한국과 일본의 국가(国歌) 비교 연구

이유희 한국일어일문학회 2018 日語日文學硏究 Vol.107 No.2

The national anthem of Korea began with Sing National Anthem Campaign by Seo Jae-pil. Since "the National Anthem of the Korean Empire" (1902) was created at the behest of Emperor Kojong, it has transformed into its current form, going through the national anthem with the lyrics by Yun Chi-ho(1907) that took the melody of “Auld Lang Syne” and the national anthem composed by Ahn Ea-tai(1935). As a song sung to overcome the crisis caused by the aggressions from the world powers and inspire nationalism, the national anthem of Korea served as the mechanism of the national independence movement. Issues with it are the emerging argument for revising the national anthem, citing the pro-Japanese actions by the lyricist and the composer, and its insufficient legitimacy and symbolism for the nation. In its philosophy and culture, the national anthem implies the idea of the celestial divinity in the Korean tradition that has hailed from the time immemorial and is further tinctured with the Confucianism that carries the loyal patriotism from the Joseon period. And the Christianism came to be embedded in the national anthem in the late years of the Joseon period, when the lyricist’s religious orientation was reflected in the national anthem as the spreading independence movement was centered on the Christian church. In a nutshell, the national anthem of Korea represented the change in the country’s philosophical and cultural character that followed the religious and philosophical paradigm shift, which is understood as being based on the fatherhood in the monotheism. In Japan, "the first version of Kimigayo" (1870) was created as suggested by John William Fenton, a visiting British military band leader. It was revised into "the second version of Kimigayo" composed by Hiromori Hayashi with some rearrangement by Franz Eckert. The passage of a related law in 1999 recognized it as the official national anthem of Japan. The national anthem of Japan, which was the tool for integrating the Emperor with people, also served as a device for enlightenment through modern civilization which advocated the ideology of Leave Asia, Enter Europe with a view to establishing the modern state of Meiji. It faces the criticism that it is a praise of the emperor and that it is an aggressionist national anthem which was used as a frame for colonialist rule during the wars of aggression. Furthermore, it is harassed by the issues with the composition and rearrangement of the music itself. Culturally and philosophically, the worldview presented in the national anthem of Japan is antipoetic to that revealed in the Korean counterpart, in that it peculiarly bases itself on the waka culture, animism as the philosophical origin of Shintoism, and the motherhood which governs the birth of life in nature and the existence and the continuity of spirits and souls. 「国を愛する」という意味の韓国の国歌「愛国歌」は、徐載弼による「愛国歌制定・斉唱運動」をきっかけに作られた歌として、高宗皇帝の勅で、韓国初の国歌「大韓帝国愛国歌」(1902年)が制定されて以来、「Auld Lang Syne」の旋律を借用した「尹致昊作詞の愛国歌」(1907年)-「安益泰作曲の愛国歌」(1935年)へと変化し、現在に至っている。 韓国国歌は、東西列強の侵略の危機を克服し、「自主独立国としての国権を確立」するため作られ、ナショナリズムを鼓吹するための歌として、「自主独立運動のメカニズム」としての役割を果たした。問題点としては、作詞·作曲家の親日論が巻き起こるに従い、国歌改訂問題の浮上や国歌正統性と象徴性の是非などの議論を重ねてきたということである。思想・文化的には、古来からの韓国固有の「天神思想」を含意しており、朝鮮時代の忠君愛国精神を受け継いだ「儒教思想」のエッセンスが散見される。また、朝鮮時代末期、教会を中心とした独立運動の拡散と共に、作詞家の宗教観が国歌に反映されることにより、「キリスト教思想」が内在化された。韓国の国歌はいわば、儒教社会からキリスト教社会への「宗教・思想のパラダイム転換」→「国歌の思想・文化的特殊性の変化」=唯一神の「父性原理(思想)」をもとにしていると説明できる。 他方、日本の国歌「君が代」は「天皇の国家(時代)」という意味として、英国歩兵隊の軍楽長フェントンが外交儀礼のための国歌制定の必要性を提案することにより、「近代化された文明国家としての天皇制国家の権威」を確保するため作られた。1870年に初の国歌「第一君が代」が作られて以来、1888年にはエッケルト編曲・林広守作曲の「第二君が代」が制定・配布され、1999年に正式に法制化された。 日本の国歌は、「天皇と国民の統合・結束」と「和洋折衷のツール」として和歌が利用され、明治近代国家樹立のための「脱亜入欧と東西合体」のイデオロギーを標榜した「近代文明開花」の役割を担当した。問題点としては、天皇を崇敬し治世を賛美する歌、侵略戦争による東アジア諸国の植民地統治のツールとしての役割、東洋と西洋の不調和による音楽自体の作曲·編曲上の是非、そして、君が代起立斉唱を巡る教育界の反発に直面してきたということが挙げられる。 思想・文化的特徴としては、「和歌文化」を始めとし、神道の思想的根幹である「アニミズム」が投影されているが、このような世界観は、自然における生命の誕生と永続性、精霊・魂の存在などを司る「母性原理(思想)」の特殊性をベースとしていると言えよう。

