20세기 전반기 대중가요에 나타난 ‘타국’인식과 형상화 방식

최은숙 한국민요학회 2008 한국민요학 Vol.23 No.-

This study examines recognition of foreign country by people in the earlier years of the 20th century as it was expressed in popular songs and the style of which the recognition was configured into lyrics, therefore discusses its significance in terms of popular culture. 1. In popular songs during the earlier years of the 20th century, ‘foreign country’ was understood along the line of ‘sorrowful place away from home’ by people of this period. However, in general, ‘foreign country’ gives far more extreme significance than a place away from home within the country. This is so both physically and psychologically. So, foreign country acts as a motive to induce sentimentality of tears by maximizing the sentiment of losing one’s home. 2. For people of this period, ‘foreign country’ was also recognized as a ‘hideout of hope’ to escape from painful realities. In popular songs, foreign country was sometimes configured as a new home and as a target of nostalgic yearning at other times. 3. Foreign country, while being recognized as a land of opportunity by people of this period, did not allow hasteful hope. In a foreign country arrived in search of new land, people of this period not only failed to obtain land, but also were victimized by other exploiters. In order to maintain living, they were often pushed into the vicious circle of having to place their lives at stake again or to move to yet another foreign country. So, foreign country was again configured as a space of despair and inadjustability. 4. Such diverse recognitions on foreign country indicate that foreign country was being recognized as a modern space. While recognizing the modern ambivalence of foreign country, the urban masses of the period must have felt sentimentality by further maximizing the situations they faced or, at times, consolation at the relative sense of stability. The sentimentality and consolation provided by these songs gave motivation for the songs on ‘foreign country’ to be perceived with new significance as popular songs by people of this period. Losing of home and wandering in this period are more closely related to achievement of personal desires, or more ordinary and economic reasons. Songs on ‘foreign country’ represented personal desires and despair as well as pains of the urban masses during this period. Therefore, these songs aroused sympathy among people of this period. To the urban masses of this period, songs on foreign country provoked tears by further maximizing the sense of loss experienced in a place away from home and were suitable to arouse catharsis. By providing the room of new possibilities, these songs functioned as an appropriate repertoire to satisfy the simple and plain fantasy. Songs on ‘foreign country’ were produced conscious of people actually living in a foreign country or the related people. This indicates that production of songs on ‘foreign country’ considered the users more than any other songs. This is significant in the aspect of indicating that distribution of popular songs during this period already placed consideration on tastes or situations of the masses in order to ensure popularity. This study examines recognition of foreign country by people in the earlier years of the 20th century as it was expressed in popular songs and the style of which the recognition was configured into lyrics, therefore discusses its significance in terms of popular culture. 1. In popular songs during the earlier years of the 20th century, ‘foreign country’ was understood along the line of ‘sorrowful place away from home’ by people of this period. However, in general, ‘foreign country’ gives far more extreme significance than a place away from home within the country. This is so both physically and psychologically. So, foreign country acts as a motive to induce sentimentality of tears by maximizing the sentiment of losing one’s home. 2. For people of this period, ‘foreign country’ was also recognized as a ‘hideout of hope’ to escape from painful realities. In popular songs, foreign country was sometimes configured as a new home and as a target of nostalgic yearning at other times. 3. Foreign country, while being recognized as a land of opportunity by people of this period, did not allow hasteful hope. In a foreign country arrived in search of new land, people of this period not only failed to obtain land, but also were victimized by other exploiters. In order to maintain living, they were often pushed into the vicious circle of having to place their lives at stake again or to move to yet another foreign country. So, foreign country was again configured as a space of despair and inadjustability. 4. Such diverse recognitions on foreign country indicate that foreign country was being recognized as a modern space. While recognizing the modern ambivalence of foreign country, the urban masses of the period must have felt sentimentality by further maximizing the situations they faced or, at times, consolation at the relative sense of stability. The sentimentality and consolation provided by these songs gave motivation for the songs on ‘foreign country’ to be perceived with new significance as popular songs by people of this period. Losing of home and wandering in this period are more closely related to achievement of personal desires, or more ordinary and economic reasons. Songs on ‘foreign country’ represented personal desires and despair as well as pains of the urban masses during this period. Therefore, these songs aroused sympathy among people of this period. To the urban masses of this period, songs on foreign country provoked tears by further maximizing the sense of loss experienced in a place away from home and were suitable to arouse catharsis. By providing the room of new possibilities, these songs functioned as an appropriate repertoire to satisfy the simple and plain fantasy. Songs on ‘foreign country’ were produced conscious of people actually living in a foreign country or the related people. This indicates that production of songs on ‘foreign country’ considered the users more than any other songs. This is significant in the aspect of indicating that distribution of popular songs during this period already placed consideration on tastes or situations of the masses in order to ensure popularity.

