나화랑의 민요 심취와 애호, 한국 가요사적 의의 짚어보기

민경탁(Min Gyung-Tag) 한국대중음악학회 2016 대중음악 Vol.- No.18

한국 대중가요계에서 8·15 해방 이전에 데뷔해 1960년대까지 전성기를 보낸 작곡가들을 흔히 제1 세대 가요 작가라고 일컫는다. 이들 중에서 각별히 신민요와 민요풍의 가요를 양산하며, 물밀 듯 밀려온 대중음악의 서구화 풍조 속에서 한국 가요의 정체성을 고수하려는 노력을 각별히 보인 이들을 선별해볼 수 있다. 이를테면 김서정, 전기현, 김교성, 문호월, 이면상, 김준영, 형석기, 김해송, 박시춘, 송민영, 나화랑, 한복남, 황문평, 고봉산 등이다. 이 중에서 작곡가 나화랑의 작품 세계에 여타 작곡가에서보다 유별난 민요 심취 및 애호 성향이 있음을 발견할 수 있었다. 그는 한국의 민요를 편곡해 다량 음반으로 제작, 보급하였으며, 신민요·민요풍의 대중가요를 양산(量産)한 것으로 조사되기 때문이다. 나화랑은 전통민요 편곡 민요 음반을 70종, 대중가요계 신민요·민요풍의 가요 작곡 음반을 132종, 도합 202종의 민요계 음악을 남긴 것으로 나타난다. 그는 우리 전통 가락 위에 그 시대의 감각을 동시대 여타 대중가요 작곡가보다 다채롭게 담아내었다. 한국 음악의 정체성을 고수하면서 시대에 맞게 변화시키려 각별히 노력했는데, 그 성과가 한국 가요사에 잘 알려지지 않은 것으로 보인다. 우리 신민요와 민요풍의 가요는 1940년대 중반~1960년대에 도입되는 서구의 리듬에 밀려 많이 위축되었다. 하지만 양적으로 열세에 있을 뿐, 전문 국악인들의 민요보다 대중을 향한 자장은 더 넓다. 이와 관련해 한국의 가요가 세계적으로 위상을 높여가는 오늘날 그 풍조가 서구적으로 지나치게 경도 되어 가고 있음도 고민해볼 필요가 있다고 생각한다. In general, the term of the first generation composers is the ones who had made their debut before Aug.15 liberation and spent their best days until 1960s. Among them, especially, there are some composers who had tried to make many new folk songs and showed their awareness and effort to stick to identities of Korean music. These composers include Kim Seo-Jung, Jeon Gee-Hyun, Kim Kyo-Sung, Moon Ho-Weol, Lee Myun-Sang, Kim Joon-Young, Hyung Seok-Gee, Kim Hae-Song, Park Si-Choon, Song Min-Young, Na Hwa-Rang, Han Bok-Nam, Hwang Moon-Pyung, Go Bong-San etc. Most of all, we can find that in the world of art work of Na Hwa-rang, there are his unusual immersion and attachment to Korean classical music. He had arranged a number of Korean songs, produced and distributed them into many albums, and mass-produced Korean pop songs and new folk songs, leaving accomplishments of his establishing Korean music identities. In the meantime, new folk songs of the communities of Korean pop songs and folk songs-based pop music which had been composed by the pop song writers were turned over by the pop music of the Western, but all of them were not perished. There being small in size, the vision of the traditional musician for the mass were broader than ever. Still, pop song of new folk songs are being produced and enjoyed.

