문화적 혼존성 관점으로 본 대중음악 연구-아메리카 대륙의 문화 융합을 중심으로-

이창구 사단법인 인문사회과학기술융합학회 2017 예술인문사회융합멀티미디어논문지 Vol.7 No.11

Since emancipation from Japanese colonial, division of territory and the Korean war, Korea has accepted American capitalism and been influenced by American culture. And Korean pop music has accordingly passed into the pop culture of the world capitalist system centered around America. Korean pop music that emerged under America’s influence has spreaded throughout Asia including China, Japan and Southeast Asian countries since the mud-1990s, and is now becoming more widespread even into America, the very country that had affected the Korean pop music, as well as South American and European countries. Finally Korean pop music, now called as K-Pop, is ready to enter American pop music market. It is needed, at this point, K-Pop display a tendency of more complicated hybridity rather than seeking for a one-way directivity limited either from domestic to international market or vice versa in the globalization of K-Pop. To understand the hybridity, it is required to identify what kind of American pop cultures we accepted, which of them affected Korean pop culture, what cultural orientation they had in their pop music, and which of them are preferred. To view and understand American pop music, in this study, technological perspective would not only be appled, but historical and musical perspectives would be applied, especially by analyzing genres and styles of pop music, and identifying what cultural orientation American pop music has and what music preferences Americans have. This study suggests the following two results as the most basic and fundamental characteristics in understanding the American popular music: fusion through hybridity of whites and blacks which are the two conflicting views, and separation through exclusiveness. 한국은 1950년대는 해방과 분단, 전쟁을 거치고 난 후 본격적으로 미국의 자본주의 체제로 편입 되면서 그 문화의 영향을 본격적으로 받아들이기 시작하였고 대중음악 또한 미국을 중심으로 하는 세계자본주의 체제의 대중문화에 직접 편입되기 시작했다. 이렇게 미국의 영향을 받으며 발전된 한국의 대중음악은 1990년대 중반이후에 아시아 지역을 넘어서 남미와 유럽, 그리고 우리에게 영향을 준 미국에까지 확산되는 움직임을 보이고 있다. 이 시점에서 K-POP의 글로벌화에 중요한 관점중 하나는 단순히 밖에서 안으로 혹은 안에서 밖이라는 단일한 방향성이 아닌 보다 복잡한 혼종성의 관점을 가지고 있어야 한다는 것이고 그 혼존성을 이해하기 위해서는 그들의 어떤 대중음악문화를 우리가 차용하게 되었고 영향을 받았는지 그리고 그들이 어떤 대중음악의 문화적 성향을 가지고 있고 선호하고 있는지에 대해 알아야할 필요성을 가지고 있다. 이 논문은 미국의 대중음악을 알고 이해하기 위해 단순 기술적 관점이 아닌 역사적 관점과 음악적 관점을 통해 분석하며 특히 대중음악의 장르와 스타일을 통해 그들이 어떤 문화적 성향을 가지고 있고 어떤 음악을 선호하게 되었는지에 대해 연구 하여 미국 대중음악을 이해하는 것에 있어 가장 기본적이고 핵심적인 특성으로 두 가지의 대립된 관점인 백인과 흑인의 혼존성을 통한 융합 그리고 배타적 성질을 통한 분리라는 결과를 제시한다.