한국 대중가요의 전개 양상 고찰

장유정(Zhang, Eu-Jeong) 한국문학회 2009 韓國文學論叢 Vol.51 No.-

본고는 이제까지 가요사의 공백기로 남아 있던 1945년부터 1960년까지 대중가요의 전개 양상을 살펴보았다. 약 15년 동안의 이 시기는 크게 세 시기로 나눌 수 있었다. 새로운 발흥기(1945-1950)의 대중가요’, ‘전시 침체기(1950-1953)의 대중가요’, ‘전후 부흥기(1954-1960)의 대중가요’가 그것이다. 각 시기의 대중가요는 시대적 상황을 민감하게 반영하면서 당대인의 커다란 호응을 얻었다. 광복의 기쁨, 전쟁의 아픔, 피난, 이산 등의 소재를 다양하게 활용하면서 당대인들의 마음을 위로해주었던 것이다. 본고에서는 대중가요의 가사를 ‘사실적 경향’과 ‘낭만적 경향’으로 나누어서 각 시기별로 그 구체적인 양상이 어떻게 달라지는지를 고찰하였다. 새로운 발흥기와 전시 침체기의 대중가요에서 사실적인 경향이 우세하게 나타났다면 전후 부흥기에는 낭만적인 경향이 상대적으로 우세하였다고 할 수 있다. 1945-1960년까지의 대중가요는 이후 시대 대중가요의 모태로 작용하였다는 점에서 매우 중요한 의미를 지닌다. 본고는 이제까지 언급되지 않았던 대중가요 작품을 분석 대상으로 하였으며, 대중가요에 대한 정확한 정보를 제시하여 이후 논의에도 도움을 주고자 하였다. 따라서 본고는 이 시기 대중가요 연구를 위한 초석을 마련한다는 점에서 의미를 지니리라 생각한다. This paper look into development of the popular song in 1945-1960, it remains as the interregnum of the songs’ history. This time can divide into 3 times. There are the new rise time of popular song (1945-1950), the depressed time in wartime of popular song (1950-1953), and the reconstructive time in post war days of popular song(1954-1960). The each time popular song reflect the time situation is sensitively and they are gained popularity at the time. People at the time take comfort by popular song, which is utilized various materials. Especially, the new rise time of popular song and the depressed time in wartime of popular song are appear realistic tendency. However, the reconstructive time in post war days of popular song show up romantic tendency. The popular song in 1945-1960 is very important because it was the matrix of the popular song after this. Therefore the popular song in this time(1945-1960) are vital in all Korea popular songs’ history.