한국 곡예/서커스 공연에서 사용된 ‘삽입가요’로서 대중가요의 역할과 의미-1970~80년대 곡예/서커스 공연의 사례를 중심으로-

허정주 한국민요학회 2015 한국민요학 Vol.44 No.-

We can see many kinds of new variations in contacting Korean traditional folk song with Korean modern pop songs. There are various variations in inserting songs of Korean modern circus. Participants of Korean modern circus changed inserting songs of modern circus from traditional folk songs to modern pop songs. Korean modern circus has been developed in close relationships with modern pop songs. Pop songs and accompaniments of those are used for main elements of performing of circus in 1970~80’s. There are some important functions of korean popular songs and accompaniments of those in korean modern circus of 1970~80’s. The functions are as follows; firstly, function of constructing of total breathing․rhythm․flow in performing of circus, secondly, function of mirroring of comtemporary socio-political consciousness, thirdly, function of making of main moods․emotions․main ideas of performing of circus, fourthly, function of filling up of the other parts that can not be filled with performing actions of circus performers, fifthly, function of concentrating of attention of audiences on circus performing itself. Socio-cultural meanings of using of popular songs in Korean modern circus are as follows: firstly, converting comtemporary circus into a part of comtemporary popular culture, secondly, giving recognitions of self-identity to contemporary performers of circus, thirdly, playing the role of contemporary social mirror, fourthly, reflecting contemporary socio-political emtion of doctrinal optimism into circus, fifthly, tuning of main flow of Korean circus into modern ‘flow’. <국문초록> 한국 민요는 갑오경장 이후 그 중심이 ‘근대의식’이 분명해진 민요, 즉 반봉건․반외세의 민중-시민 주체의 ‘근대민요’로 전환되었다. 이러한 변화 과정은 민요가 갑오경장 이후 새로 등장하게 되는 근대민요․신민요 등으로의 변화를 거치고 ‘대중가요’를 만나면서 더욱 심화․확장되었다. 이러한 변화들은 농어촌 현장 전승 민요에서도 일어났지만, 그러한 현장 민요 주변 곧 그 주변의 다른 민속예능 분야에서도 일어났다. 그런 하나의 사례로 곡예/서커스 분야에서 민요의 변화 양상을 검토해 볼 수 있다. 즉, 갑오경장 이전 시기의 우리 전통 곡예에서 탈놀이 등과 유사하게 전통 민요들이 사용되었으나, 우리 곡예가 근대 곡예 곧 근대 서커스로 전환되면서 거기에 사용되는 노래들 또한 전통 민요에서 근현대 대중가요로 점차 바뀌게 되었다. 이러한 ‘삽입가요’의 변화는 전통 민요의 근현대 민요로의 변화라고 하는 좀 더 거시적인 지평에서 논의할 수 있는 문제이다. 따라서 본고에서 1970~80년대 곡예/서커스의 대중 공연예술에 직접 삽입된 대중가요를 삽입가요로서의 역할과 의미를 살펴보고자 한다. 곡예/서커스에서의 노래는 몇 가지 중요한 역할을 담당하고 있다. 첫째, 공연구조 상으로 곡예/서커스 공연의 전체적인 호흡․리듬․흐름을 구축해 주는 기능, 둘째, 정치적으로 당대 사회를 반영하는 기능, 셋째, 분위기․정서․주제를 형성하는 기능, 넷째, 곡예사들의 곡예/서커스 행위로 메울 수 없는 부분들을 보충하는 기능, 다섯째, 곡예/서커스 청관중의 주의를 곡예/서커스 공연에 집중시켜주는 기능 등을 하고 있다. 이러한 관점에서 이 시대-사회의 중심 노래가 된 대중가요는 당시대의 곡예/서커스에서 다음과 같은 삽입가요로서의 의미를 부여할 수 있다. 첫째, 당대의 곡예/서커스를 당대의 대중문화의 일부로 전환되도록 한 점, 둘째, 당시대의 곡예/서커스 공연 주체들로 하여금 그들의 자기-정체성과 자아를 인식하도록 한 점, 셋째, 당대의 사회를 ‘반영’하는 일종의 ‘사회적 거울’로서의 역할을 한 점, 넷째, 당대 사회의 정치가 내세우던 ‘교조적 낙관성’이라는 정서를 반영하고 보여준 점, 다섯째, 곡예/서커스의 ‘흐름’을 근현대적 흐름으로 조율하게 된 점 등이 그것이다. 근현대 시기에 이르러 우리 민중사회의 노래 중심이 민요에서 대중가요에로 전환되면서 민요 주변의 다른 공연문화 영역에서도 민요가 하던 역할을 대중가요가 하게 되고, 민요는 그만큼 ‘대중가요’와의 관계를 더욱 더 긴밀하게 강화해 나아가야 했다.