KOREAN FUSION MUSIC ON THE WORLD STAGE: PERSPECTIVES ON THE AESTHETICS OF HYBRIDITY

R. ANDERSON SUTTON 계명대학교 한국학연구원 2009 Acta Koreana Vol.12 No.1

Western music and musical elements have played a major role in Korea—not only in the direct performance of Western classical and popular music, but also in the varieties of hybrid mixes and interactions involving Korean and Western repertory, instruments, and stylistic features. From the popular shin minyo and t’ŭrot’ŭ songs that first appeared during the Japanese colonial period to the composer-based art music known as ch’angjak kugak that has flourished in the years since independence, Korea has developed a broad array of music that is distinctly “Korean” and yet also clearly indebted to foreign (primarily Western) music. Among these an increasingly important category is “p’yujŏn” (“fusion”) music, which differs from ch’angjak kugak in its emphasis on commercial appeal and popularity. But while Korean fusion music has been growing in popularity in Korea, and Korean fusion musicians have been making international tours, its reception overseas is not uniformly positive. This article explores the international exposure that Korean fusion music has experienced in recent years and proposes some reasons for its mixed reception. The findings of the article are based on evidence of various fusion musicians’ international tours, international collaborations, availability of recordings abroad, and a small sample of reactions by non-Korean audiences to Korean fusion music by Seulgidoong (Sŭlgi-dung), Samul Nori, Sagye, Kang Eunil/Haegum Plus (Kang Ŭnil/Haegŭm P’ŭllŏsŭ), and others. The paper seeks to uncover what aspects appeal to foreign audiences and what aspects are disliked. Central to the ambivalent reactions is a combination of orientalist expectations and a sense that some hybrid mixes use harmonic clichés, grating or shrill timbres, or overly sentimental arrangements. Individual tastes differ even among audience members of similar backgrounds, but it seems that foreign audiences are more likely to be drawn to traditional kugak than to Korean fusion music, seeing the latter as inauthentic and shallow, even though many Koreans find traditional kugak to be strange, boring, or linked to a past they feel they have long left behind and therefore would prefer fusion as the Korean music of the present.

KOREAN FUSION MUSIC ON THE WORLD STAGE : PERSPECTIVES ON THE AESTHETICS OF HYBRIDITY

ANDERSON SUTTON 계명대학교 한국학연구원 2009 Acta Koreana Vol.12 No.1

Western music and musical elements have played a major role in Korea—not only in the direct performance of Western classical and popular music, but also in the varieties of hybrid mixes and interactions involving Korean and Western repertory, instruments, and stylistic features. From the popular shin minyo and t’ŭrot’ŭ songs that first appeared during the Japanese colonial period to the composer-based art music known as ch’angjak kugak that has flourished in the years since independence, Korea has developed a broad array of music that is distinctly “Korean” and yet also clearly indebted to foreign (primarily Western) music. Among these an increasingly important category is “p’yujŏn” (“fusion”) music, which differs from ch’angjak kugak in its emphasis on commercial appeal and popularity. But while Korean fusion music has been growing in popularity in Korea, and Korean fusion musicians have been making international tours, its reception overseas is not uniformly positive. This article explores the international exposure that Korean fusion music has experienced in recent years and proposes some reasons for its mixed reception. The findings of the article are based on evidence of various fusion musicians’ international tours, international collaborations, availability of recordings abroad, and a small sample of reactions by non-Korean audiences to Korean fusion music by Seulgidoong (Sŭlgi-dung), Samul Nori, Sagye, Kang Eunil/Haegum Plus (Kang Ŭnil/Haegŭm P’ŭllŏsŭ), and others. The paper seeks to uncover what aspects appeal to foreign audiences and what aspects are disliked. Central to the ambivalent reactions is a combination of orientalist expectations and a sense that some hybrid mixes use harmonic clichés, grating or shrill timbres, or overly sentimental arrangements. Individual tastes differ even among audience members of similar backgrounds, but it seems that foreign audiences are more likely to be drawn to traditional kugak than to Korean fusion music, seeing the latter as inauthentic and shallow, even though many Koreans find traditional kugak to be strange, boring, or linked to a past they feel they have long left behind and therefore would prefer fusion as the Korean music of the present.