"시"와 "노래"의 탈경계 : "가요시"의 형성과 유성기음반

전영주 ( Young Joo Jeon ) 우리어문학회 2012 우리어문연구 Vol.44 No.-

이 논문은 1930년대 대중가요 작사에 참여했던 문학인들을 불러내어 초창기 창작 대중가요의 작사(作詞)가 주로 문학인들에 의해 형성되고 있었던 사실을 인식하고, 한국근대시사(詩史)에서 ``가요시``가 차지하는 문학적 의의를 재고(再考)해 보려는데 그 목적이 있다. 또한``유성기음반``이라는 당시의 음향 매체를 통해 근대를 바라보는 시인들의 매체 인식을 살펴보고, 음악 장르에 문학이 어떻게 개입하고 있었는지를 구체적으로 밝혀 보고자 했다. 그 결과, 문학의 대중화에 앞장 선 근대 시인들의 행보가 매우 적극적이고도 진취적이었음을 알 수 있었다. 당시 한국의 근대문학은 내용, 형식, 정서의 원류와 지향이 다만 전통성을 보존하려는 수동적인 입장을 버리고, 근대시의 감각을 개조하여 대중과 소통하려는 인식이 팽배했으며, 더불어 근대적 매체에 대한 문학인들의 적극적 참여가 존재했던 것으로 판단된다. 이러한 사실의 상당부분이 근대 시인들의 ``유성기음반`` 노랫말 창작으로 증명되고 있는 것이다. 본 연구는 1930~40년대 가요시의 특성을 살펴보는 방식으로 가요시 창작의 유형을 세 가지로 나누어 구체화 하였다. 첫째, 시로 먼저 창작된 것이 가요로 개작된 경우이다. 김동환의 「종로 네거리」를 통해 이러한 특성을 고찰해 보았다. 둘째, 가요시로 작사한 것을 완결된 시로 다시 다듬고 개작하여 (자신의 창작 작품으로 인정하여) 시집에 수록한 경우를 들 수 있다. 김억의 「꽃을 잡고」를 대표작품으로 분석해 보았다. 셋째, 전적으로 음반 제작을 위해 작사하여 가요시로서의 생명을 온전히 다하는 경우이다. 가장 많은 가요시를 발표한 조명암의 경우가 이에 해당하는데 그의 가요시「선창」을 통해 그 특성을 살펴보았다. 결론적으로 유성기음반 취입과 관련하여 형성된 1930~40년대 가요시는 근대를 향한 다양한 힘들의 상호작용에 의해 새로운 근대시의 한 유형으로 등극하고 있다는 점에 그 의의가 있다 할 것이다. 요컨대, 가요시를 통해 한국현대문학사의 구성과 서술방식은 이제 다시 기술되어야 할 필요성이 생겼다. 가요시라는 새로운 문학자료의 발견과 발굴 그리고 이하윤, 김동환, 김억, 조명암, 유도순, 한정동 등 당대 가요시 창작에 참여한, 알려지거나 미처 알려지지 않은 시인들에 대한 재조명에도 보다 진전된 연구가 필요하다 할 것이다. The purpose of this research is to recognize the fact that early composition lyrics of popular song was formed by mainly literary man through surveying the literary man who participated in the writing for popular song, and to consider of cultural meaning of ``Popular song Poem`` in Korean modern Poetry History. Also, it was tried to disclose how the literature intervened in the medium recognition of 1930`s literary man who looked at the modern through sound medium as ``SP Record`` and music genre as ``popular song.`` As a result of that, it was known that the recognition of modern literary man about the popularity of literature was very positive and adventurous. It is considered that the origin and root of content, emotion, and style of modern literature of Korea at that time was escaped from the passive position maintaining the tradition only, and there was a recognition of communication with the public by reversing the sense of poetry literature and positive participation of literary man about modern medium as well. The significant portion of this true is verified as the lyrics creation of ``SP Record`` of modern poets. This research was to survey three divided types of creation of ``Popular song Poem`` in the method of finding the characteristics of Popular song Poem in 1930~1940`s. First, there is that the poetry created as poetry at first was adapted to song. This characteristics was considered through「Jongro intersection」of Kim Dong-Hwan. Second, there is that the writing as Popular song Poem was polished and adapted to be included in the collection of poetry. As a representative work,「holding the flower」of Kim Eok was analysed. Third, there is that the creation for only song lyrics was lasted as Popular song Poem. This characteristics was considered through「Seonchang」of Cho Myung-Am. In conclusion, in the formation of Popular song Poem of 1930~1940`s through SP Record, there has a signification that the Popular song Poem did not remain in the fringe of modern poetry and was placed in the type of new modern poetry by interaction of various power. Through the research of Popular song Poem, it is necessary to consider of discovery, finding of new literature material as Popular song Poem, and to focus on re-illumination of hidden poets such as Lee Ha-Yoon, Cho Myung-Am, Yoo Do-Soon, and Han Jung-Dong.

20세기 전반기 대중가요계의 ‘대중성’ 담론과 민요수용 문제

최은숙(Choi Eun-sook) 한국어문학회 2008 語文學 Vol.0 No.101

This paper examined the recognition of the people in the period in which Korean folk songs were formed, the first half of the 20th century, and the actual influence of such recognition on the production and distribution of popular songs through problems of ‘acceptance of folk songs’. First of all, to take a good look at the aspects of ‘popularity’ discourse, this paper studied discussions of, recognition of contemporary intellectuals about the masses and, requirement of popularity. The masses were recognized as both of one-sided users of popular songs and positive users who voluntarily select them. Considering the fact that the recognition about the masses tended to be similar to the former, the change in recognition of the masses as positive users can be said the one to be noted in the course of contemporary popularity. Meanwhile, in the popular songs world at that times, discussions about popularity were being actively made. In relation to the popularity requirement that the then-current people thought, ‘common interest’, ‘wuimuje’ etc. and ‘topicality’ and ‘a way of life’ are being stressed together. Popularity being connected to the life of the masses and topicality could become an important means of applying folk songs to the contemporary popular songs. How the above discourse acts on the production and distribution of actual popular songs? In respect of that, a problem of acceptance of folk songs by popular songs was noted. A folk song was a form of song newly discovered, obtaining a variety of meanings at that time. In the popular song world at those days, folk songs were noted as a subject capable of satisfying the life of the masses. Especially by accepting folk songs, the efforts of the persons who produced popular song and more stressed popularity could be confirmed. The means for the connection and acceptance of popular and folk songs was the very ‘popularity’ popular songs have. The problems of popularity of the popular song world in the first half of the 20th century are points which must be necessarily checked in relation to its identity, because the then-current period was one in which Korean popular songs were formed. The discussion of this paper may have significance as a process of such a check. Also, this prepared a room allowing new evaluation of new folk songs by noting its popularity in relation to production of new folk songs.