한국 가곡에 관한 인식 변화 연구 - 언어 네트워크 분석을 중심으로 -

이지현,김선영,이경택 한국문화융합학회 2022 문화와 융합 Vol.44 No.4

Since the 2010s, a new trend has been detected in Korean songs, with popular songs starting to be composed. Therefore, this study attempted to grasp the change in perception of Korean songs through big data analysis with songs and Korean songs as keywords. To this end, data were collected on the web, such as domestic portals and SNS for 12 months in 2001 and 2021, respectively, with “Song” and “Korean Song” as keywords, and a comparative analysis was conducted using the language network analysis method. As a result of the analysis, it can be seen that social awareness of Korean songs is increasing compared to 2001. In other words, new future-oriented attempts were being made for the growth and globalization of Korean songs, such as the emergence of Art-Pop by emerging composers, the production of video and album content, and the movement for popularization through performances and experiences using holograms and VR. This proves the possibility of continuous development in the future as creative and original genres are being pioneered and popularized by changing the perception of Korean song creation. It is expected that this study will be used as practical and theoretical data for the revival of Korean songs.

한국과 중국의 근대 대중가요 민족화 연구 — 신민요와 신민가의 비교를 중심으로

최명숙 중국문화연구학회 2020 중국문화연구 Vol.0 No.47

From the 1920s to the 1940s, Korean and Chinese pop songs were in full bloom and enjoyed by the public. Recognizing that Korean and Chinese pop music has not been placed on the comparative list of studies together despite their historically close correlation, this study aims to reveal the development patterns of modern pop songs in Korea and China and explore new areas of research. The invasion of Western powers, which began at the end of the 19th century, opened the doors of China, and Korea also began to undergo drastic social changes due to Japanese aggression and colonial rule. In the process of spreading capitalist culture centered on Western Europe and Japan, Korean and Chinese pop music developed into diverse forms through fusion and harmony, not the dichotomy between traditional and foreign styles. In the 1930s, K-pop and Chinese pop developed with the popularity of ‘Shin Minyo’ and ‘Shin Min-ga’ based on their respectively traditional folk songs. In this text, we will look at the musical content of Korea’s “Shin Minyo” and China’s “Shin Min-ga,” which were widely sung in the 1930s and 40s and is an important part of pop music. At Japanese colonial period, <ours> exist in the two countries pop songs which fill with the public longing and desire, strive to succeed the trails of the traditional folk songs and attach meaning to look at nationalization of pop songs and Popularization and Cultural Phenomenon. In particular, the two genres are have in common with emerging in historical backdrop of the Japanese colonial period, so wo can say, it is a more precious tasks.

The effect of repeated Korean pop song on 'misery loves company' (https://www.youtube.com/watch?v=DRPJZ3iH71Q)

Ko, Kyung Ja Cellmed Orthocellular Medicine and Pharmaceutical 2018 셀메드 (CellMed) Vol.8 No.4

The aim of this article is to argue that repeated singing helps to feel 'misery loves company.' Folksong is popular music in the past. Korean folk songs have almost repetitive chorus. The repetitive refrain is made easy for everyone to follow. So, people become comrades who share the chorus together. Repetitive music makes people more intimate and more intimate. So, people feel that they share thoughts and feelings with music. It gives me energy to never give in to destiny. So, they encourage each other to be worth living. They sing together and sympathize and comfort each other's pain. 'Hook song' is the most popular form in these days in Korean music. The form of K-pop (Korean pop), which is gaining popularity worldwide, has many repetitions and concentration of melody. BTS (Bang Tan Sonyundan, Boyband) also tells teens around the world through repetitive melodies that "Let's share our joy and sorrow." This is the highest value of music therapy. BTS is a Korean boy band that has gained a worldwide reputation. Recently, their songs are affecting teenagers all over the world. In this way, the author thinks that the repetition of folk songs was reborn as a 'Hook song' and the repetitive form of music is a good way to give support to anyone. The author thinks this is best accomplished by singing 'misery loves company.'