식민지 근대와 한인 디아스포라의 노래의식(儀式): 애국가의 서사상징을 중심으로

윤신향 ( Yun Shin-hyang ) 한국음악학학회 2020 음악학 Vol.28 No.2

이 논문은 한반도의 애국가를 식민지 근대와 한인 디아스포라의 노래를 상징하는 의식(儀式)이라는 관점에서 바라본다. 국왕에 대한 찬미, 또는 혁명적인 군가에 기원을 두는 근대국가의 특성을 가사를 중심으로 고찰하고, 한반도에 존재했거나 존재하고 있는 국가(國歌)와 근대성의 관계를 도출하였다. 독일 프로이센제국의 음악감독 프란츠 에케르트(Franz Eckert, 1852~1916)가 대한제국 시기에 미국 선교사 호머 헐버트(Homer Hulbert, 1863~1949)의 민요 채보를 토대로 제작한 최초의 애국가는 한국의 민요를 한반도에서 근대적으로 재구성하였다. 반면, 일제 강점기에 안익태가 찬미가 가사에 선율을 붙인 〈애국가〉는 근대적 식민서사를 미주 디아스포라에서 재현하였다. 미주 한인교회를 중심으로 퍼진 〈애국가〉의 보급과정은 한민족 공동체가 신앙 공동체와 상호작용했음을 보여 준다. 〈애국가〉 선율을 인용한 안익태의 〈한국 환상곡〉(1937)은 ‘한국’을 처음으로 근대장르 교향시로 재구성하였으나, 일본과 연대한 나치독일에서 왜곡되는 역사를 겪었다. 해방 후 제정된 두 국가(國歌)는 분단의 서사를 상징하는 동시에 식민적 근대성이 한반도에서 둘로 나누어 전개되었음을 의미한다. 애국가의 서사상징은 한편으로는 미국 개신교의 식민지 선교의 관점에서, 다른 한편으로는 한ㆍ독 음악교류의 관점에서 학제적으로 재조명될 필요가 있다. This thesis examines the narrative symbol of the Korean national anthem under the aspect of the colonial modernity and the song ritual of the Korean diaspora. The first two chapters serve as theoretical background. First, the relationship between colonialism and modernism that unfolded on the Korean peninsula along with Japanese colonial rule is outlined, and briefly introduced some Koreans who came to Germany via China or Japan during the colonial period. Secondly, the characteristics of the national anthems of the representativ nations in Europe are derived as follows. The lyrics of the hymn were started from the praise the absolute monarch based on the tonalily. The melodies of the national anthems of the main European nations flowed into the christian hymn melodies, which are also sung translated into Korean christian hymns. The national anthem of the Korean empire was arranged in 1902 by Franz Eckert (1852~1916), the Royal Prussian music director, based on the transcription of the Korean folk song by the American missionary Homer Hulbert (1863~1949). Thus the Korean folk song was reconstructed in a modern way. The current national anthem, which was composed in 1935 during the colonial period by Japan by Ahn Ik-tae in America with text from a christian hymn, was spread in the Korean Christian communities in America, representing the colonial modernity of the Korean peninsula. The National anthems of South Korea and North Korea which came into effect after liberation in 1945, symbolize the national narrative of colonization and division of the Korean peninsula. Research on the narrative symbol of the Korean national anthem should be deepened with regard to the American Protestant mission in the colonialized Korea and the Korean-German music exchange.