朝鮮總督府의 大衆文化政策 -大衆歌謠를 中心으로-

박순애 한일민족문제학회 2011 한일민족문제연구 Vol.20 No.-

Considering the relevance of popular songs and the social background, in this paper, I investigated the policy of the Japanese Government General of Korea and its control over culture in Korea. Korean pop culture, especially pop music was affected by Japan as well as Western culture from the beginning. As cultural movement became more active with the spirit of the March First Independence Movement, the ordinary people enthusiastically accepted the pop music and the ‘new media’. New trend plays and intermission singers, the increased accessibility to music by way of records and radio and the synergy effect, namely ‘media mix’, by visual media like film’s theme songs. Ironically, it was the oppressive policy of Japanese imperialism that prompted popularization of pop songs even more. Popular songs were born in the severe social situation with the sorrow of losing the country and of parting with beloved people in the process of Korean diaspora. In conclusion, I want to point out these things;First, analysing the popular songs means analysing people’s history with new perspective. Songs reflect historical and social backgrounds and the hit songs were strongly connected with people’s sentiment. We should understand the characteristics of colonial period in order to understand popular songs at that time. Second, music cures deseases. Songs comforted people under cruelty of the colonial rule and the hopeless living conditions. The most powerful was songs and music as we can see in the Old Testament. They were more than powerful than the military order. Songs can be dangerous because they captivate people and glorify the world. Third, music is a double-edged sword. Many composers and lyricists, who created popular songs which soothed the sorrows of ordinary people, collaborated with Japanese during the war. Popular songs whose rhythm were familiar with people’s ears were transformed into military songs. Those musicians who supported the Japanese war policy also participated in the Korean Association of Music, Music for Gratitude of Country or National Service Corps of Music. Music was mobilized for Loyal Subject of Japanese Emperor policy. Fourth, while many previous studies concluded that Korean popular songs of colonial period unilaterally adopted Japanese popular songs, my research pointed out that Korean popular culture also influenced that of Japan to an extent in the boom of Asian culture in 1930s. この研究は、大衆が楽しんだ唄の背景を大衆歌謡と社会状況との関連性を探りながらこの時期の朝鮮総督府がどのような統制や政策を繰り広げたのかに対する考察である。要約すると、韓国の大衆文化は西洋文化を受入れる過程から始まったが、その後の新文化の流入過程で植民地という特殊性によって、殊に大衆歌謡は日本の影響を受けながら誕生した。そして3·1独立運動以後、抵抗意識のなかで文化運動が活発に起こりながら当時のニューメディアと大衆歌謡は、密接な関連性を持ちながら大衆に受容されていった。すなわち、新劇(演劇)と幕間歌手の登場、レコードの登場、レコード時代の開幕によって音楽の生活化、ラジオの出現によって歌謡の大衆化、映像媒体と映画主題歌という多様な媒体によるメディア·ミックスというシナージ効果過程を経て、大衆のなかに入り込み定着するようになったのである。このような歌謡曲の大衆化的環境をより促した要因は、皮肉にも日本帝国の強圧的な政策による仕組みが作用していたと言えよう。それは、国を奪われた悲しみ、移住の歴史や別れが醸し出す歌謡曲の悲哀そのものであったし、韓国人自ら歌謡浄化運動を繰り広げるほどに過酷な社会的状況であった。この研究分析によって次のような点が指摘出来よう。まず、大衆歌謡はその誕生と受容過程を分析することは、もう一つの大衆の歴史を分析することであると言えよう。大衆歌謡には、時代性と社会相がそのまま反映されており、ある時期に歌謡曲がヒットすることが出来たのは、その時期の大衆の情緒が混ざり合った結果物でもあった。そして大衆歌謡を理解するためには、植民地時期という特殊性を理解しなければならない。次は、唄で病を治すことも出来る。植民統治の残酷さと拠り処も無い途方に暮れた生活を庶民たちは唄で癒したのである。旧約聖書にもあるように何よりも強力なのは唄であり音楽である。それは軍人の命令よりも強力である。唄には魔力があり物事を美化する危険なものでもある。そして、音楽は諸刃である。庶民たちの哀歓を慰めてくれた歌謡を作った作曲家、作詞者や音楽家たちが戦争協力をし、戦争支持の唄を作った。彼らが作った歌謡曲に熟れ親しんだ庶民たちに、その熟れ親しんだリズムが戦時歌謡の受容過程において抵抗は少なかったものだろう。朝鮮音楽協会をはじめ多くの音楽関係者が音楽報国、国民音楽挺身隊活動をした。ここで歌謡曲の戦争責任という深刻な問題が提議される。皇国臣民政策に音楽を利用する文化動員が行われたのである。最後に、従来の研究においては 大衆文化特に大衆歌謠は日本のそれを一方的に受入れたという結論が多数あったが、この研究によって日本の大衆文化に韓國の大衆文化がある程度影響を与えた要素があったし、戦時期1930年代の日本のアジア文化受容ブームの中で韓国の大衆文化が少なからずの影響を及ぼしたし、日本の知識人においても受入れられていた新しい事実を指摘した点である。