한국과 중국의 근대 대중가요 민족화 연구 - 신민요와 신민가의 비교를 중심으로

최명숙(Choi, Myung-Sook) 중국문화연구학회 2020 중국문화연구 Vol.0 No.47

From the 1920s to the 1940s, Korean and Chinese pop songs were in full bloom and enjoyed by the public. Recognizing that Korean and Chinese pop music has not been placed on the comparative list of studies together despite their historically close correlation, this study aims to reveal the development patterns of modern pop songs in Korea and China and explore new areas of research. The invasion of Western powers, which began at the end of the 19th century, opened the doors of China, and Korea also began to undergo drastic social changes due to Japanese aggression and colonial rule. In the process of spreading capitalist culture centered on Western Europe and Japan, Korean and Chinese pop music developed into diverse forms through fusion and harmony, not the dichotomy between traditional and foreign styles. In the 1930s, K-pop and Chinese pop developed with the popularity of ‘Shin Minyo’ and ‘Shin Min-ga’ based on their respectively traditional folk songs. In this text, we will look at the musical content of Korea’s “Shin Minyo” and China’s “Shin Min-ga,” which were widely sung in the 1930s and 40s and is an important part of pop music. At Japanese colonial period, 〈ours〉 exist in the two countries pop songs which fill with the public longing and desire, strive to succeed the trails of the traditional folk songs and attach meaning to look at nationalization of pop songs and Popularization and Cultural Phenomenon. In particular, the two genres are have in common with emerging in historical backdrop of the Japanese colonial period, so wo can say, it is a more precious tasks.

대중가요 가사의 언어 오용 연구 - 2000년대 이후 가요를 중심으로

박종호 영주어문학회 2019 영주어문 Vol.43 No.-

The study aims to analyze the situation of misuse of the language in the lyrics of pop songs since the 2010s and suggest how to use the correct language for pop songs. Since the 2000s, the Korean Wave has been spreading around the world. Due to the influence of the Korean wave, interest in Korean language and culture is increasing as well, and the number of foreigners entering the country to learn Korean language and culture is steadily. Among pop culture that promotes Korea, pop music has a great ripple effect. Foreigners who do not know Korea or Korean well also get interested in Korea through K-pop, which is often the first time they have access to Korean language or culture. Therefore, using the correct Korean language in popular lyrics is also a way to convey the correct information about Korean language. That's why analyzing the cases of misuse of pop lyrics and thinking about ways to reduce these abuses are necessary for the correct use of the language 이 연구는 2000년대 이후 대중가요의 가사에 나타난 언어 오용 실태를 분석하고 대중가요 가사의 올바른 언어 사용 방안을 제언해 보는 데 목적이 있다. 2000년대 이후 세계 곳곳에서 한류 열풍이 불고 있다. 이러한 한류의 영향으로 한국어와 한국 문화에 대한 관심도 더불어 증가하고 있으며, 한국어와 한국문화를 배우기 위해 국내에 유입되는 외국인들도 꾸준히 증가하고 있다. 한국을 알리는 대중 문화 중 가요는 그 파급 효과가 크다고 하겠다. 한국이나 한국어를 잘 알지 못하는 외국인들도 K-POP을 통해 한국에 대한 관심을 갖게 되고, 이를 통해 한국어나 한국문화를 처음 접하는 경우도 많다. 따라서 대중가요 가사에서의 올바른 한국어 사용은 한국어에 대한 올바른 정보를 전달하는 한 방법이기도 하다. 그렇기 때문에 대중가요 가사의 언어 오용 사례를 분석하고 이러한 오용을 줄일 수 있는 방안에 대한 고민하는 것은 한국어의 올바른 사용과 보존, 보급을 위해 필요한 부분이라 할 수 있다.

