique and confined to Korea, but it is also in common in Asian countries such as North Korea, China, Taiwan, Hong Kong, Vietnam, Indonesia, and so forth. This article is to examine such criticism on Changjak Gugak and as a reaction to this it is to look into it as the view of the music in a Korean culture. I have looked at first a national music (Korean music) and then Changjak Gugak. I have also investigated the perspectives on Changjak Gugak. Having selected the criticized points of these, I have looked at these issues as an ethnomusicological perspective. In examining a number of criticisms on Changjak Gugak, most critics are the people who largely studied Western classical music. Among them most have been taking a great interest in Korean traditional music, and this is also much a concerned matter to the Korean traditional music filed. Korean music has, however, been kept throughout changes. For instance, Sanjo (highly artistic instrumental piece) has a history of a hundred-year, but its music and performance styles have been more than thirty yupas (schools). This was the result in that teachers who instructed and inherited Sanjo encouraged their students to create from its tradition. If they had tried to emphasise on following merely its tradition without its creation, today Sanjo would have remained in only 'the Kim Changjo Gayago Sanjo'. Everybody would be against it, if they insisted to preserve the 'tradition'. Changjak Gugak is continuing to transmit such creative processes. The criticisms on Changjak Gugak can be highlighted by these phrases: "To use the staff notation in the Korean music field would be a matter of grave concern", or "It destructs its purity when the equal temperament is applied to Korean folk music", or "It is difficult to understand the affect of Korean traditional music due to its excessive commercialization", and so on. 'The music in culture' in ethnomusicology embraces all the music in the world except for Western classical music. From its definition, Korean music contains all the genres such as musics of art, folk, popular that a certain group of people practises. Thus to see the Changjak Gugak domain with the sight of seeing Western classical music is as the same as seeing popular music with the sight of western classical art one. There are different kinds of musics in Changjak music in Korea, and they include art, popular and in-between the two. Before criticizing Changjak music, one should look at first to which such particular music belongs and then make critical comments according to the appropriate criteria. There must be different critical standards according to a case, such as the problem of adapting a functional harmony and the equal temperament, and so on in the Changjak music world. I think such issues can naturally be understood with the change of an appreciative eye. Taking account of Changjak music from the ethnomusicological perspective, it would be necessary t