‘대중가요’에 있어서의 민요의 창조적 전승 문제-조용필의 경우-

김익두 한국민요학회 2014 한국민요학 Vol.41 No.-

Cho, Yong-pill uses many kinds of musical styles in his modern popular song; ballad(41%), rock(31%), trot(13%), folk song(4%), western Gesang(4%), and children’s song(3%). Among these, traditional folk song consists of 4 percent, i.e., 6 pieces of music. These folk songs release on his 1-4 albums. His modern popular songs that make out of music diction, vocalism, melody of traditional folk song henceforth come into existence in his albums. He trained himself and mastered not only music dictions of main traditional folk songs but various dictions of traditional folk songs spread over the whole nation. Modern recreation of traditional folk song that he seeks consists of three affiliations as follow; firstly. there is an affiliation of revival of traditional folk songs by modern reinterpretation of traditional folk songs, for example, Hanobaeknyen, Kangwondo-arirang, Saetaryung, Namwonsansung, Sungjupuri, Jindo-arirang, Kanyangrock. Secondly, there is an affiliation of creating modern popular song by traditional vocalism and music diction, for example, Kanyangrock, Jajonsim, Hankang. thirdly, there is an affiliation of transmission of main emotions of traditional folk songs, Junghan, Sinmyung by methods of creating modern popular songs. His popular songs that sing emotion of Junghan form 46% in his normal albums. We can assign historical significances to Cho, Yong-pill’s popular songs as follow; firstly, the independent horizon of culture of Korean songs, secondly, secure of national identity of Korean popular song, thirdly, pursuing a new direction and vision of Korean popular song in the 21th century, fourthly, contributing of research of autonomous aesthetics and theories to Korean culture of songs, etcs. We can see positive meanings of Cho, Yong-pill’s modern popular songs from the point of view that he suggests us with very important visions for our modern popular songs. 조용필의 정규음반 총 19집 196곡을 살펴보면, 그 활용 양식들이 매우 다양하여, 발라드(41%)·록(31%)·트로트(13%)·민요(4%)·서양 가곡(4%)·동요(3%) 정도로 나타나며, 이 중에서, 전체 노래의 약 4%에 해당하는 6곡의 전통 민요를 부르고 있다. 이런 민요들은 그의 19개 정규 음반들 중에서 초기 음반에 속하는 1~4집에 들어 있으며, 그 후로는 전통 민요의 음악어법․창법․선율 등을 활용한 노래들이 계속해서 나타난다. 그는 실제로 전통 민요의 음악어법을 수련하여 체득했을 뿐만 아니라, 어느 한 지역의 민요에 머무르지 않고 전국 여러 지역의 다양한 전통 민요 어법을 수련 체득했다. 그가 추구하고 있는 전통 민요의 현대적 재창조 과정은 대체로 3가지 계통으로 이루어지고 있다. 첫째, 전통 민요의 현대적 재해석에 의한 리바이벌의 계통의 재창조 계통이 있으며, 그 대표적인 사례들로는 「한오백년」·「강원도아리랑」·「새타령」·「남원산성」·「성주풀이」·「진도아리랑」 등이 있다. 둘째, 전통 민요의 창법·음악어법으로 현대 대중가요를 만들어 부르는 계통이 있으며, 그 대표적인 사례들로는 「간양록」·「자존심」·「한강」 등이 있다. 셋째, 전통 민요의 중심 정서인 ‘정한·신명’ 등의 정서를 현대 대중가요로 계승하는 방법이 있다. 이런 계통의 주요 사례는 우리 전통 민요의 주요 중심 정서인 ‘정한’과 ‘신명’의 정서를 현대 대중가요로 계승하여 재창조하는 방향이 가장 대표적인 것들이다. (그리고, 이러한 정한 정서의 계승과 재창조 과정은, 이러한 단계에 머무르지 않고 좀 더 포괄적으로 삶의 다른 영역, 예컨대, 동심·우정·도시·정치-사회·민족-역사 등의 삶의 영역에로 심화·확장해 나아간다.) 그의 노래들은 우리의 전통 ‘정한’의 정서를 노래하는 노래들이 그의 정규음반의 약 46% 정도를 차지하고 있을 정도로, 그의 대중가요에 있어서의 전통 정서 계승과 재창조 노력은 각별하다. 조용필 대중가요가 보여주는 이러한 전통 민요의 재창조 과정에 대해 우리는 다음과 같은 역사적 의의를 부여할 수 있다. 첫째, 한국 노래문화의 자주적 지평 모색, 둘째, 한국 대중가요의 민족적 정체성 확보, 셋째, 21세기 한국 대중가요의 새로운 방향과 비전 추구, 넷째, 한국 노래문화의 독자적인 미학·이론 탐구에의 기여 등이 그것이다. 조용필의 노래가 보여주는 대중가요에서의 전통민요 전승과 재창조 노력은, 우리 대중가요가 나아갈 바람직한 방향에 관해 매우 중요한 비전을 제시하고 있다는 점에서, 우리는 이에 대해 긍정적인 의미를 부여할 수 있다.