한국 대중가요 노랫말의 특성에 관한 담론

홍연주(Yeon Joo Hong) 한국엔터테인먼트산업학회 2011 한국엔터테인먼트산업학회논문지 Vol.5 No.1

국민 소득의 증대와 아울러 엔터테인먼트 산업 또한 활발하게 진행되면서 아이돌 스타라고 불리는 가수들이 한국 대중가요의 주류를 이루고 있다. 본 논문에서는 현재 한국 대중가요 노랫말의 특징을 분석하여 발전적인 방안에 관하여 모색하고자 한다. 우리나라 대중가요는 90%이상이 남녀간의 애정 문제를 주요 소재로 다루고 있으며, 50%이상의 노래들이 영어 단어나 문장을 포함하고 있음은 물론, 영어 명칭을 사용하는 가수나 그룹들이 과반수에 육박한다. 세계적으로 성공한 가수인 마이클잭슨의 음악들을 한국 대중가요와 비교, 분석한 결과, 사랑 타령이 아닌 다양한 주제의 노래들도 얼마든지 대중의 인기를 얻고 성공할 수 있다는 사례는 우리에게 시사하는 점이 크다. Because the national income has increased, the scale of entertainment business is also enlarging. The singers called the Idol star are the main stream of Korean Pop songs. In the thesis, the characteristics of Korean pop songs will be analyzed and the percussion concerning the future direction will be performed. Over 90% of Korean pop songs are organized with love theme, and over 50% of songs contain English words or sentences. Also, English named singers and groups are about 50%. The paper compared the Korean pop songs with songs of Michael Jackson. successful and popular singer in the world. From the case study of Michael Jackson, Korean pop songs can get success and be popular with using various kinds of topics, not only love themes.

2010년대 한국 대중가요 시즌송을 중심으로 한 대중음악 아카이브 수집 연구 : 2012~2017년 음원 차트를 중심으로

이소진,홍성규 한국외국어대학교 정보·기록학연구소 2023 기록과 정보·문화 연구 Vol.- No.17

This study aims to record the public’s seasonal empathy by analyzing seasonal songs that showed characteristic aspects in popular songs in the 2010s. Although popular songs with seasonal themes and subjects have existed before, the number of seasonal songs targeting specific seasons increased after the success of Busker Busker’s “Cherry Blossom Ending” released in 2012.The music industry, which has reorganized from the record market to the digital music market, has actively utilized seasonal songs that many people can relate to regardless of generation and have re-entered the music charts according to the cycle of the seasons. Seasonal songs are characterized by the way the seasons are represented and the seasonal sympathies of the public who embrace them, giving them a sense of the times. For the study, a period of five years from March 2012 to February 2017, the period when appeared and characteristic aspects of seasonal songs were seen, was taken as the scope of the study. This paper is based on the monthly ranking of the music charts up to the 100th position, and the seasonal preference patterns were derived by dividing March, April, and May into spring, June, July, and August into summer, September, October, and November into fall, and December, January, and February into winter. The expression of seasonal themes and materials in the lyrics became the criteria for selecting seasonal songs, and the expressive aspects of music were examined through items such as music genre, instrumentation, and types of singers.Seasonal songs in the 2010s actively utilized natural materials and seasonal symbols related to the changes of specific seasons to shape their themes, and made changes in instrumentation and composition for musical expression. We also found that seasonal thematic patterns and musical features influenced the types of singers in seasonal songs. The inevitable repetition of seasonal emotions and music as a time art in seasonal songs is significant in that it broadened the musical base of popular songs and recorded the meaning of the times.

북한과 중국 조선족 대중가요의 인식과 범위

박영일 한양대학교 우리춤연구소 2023 우리춤과 과학기술 Vol.19 No.1

This paper examines what concept the concept of popular songs in capitalist countries is recognized by North-Korea, which is a socialist state system, and Chinese ethnic Koreans in China. And from some point in time, there was a conceptual perception of popular songs, and we examine what kind of musical influence and changes such perception has made to their songs. To this end, it can be seen that the concept of popular songs is understood as very different trends in the case of Korean, North-Korean, and Chinese ethnic Koreans by exploring each other when the concept of popular songs was born. In particular, it can be seen that the popular songs of each country are very closely related to the political system they took. Therefore, I would like to examine in detail the perception and scope of popular songs of North-Korean and Chinese ethnic Koreans, and examine the characteristics of cultural politics from the perspective of popular culture.