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5,18 항쟁의 형상화에 사용된 음악표현 양식 : 윤이상의 「광주여 영원히」, 이민수의 「이 오월에」, 김선철의 「무등둥둥」, 정유하의 「광주항쟁」을 중심으로
정유하 민족음악학회 2003 음악과 민족 Vol.26 No.-
May Uprising has been passed 20 years. Composers have configurated it as music. There are many reasons. For example, praise the meaning of it, cherish the memory of sacrificed people, of feeling of debt to May Uprising. It was configurated in form of symphony, symphonic poem, prelude, opera, &-song, by many composers, who had various backgrounds. The representational mode was expressed variously by the genre, background of composers, time and political factor. Yun Isang' symphony Exemplum, in memoriam Kwangiu(l981) was composed firstly. As German-nationality composer Yun Isang could compose it without political influence. It was the 7 months later after the uprising. He expressed defeat, sorrow, his desire for justice and democracy of Korea, and appeal to continue fighting in his favored Hauptton technique. Lee Mn-soo' modem art-song In this hlay was composed 1981. It was difficult to speak out that openly in Korea at that time. He used a student s poem published in the university newspaper. The poem symbolized things. So, the music described atmosphere of that time in the style of expressionism like disharmonious compound chords, irregular rhythms, chromatic melodies. Kim Sun-chul's opera Mudeung-dungdung was supported by goverment's Culture-Tourism Department. It represented uprising realistically using various styles like Korean folk, Western counterpoint, and atonal as well as western tonal music. The latest work, Yooha Jeong's Cwangju Uprising was written in Korean court music, folk music, and western contemporary music styles. She experienced the uprising on the spot as an university student. It described Gwangju Uprising as ultimate victory of Gwangju Uprising spirit.