운초 장사훈의 근대음악사 연구 성과 -『여명의 동서음악』을 중심으로-

김수현 한국국악학회 2021 한국음악연구 Vol.70 No.-

This paper examines Uncho Jang Sa-hoon's study of modern music history, which has not received much attention. His research can be broadly classified into Korean traditional music history and Korean traditional music theory. His Music history study mainly focuses on translating literature of premodern times such as Akji(a collection of records of music in history books), music scores from The Annals of the Joseon Dynasty, Akhak Gwebeom, Musical canon of Joseon published in 1493. Uigwe, A collection of records of the preparations for and conduct of state-sponsored events and ceremonies involving key members of the Joseon royal family. Interpretation from National Museum of Korea. and Goakbo(old music scores). And his music theory study is focused on analyzing and theorizing Korean traditional music genres that have been inherited so far. Thus modern music history holds a relatively small proportion among the overall studies of him, and quite a few errors are found. However, his study of modern music history began relatively early and covers music organizations and its musicians such as Yiwangjik Aakbu, Royal Conservatory of the Yi Household. This agency was established and served during the Japanese colonial era. Joseon Jeongak Jeonseupso, An educational music institution established in 1911 to transmit and to distribute jeongak. Interpretation from Korean Cultural Center NY. and Changgeuk; Changgeuk is performed as a play but in the Korean folk song style known as pansori. also deals with female artists, military bands, and national anthem. His modern music history works had compiled in Yeomyeongui Dongseo Eumak(East and West Music in Dawn, 1974) by bringing these writings together and adding new papers. This paper examines his achievements and limitations over his modern music study focusing on this book. Uncho himself lived that time as a musician, and had the ability to acquire and read important historical materials that would be the basis for the study of modern music history. His study of modern music history is distinguished in that it dealth with major topics from both Korean traditional music and Western music, and the pioneering themes he presented played a major role to younger scholars. Yet he failed to depict the radical change of Korean traditional music during modern period by covering only a few detailed themes. 이 논문은 운초 장사훈의 연구 중에서 그동안 크게 주목하지 않았던 근대음악사연구에 대해서 살펴본 것이다. 운초의 연구를 크게 대별해 보자면 국악사와 국악이론으로 구분할 수 있는데, 주로 역사서의 악지, 조선왕조실록, 악학궤범, 의궤, 고악보 등 문헌 해석을 연구방법으로 하는 근대 이전까지의 음악사와 그 전통으로 현재까지 계승하고 있는 국악 장르의 악곡을 분석하여 이론화 한 데에 집중되어 있다. 따라서 운초의 전반적인 연구 중에서 근대음악사는 상대적으로 비중이 작고 오류도 꽤 발견된다. 그러나 비교적 빠른 시기에 시작되었으며 연구주제는 이왕직아악부, 조선정악전습소, 창극, 여성예인, 군악대, 애국가 등과 그와 관련된 음악가들이다. 이러한 글들을 한데 모으고 새로 논문을 추가하여 근대음악사 연구를 집성 해 놓은 것이 『여명의 동서음악』(1974)이라고 할 수 있다. 이 논문에서는 이 책을 중심으로 운초의 근대음악사 연구 성과와 한계를 살펴보았다. 운초 자신이 음악가로서 당대를 살아온 경험이 있고 근대음악사 연구에 토대가 될 중요한 사료를 취득하고 읽어낼 능력을 가짐으로써 가능한 것이라고 할 수 있다. 운초의 근대음악사 연구는 국악계와 양악계의 주요 주제를 두루 취급하였다는 장점이 있고 후학들에게 근대음악사 연구하는데 있어서 주제 제시에 선구적인 역할을 하였다고 평가할 수 있다. 그러나 근대음악사의 몇 몇 세부적인 주제만을 가지고 연구하였다는 점에서 근대라는 새로운 페러다임 전환기의 국악의 변화를 큰 그림으로 보지 못한 점은 한계라고 할 수 있다.

근대 전환기 기독교 찬송가와 근대 국가 만들기 -윤치호의 『찬미가』(1908)를 중심으로

조경덕 기독교학문연구회 2023 신앙과 학문 Vol.28 No.4

This study examines the role that Christian hymnody played in the task of creating a modern nation state during the transition period to modern era through Yoon Chi- ho's translation of Chanmiga(1908). Yun Chi-ho's Chanmiga was an early publication in the history of Korean hymnbooks. Among protestant hymnals, Yoon's Chanmiga is unique. First, it is a booklet with 15 songs. The hymnal produced by the Presbyterian and Methodist churches in the same year contained 317 songs. It was intended for use in a mission school rather than for church use. Second, there are privately produced hymnals. With the exception of Underwood's hymnal(1894), other hymnals were usually created by denominational hymnal committees, which Yun Chi-ho's knowledge of English and national language skills made possible. Third, "Korean national anthem" were included. Three of the 15 songs are anthems. At the time, Christianity was closely associated with nationalism. Yun Chi-ho sided with Japanese imperialism in the last days of the colonial period, so some researchers deny the nationalist character of Chanmiga. However, it would be unfair to judge his entire life by his later actions. Yun Chi Ho wrote Chanmiga from a nationalist position. And readers at that time sang together their Christian faith and loyalty to the country through Chanmiga.