근대기 유행가요와 `정서의 구조`

구인모 ( Ku In-mo ) 국제어문학회 2015 국제어문 Vol.0 No.64

이 글은 1937년 전후의 유행가요를 둘러싼 정서와 감각, 취향의 변화를 추적하는 것을 목표로 한다. 근대기 한국에서 유행가요는 흔히 `눈물`, `한숨`, `방랑`, `사랑` 등의 어휘로 가득한 `에로유행가`라고 비난 받기 일쑤였다. 지식인들은 식민지시기 내내 논설을 통해, 조선총독부는 검열과 관제가요 보급을 통해 퇴폐한 유행가요에 대한 정서, 감각, 취향을 개량하고자 했다. 그리고 1939년 무렵 적지 않은 유행가요 제작 주체들과 언론 매체는 퇴폐한 유행가요가 사라졌다고 전한다. 이 글은 이 퇴폐하다는 비난을 면치 못했던 유행가요야말로 근대기 한국의 정서의 구조를 이해하는 시금석이라는 전제에서, 그 시기 유행가요 가사 말뭉치를 분석하여, 유행가요 텍스트를 구성하는 언어의 세부적인 요소들과 그것이 작동하는 형식, 패턴들을 규명하고자 한다. 그리하여 우선 근대기 한국의 유행가요를 가로지르는 주제, 정서와 감각의 동시대성을 확인하고자 한다. 또한 1937년 이후 유행가요에서 나타나는 동일성과 차이를 통해, 그것이 궁극적으로는 당시 청취자의 근대성의 체험과 관련 있음을 밝히고자 한다. 특히 유행가요를 통해 한 시대의 정서의 구조를 이해하는 데에, 문화연구와 언어정보학의 제휴가 유효한 방법론을 제공한다는 것을 제시하고자 한다. The purpose of this study is The purpose of this study was to trace the changes to the feelings, senses, and tastes of popular songs around 1937. The popular songs were often criticized as "erotic popular songs" full of such vocabulary as "tears," "sighs," "wandering," and "love" in Korea in early modern days. Efforts were made to recontruct the feelings, senses, and tastes of popular songs including the intellectuals writing editorials throughout the Japanese rule and the Japanese Government-General of Korea imposing censorship and spreading government-controlled songs. It is said that a not inconsiderable number of production subjects and press media of popular songs had disappeared by 1939. Based on the premise that "erotic popular songs" reflected the Korean structures of feelings in early modern days, the present study analyzed the corpora of lyrics of popular songs released by OKeh Records in the 1930s and 1940s and identified the specific elements of language that made up popular song texts and their operating formats and patterns to check the contemporariness of feelings that crossed Korean popular songs in early modern days through "erotic popular songs." It also figured out that "erotic popular songs" exhibited subtle changes in the aspects of topics and feelings after 1937 and that those changes had something to do with the taste changes and experiences with modernity of the audiences. It especially showed that a combination of cultural studies and language information studies would offer a valid methodology for understanding the feeling structure of a period through popular songs.

