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학술연구/단체지원/교육 등 연구자 활동을 지속하도록 DBpia가 지원하고 있어요.
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연구자들이 자신의 연구와 전문성을 널리 알리고, 새로운 협력의 기회를 만들 수 있는 네트워킹 공간이에요.
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The political partition of the Korean peninsula has, until very recently, severely limited cultural exchange between the two neighbors, and understandably in the south the study of indigenous North Korean songs has been largely dependent upon records made by professional singers and northern immigrants. The limited availability of source material has inevitably restricted scope for study. Anthology of North Korean Folk Songs, released by the Munhwa Broadcasting Corporation (MBC) in 2004, was a monumental introduction of the norths folk songs as they had actually been sung by local people. This essay will focus on songs of the P'yongan province, particularly those that the first and the third (the second CD only) volumes of the aforementioned anthology contain. It has been commonly accepted that the dominant mode of those songs is that of "Susimga," which comprises re, mi, sol, la, do, passionately vibrating la, bending do, and usually ending on re. A recent study, however, has overthrown this common knowledge and revealed that a mere seven percent of them use the "Susimga-mode," and nearly fifty percent use a mode composed of sol, la, do, re, mi, which is the most common in Seoul and Kyŏnggi Province. Original recorded sources recently procured from North Korea have raised a need for a thorough overhaul of academic approach to the songs, and this is likely to lead to a new discussion on the common features of Korean folk songs in general and their regional categorization.
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