1910년대 기독교계 학교의 음악교육과 그 영향

노동은(Noh Dong-Eun) 한국기독교역사연구소 2004 한국기독교와 역사 Vol.20 No.-

In August 1910 the Residency-General became the Government-General of Korea. The Government-General tried to consolidate Japanese control of Korea through a sweeping social reform program aimed at making the Koreans “loyal subjects of the Japanese Empire.” However, private schools and churches remained to be centers of musical culture. Music was recognized as a symbol of national hope and the heart of Christian culture. Pioneers of modern Western music, including Kim In-Sik(金仁湜), Kim Hyoung-Joon(金亨俊), and Lee Sang-Jun(李尙俊), were mostly from Christian private schools. Teaching at private schools in Seoul, conducting church choirs, and making and working for bands, they became founders of Korean modem Western music. Korean musicians of Christian backgrounds created a religious and musically-creative atmosphere in churches. Unlike Western missionaries, they utilized Korean traditional music, and gave music education a national character. Churches’ religious environment made Korean musicians inclined towards the Western music of the Classical and Romantic era. School music education in the 1910s was led by the Government-General and American missionaries. Hymns and private school music were suppressed by the Japanese colonial regime. A revised private school regulations in 1915 prohibited Christian schools from teaching the Bible and hymns. Ethics and Japanese Shoka(日本唱歌) became primary material for school music education in Korea. However, the Hymns of the Presbyterian and Methodist churches, anthology of songs collected by such persons as Kim In-Sik and Kim Hyoung-Joon, the Book of Songs by A.L.A. Baird and L.B. Becker, and other collections of songs were used for making patriotic-national songs. Koreans preferred European and American music over Japanese Shoka, and many Western-style songs were re-made into anti-Japanese songs. Japan tried to ban these songs, so some people were imprisoned for violating the ban. However, these songs were developed into national music and contributed to the growing nationalism that culminated in the May 1st independence Movement in 1919.

1945년 重慶임시정부 발행 「한국애국가」의 현대적 의의

박원호(Park, Won-ho) 독립기념관 한국독립운동사연구소 2016 한국독립운동사연구 Vol.0 No.54

일본의 항복으로 광복을 중국 重慶에서 맞은 대한민국 임시정부는 요인들의 귀국을 앞두고 「韓中英文 中國版 韓國愛國歌」 악보를 발행하였다. 이는 1942년 미국 大韓人國民會(Korean National Association)가 애국가의 올랭사인(Auld lang syne) 곡조를 이어서 신곡으로 변경 요청한 것을 허가해준 후, 이어서 중경임시정부도 자체적으로 안익태 곡으로 바꾸고 이 신곡을 ‘國歌’처럼 불러왔다는 것을 확인해주는 물증이다. 태평양전쟁이 발발하자 중국국민정부는 임시정부의 독립운동을 지원하는 정책을 진행시키는 가운데, 中韓文化協會가 출범하기에 이르렀다. 중한문화협회는 중국정부가 임시정부와의 문화적 유대를 토대로 人文交流를 통한 韓中友好를 증진시키려는 公共外交의 주요 채널이었다. 이 무렵 중한문화협회가 인쇄비를 音樂月刊社 李士釗에게 지원하는 형태로 중경임시정부는 「한국애국가」악보를 발행하게 된다. 金九 주석의 측근 嚴恒燮 閔弼鎬 등이 준비한 자료를 토대로 발행된 「韓國愛國歌」 악보는 임시정부의 위상을 홍보하는 목적과 함께, 광복 한국의 영도자로서 金九를 부각시키려는 의도도 있었던 것으로 보인다. 「韓國愛國歌」는 대한민국이 法統을 이어 받은 대한민국 임시정부가 중경에서 발행한 마지막 출판물이며, 동시에 임시정부 주석의 명의로 출판된 첫 “國歌의 樂譜”이다. 안익태 곡 애국가는 1948년 건국 시에 “대한민국 國歌”로서가 아니라 1945년 “대한민국 임시정부가 채택한 國歌”로 먼저 확정되었다.