유아가 좋아하는 대중가요의 종류와 대중가요를 접하게 되는 경로 분석

김대욱 국제문화기술진흥원 2019 The Journal of the Convergence on Culture Technolo Vol.5 No.2

This study aims to investigate the types of popular songs and the paths to reach popular songs. Young children no longer sings for them. The popular song is deeply located around young children. Participants were 73 kindergarten children. Preliminary interviews were conducted from October 1, 2018 to October 11, 2018. Through the preliminary interview, the structured question was revised and the interview was conducted. This interview was conducted from October 22, 2018 to November 9. Based on the transferred data, I classified the types of popular songs that young children encounter into popular songs, popular singers, and genres. The path that young children touches the popular song is analyzed as place, medium, and person. As a popular song by young children, iKon as a popular singer, and k-pop as a genre. There were many kindergartens and houses in the place where young children got to know the popular songs, and they came into contact with many people through Youtube, and they got through family and friends. Through research, I have found that popular songs are already deeply embedded in the everyday life of young children. Now, it is necessary for young children to be equipped with popular song literacy. 본 연구는 유아가 좋아하는 대중가요의 종류와 대중가요를 접하게 되는 경로를 알아보는 데 목적이 있다. 유아는 더 이상 동요만 부르지 않는다. 유아의 주변에 대중가요가 깊숙하게 자리잡고 있다. 연구참여자는 만 5세 유치원원아 73명이다. 예비면담은 2018년 10월 1일부터 10월 11일까지 수행하였다. 예비면담을 통해, 구조화된 질문을 수정하여 본 면담을 수행하였다. 본 면담은 2018년 10월 22일부터 11월 9일까지 수행하였다. 면담기록을 모두 전사하였고, 전사된 자료를 바탕으로 유아가 접하는 대중가요의 종류를 대중가요, 대중가수, 장르로 구분하였다. 유아가 대중가요를 접하는 경로를 장소, 매체, 사람으로 분석하였다. 유아가 좋아하는 대중가요로 사랑을 했다, 대중가수로 iKon 이, 장르로 k-pop이 제시되었다. 유아가 대중가요를 접하는 장소는 유치원과 집이 가장 많았고, 유투브를 통해 많이접했고, 가족과 친구를 통해 많이 접했다. 연구를 통해, 대중가요는 이미 유아의 일상 속에 깊숙이 자리잡고 있는 것을 알 수 있었다. 이제는, 유아가 대중가요 리터러시를 갖추는 것이 필요하다.

김억의 유행가 가사의 장르적 특성과 문학사적 위상 - 대중적 정서의 여성성을 중심으로

김진희(Kim Jinhee) 한국언어문학회 2008 한국언어문학 Vol.65 No.-

  Arguing that the lyrics of Eok Kim"s popular songs in the 1930s are based on the emotion and format that he pursued from the outset of his poems, this research examines whether these characteristics were further developed in the lyrics of popular songs. In addition, it investigates how the femininity excited by these sentiments functions in popular culture, and how significant these characteristics are in the history of modern poetry.<BR>  Kim considered "Gyeokjosi" (swing verse) to be the most appropriate for showing the sentiment of the Korean race, viz., Joseon sentiment. He thus writes popular songs based on this format. "Gyeokjosi" is the form fit into reciting and singing. It is one of the regular rules of versification which can effectively realize the ideal of poems that Kim thought of as songs. By dint of this, Kim hoped that the modern poems could be created which the whole nation could enjoy.<BR>  This paper approaches the lyrics of popular songs, i.e., ballad poems as a branch of popular literature. It can be conjectured that the lyrics of popular songs served as popular poems when popular novels, particularly lowbrow novels, were in vogue in the mid- and late-1930s. Therefore, the lyrics of popular songs in the 1930s showed the origin of the genre of popular poems, in which sense they can be evaluated to have expanded the field of modern poetry. What calls for attention, among others, is that Kim focuses on sadness, rather than gladness, and he gives elegiac feeling which awakens the femininity. These sensitivity and femininity are apt for the fundamental sentiment of popular songs, which can get supported by the populace.<BR>  Kim’s lyrics of popular songs in the 1930s plays a role of popular poems well enough in that they effectively reveal the public sentiment in those days, grounded upon the feelings of sorrows and pathos which Kim himself sought after. Furthermore, the femininity suggested by sorrow and grief plays an important part in appealingly expressing the sense of loss and helplessness felt by the general public who were living in the critical reality of colonial modern times.<BR>  These facts confirms that the role of contemporary poets was crucial in the process in which the femininity, sentimentalism, and elegiac sense were incorporated into the popular ballad poems of the literary circles where they had been estranged while the elite being in the main. In this light, Eok Kim and his works of popular song lyrics can called a significant trailblazer for the history of modern poetry.

