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자료유형
학술저널
저자정보
배인교 (단국대학교)
저널정보
서울대학교 동양음악연구소 동양음악 동양음악 제41권
발행연도
2017.1
수록면
135 - 158 (24page)

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This paper examined the aspects of changes in the meanings of the conceptual words, “Joseon(조선) music”, which refers to North Korean music, and “Min-jok (민족) music” from the Japanese colonial era, when the conceptual words were formed, to the period of liberation and the period after the division of the country and before the formation of Juche Idea in the 1960s. The “Joseon Ak(조선악)” recognized by Ham Hwa-Jin and Seong Nak-Seo in the Japanese colonial era was a conceptual word that referred to only court music and literary persons' music while the “Joseon(조선) music” of Ahn Hwak was used as a term that comprehensively referred to court music and popular music, in particular, folk songs. Meanwhile, the “Min-jok(민족) music” of Kim Gwan focused on farmers’ music thereby having a thread of connection with the term of Ahn Hwak. The “Joseon(조선) music” in the period of liberation aimed at Korean race’s music but was still inclined to court music and the “Min-jok(민족)music” mainly emphasized by musicians of Western music aimed at “the most Joseon style and the most wholesome” music that fit the establishment of a new state regime while emphasizing that a combination of Western musical elements and traditional musical elements was necessary. After the division of the country, North Korea needed a term to refer to new music in the newly constructed socialist system. Therefore, the term “Joseon(조선) music” that referred to music in the past during the period of liberation was used as a term that meant the music of the new regime, the Democratic People's Republic of Korea and the term “Min-jok(민족) music”, which was future-oriented, accommodated the concept of classical music referring to music in the past and was used as a term involving meanings concentrated on music in the past. After the establishment of the Juche Idea, the conceptual word “Joseon(조선) music” gradually disappeared and the word Juche music was established.

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