안익태 연구 III ― 1938~1940, 두 번의 첼로 연주회와 한 번의 지휘 무대

김보국 ( Kim Bogook ) 서울대학교 인문학연구원 2021 人文論叢 Vol.78 No.1

<한국 환상곡>과 <애국가>의 작곡자인 안익태에 관한 연구는 의외로 많지 않다. 이는 어쩌면 1966년에 처음 출판되어 이후 2006년까지 다섯 번이나 개정된, 그의 전기에 해당하는 서적의 영향 때문일 수도 있을 것이다. 김경래에 의해 출판된 그 책에서 안익태는 지고한 애국자, 탁월한 음악가로 그려졌는데, 그에 대한 묘사가 수 십 년을 거치며 사실화되어 연구자들에게는 하나의 연구 주제로서 부각되지 않았을 수 있다. 하지만 안익태와 관련된 새로운 자료들이 발굴되며 일부 연구자들을 중심으로 그에 대한 평가와 해석이 달라지고 있다. 본고는 최근에 발굴한 헝가리 자료들을 중심으로 그의 행적과 음악 세계를 고찰한 세 번째 논고이다. 1930년대 국내의 신문들을 통해 구주에서 그의 활약상이 다수 알려졌는데 본고에서는 헝가리 현지자료 등을 근거로 리스트 음악원 재적 시기, 그의 음악적 활동에 대한 실상을 살펴보았다. There are surprisingly few studies on Ahn Eak-tai, the composer of < Symphonic Fantasy Korea > and < The National Anthem >. This may be because of his biography, which was first published in 1966 and revised five times until 2006. In the book written by Kim Kyung-rae, Ahn Eak-tai was described as a prominent patriot, and an outstanding musician. It may be that the depiction which was formed through decades as if it was real, has not excited researchers curiosity as a special research topic. However, since the new data related to Ahn Eak-tai have been discovered, the evaluation and interpretation of him have been changed by a certain circle of researchers. This article is the third paper that examines his Hungarian life and the world of his music, focusing on recently discovered Hungarian materials. In the 1930s, his activities in Europe were known through Korean domestic newspapers. Compared with it, in this paper, based on the Hungarian materials, we reviewed the real facts of his musical activities in the period of his Liszt Academy days.

안익태 연구 Ⅰ - 리스트 음악원 재적 시기를 중심으로 -

김보국(Kim, Bogook) 고려대학교 한국학연구소 2020 한국학연구 Vol.72 No.-

안익태의 행적에 관해서는 지금까지 꾸준히 연구가 진행되고 있으나 관련 자료가 부족하고 자료의 기술 내용들이 일관적이지 않기에 연구의 어려움이 있다. 김경래는 안익태의 구술을 바탕으로 1960년대에 이미 그의 전기라고 할 수 있는 책을 출판하였고, 허영한은 주로 미국 출처의 자료들을 중심으로 충실하고 꼼꼼하게 조사하여 꾸준히 그의 행적과 음악에 대한 연구를 진행하고 있다. 또한 전정임은 그의 음악과 작품세계에 대한 실질적인 최초의 학술서적을 선보이기도 하였으며, 이경분과 송병욱은 주로 독일 출처의 자료들을 깊이 있게 해석한 바 있다. 헝가리에서 안익태의 행적에 대해서는 그 동안 언론과 학술지에서 간간이 다루어졌으나 헝가리 출처의 자료들을 바탕으로 한 본격적인 연구는 미비하였다. 본고에서는 안익태의 리스트 음악원 등록 시기 자료들을 중심으로 그의 행적을 살펴보았으며, 그가 음악원에 등록하기 이전에 지휘하였던 음악회에 대해서도 기존 자료들과 헝가리 자료들을 토대로 그 의미에 대해 고찰해 보았다. Eak-tai Ahn"s tracks have been continuously studied until now, but there is a difficulty in research because of the lack of related research materials and even the described contents of his life are inconsistent. Kyung-rae Kim has already published his biographical book in the 1960s but it was based on An Ik-tae"s dictation, so the there is a lot of part that can be open to doubt. Chung-Im Chun presented the first practical scholarly books on the world of his music and works, and Kyung-Boon Lee and Byeong-Uk Song have interpreted mainly from German sources concerned in him. The period of Eki-tai Ahn’s satying in Hungary and his traces have been intermittently covered in the press and academic journals, however the full-scale studies based on Hungarian sources have been lacking. In this paper, I reviewed his traces focusing on the materials of Liszt Ferenc Academy of Music, and the meaning of the concerts he conducted before enrolling in the Conservatory.

안익태 애국가 무엇이 문제인가 - 법정(法定) 국가(國歌) 제정을 위한 시론(試論)

김정희(Kim Jeong-hee) 한국예술종합학교 한국예술연구소 2021 한국예술연구 Vol.- No.31

대한민국 임시정부(김구)의 애국가(윤치호 작사, 안익태 작곡) 국가(國歌) 제정

김원모(Kim, Won-mo) 춘원연구학회 2018 춘원연구학보 Vol.0 No.12