민요 용어의 설정 재고 -“향토민요”와 “통속민요”를 중심으로-

박관수 ( Gwan Su Bak ) 남도민속학회 2012 남도민속연구 Vol.24 No.-

민요의 용어에는 ‘향토민요’, ‘전통민요’, ‘토착민요’, ‘토속민요’, ‘토민민요’, ‘통속민요’, ‘흥민요’, ‘창민요’, ‘유행민요’, ‘근대민요’, ‘신민요’, ‘창작민요’ 등이 있다. 이들 용어들은 각각 사용되는 맥락이 다르겠지만, 이들을 거칠게 분류하면 ‘향토민요’, ‘통속민요’, ‘신민요’로 귀속된다. 이와 같이 분류를 하기 전에는 20세기 전반부 학자들은 ‘향토민요’와 ‘통속민요’를구분하지 않고 하나의 민요로 생각했고, 이에 대한 대타적인 용어로 ‘신민요’를 사용했다. 이러한 분류 방식은 고정옥, 임동권 등에게 이어졌다. 최근의 연구자들은 민요를 ‘향토민요’와 ‘통속민요’로 구분하였다. 이는 양자가 기층민들에 의해 불린다는 사실만을 전제로 하고 있다. 그렇지만 ‘향토민요’는 기층민들에의해 생산되고, ‘통속민요’는 전문예능인들에 의해 생산된다는 점을 고려하면, 양자를민요의 하위 범주로 대등하게 다룰 수는 없음은 물론 ‘통속민요’를 민요의 하위 범주에포함시킬 수 없다. 대부분의 학자들이 민요는 기층민들이 생산하여 기층민들이 즐기는양식이라는 개념에 동의하고 있기 때문에 ‘통속민요’는 민요의 하위 범주에 속할 수 없는 것이다. 나아가 ‘향토민요’에서 ‘향토’라는 수식어도 불필요하다. 여러 연구자들이 민요를 ‘향토민요’와 ‘통속민요’로 구분함에 따라 구체적인 연구들에서도 여러 문제점들이 노출된다. 연구자들은, 제보자들이 ‘통속민요’를 논농사를 할때 불렀다고 해서 이를 논농사요에 포함시키기도 한다. 이는 ‘통속민요’가 ‘향토민요’가되는 결과를 낳는다. 논농사요는 ‘향토민요’이기 때문이다. 또한, 용어 개념에 견인되어 실상을 잘못 파악하기도 한다. <어러리>가 기층민들이 생산한 노래이기 때문에 노동요에만 한정하여 논의를 진행하기도 하고, ‘향토민요’와 ‘통속민요’는 동일한 민요이기 때문에 그 음악적 특징이 별반 다르지 않다고도 한다. 그리고 ‘향토민요’와 ‘통속민요’를 대부분의 사람들이 널리 부른다는 점에서만 논의를 하고, 그 생산자들의 성격이다름을 논의에 포함시키지 않기도 한다. 그 결과 여러 논의들은 현상의 특정한 면만을보든지 잘못된 결론에 이르기도 한다. Many terms exist to identify Korean folk songs. Local folk songs (향토민요),traditional folk songs (전통민요), aboriginal folk songs (토착민요), native folk songs (토속민요), indigenous folk songs (토민민요), popular folk songs (통속민요), merrymaking folk songs (흥민요), narrative folk songs (창민요), trendy folk songs (유행민요), modern folk songs (근대민요), new folk songs (신민요), and composed folk songs (창작민요) are only a few of the immensely diverse terminology of Korean folk songs. Although these terms, with their different connotations, are used in different contexts, they can be roughly divided into three categories: local folk songs (향토민요), popular folk songs (통속민요), and new folk songs (신민요). Before Korean folk songs were divided into such categories, scholars of the early and mid-20th century did not differentiate local folk songs and popular folksongs, but thought of the masoneset, contrasted by the group of “newfolksongs.” This type of categorization was continued by the scholars Ko Jeong-Ok and Lim Dong-Gwon. Recent scholars, on the other hand, have divided folk songs into local folk songs and popular folk songs. This classification is based on the assumption that both kinds of folk songs are sung by the common people. However, considering that local folk songs are generated naturally in the daily lives of commoners and popular folk songs are created by professional entertainers, these two groups cannot be dealt in a parallel manner. Neither can popular “folk songs” be truly considered folk songs, which all scholars agree to be songs created and enjoyed by the common people. Regarding these points, one can also see that the word “local” is unnecessary in the term “local folk songs,” as the very nature of folk songs guarantee that they are generated locally. Yet the problems do not end here. Much more inaccuracy can be found within particular researches, in which many scholars continue to erroneously divide folk songs into local folk songs and popular folk songs. For instance, researchers sometimes classify popular folk songs into rice farming songs (논농사요) after hearing from informants that popular folk songs were sung during rice farming. However, such a classification disguises popular folk songs as local folk songs,confusing people with inaccurate terminology and blurring the distinct characteristics of particular folk songs. More examples can be found in abundance. Eoreori, a folk song created by commoners, is sometimes restricted as a type of a work song (노동요), although it can be classified in other ways as well. Local folk songs and traditional folk songs are sometimes seen to have similar characteristics because they both are folk songs, despite their dissimilar roots. Furthermore, local folk songs and popular folk songs are occasionally discussed only on the grounds that they are widely sung by the people, and their different roots are left out from deliberation. Such ignorance and inaccuracy lead to a neglect of particular characteristics of folk songs or flawed conclusions about their nature.