대중음악을 통해 조명하는 방글라데시의 문화 혼종성과 정체성: 퓨전 밴드 방글라(Bangla)를 중심으로

윤지선 한국외국어대학교 인도연구소 2019 남아시아연구 Vol.25 No.2

This article is about cultural characteristics and aspects of Bangladeshi popular music. In this paper, the cultural hybridity is revealed by looking into historical circumstances and trends of popular music in Bangladesh. The purpose of this study is to illuminate progressive meanings of the music throughout examining properties and characteristics of the word called ‘fusion’ appears in popular music scene of Bangladesh. Popular music in Bangladesh has been changed and evolved into various genres and cultural contents throughout the history of Bengal. Rock music has settled as a main popular musical genre of Bangladesh since early ‘70s. Their independent popular culture has been formed with the fusion of local Folk and global Rock music while those contents of Indian musical tradition and Bengali sensibility of Ballad has gained steady popularity in the music industry of Bangladesh. BANGLA(1999∼) is a representative fusion band recreated the music of cultural icon of Bagladeshi folklore, Fakir Lalon Shah(1774∼1890). The philosophy of Baul music which Bauls sing for ‘cult of human body’ with their simple way of living and unselfishness is a core element of Lalon songs. Rabindranath Tagore(1861∼1941) whose musical idiom has greatly influenced by Lalon Bangladeshi Baul composed influential songs for Bengali sentiment and those songs got great popularity from Bangladeshi people. In modern Bangladesh, it is more important how the music naturally represents meanings and the true storytelling of human beings than the musical sound itself. BANGLA led the tradition of Bangladeshi folklore into modern popular culture with their poetic music related to national identity. The music of BANGLA band expresses typical Bangladeshi folk tunes as well as rhythms well combined with western musical elements. Members of band BANGLA have been trying to communicate with global culture since late 2000’s. Their lifestyles cherish the tradition of culture and music influence young generations in Bangladesh, West Bengal as well as diaspora people of Bengal. BANGLA band’s music which cherishes the pure identity of Bangladeshi culture is valuable to grow into glocal cultural contents beyond a genre of popular musics of the non-western world. 이 글은 남아시아 방글라데시 대중음악의 문화적 특징과 양상에 관한 논문이다. 연구를 통해 방글라데시 대중음악의 역사적 배경과 흐름을 살펴보고 장르별로 분석하여 문화 혼종성을 파악한다. 연구의 목적은 방글라데시 대중음악에 나타나는 퓨전의 속성과 특징을 조명하고 이를 통해 발견하게 되는 그 음악의 정체성으로 미래사회적 의미를 밝히는 것이다. 방글라데시 대중음악은 인도와 함께 이어져 온 벵골의 역사 속에서 다양한 장르와 문화 형태로 변화하고 발전해왔다. 1970년대 초부터 방글라데시에서 록음악은 주류 대중음악 장르로 자리 잡았다. 인도음악 요소와 벵골어 특유의 발라드 감성이 묻어나는 콘텐츠들이 상업음악 시장에서 꾸준히 인기를 얻고 있는 동시에 방글라데시는 민속음악과 록음악 양식을 융합한 독자적인 인디 문화를 형성해왔다. 90년대 말에 결성된 ‘방글라’는 방글라데시 고유의 민속 전통을 상징하는 랄론(Lalon) 음악을 대중음악 콘텐츠로 재탄생시킨 대표 퓨전 밴드다. 단순한 무욕의 삶으로 육체에 깃든 정신을 노래하는 바울(Baul) 철학은 랄론 음악의 핵심이다. 랄론의 영향을 받은 타고르(R. Tagore)는 인도음악 이론을 바탕으로 벵골의 민속 정서를 노래해 방글라데시 사람들에게 친숙하게 다가갔다. 이후 방글라데시 대중음악은 보편적인 삶의 의미와 공동체적 공명(共鳴)을 더욱 중요시하였다. 밴드 방글라는 방글라데시 민족의 서정성과 정체성을 부각시키면서 서구음악 요소를 조화롭게 결합한 음악으로 시대를 이어 방글라데시 민속 전통을 대중문화로 이끌었다. 방글라의 음악적 특징은 방글라데시 국민 감성을 대변하는 민속 선율과 리듬, 전통 창법이라고 할 수 있다. 2000년대 말부터 밴드 멤버들은 전통을 이어가며 글로벌 문화와 조화되기를 노력해왔다. 그들의 음악적 삶과 영향력은 방글라데시와 서벵골을 넘어 디아스포라 문화권에서도 나타나고 있다. 그리고 그 음악이 문화 정체성을 새롭게 정립하여 비서구세계 대중음악을 넘어 글로컬 문화콘텐츠로써 창의적으로 발돋움할 가치를 말해준다.

글로벌 대중문화물의 한국적 변용과 탈식민주의적 문화정체성에 대한 연구

박현주(Hyun-Ju Park) 사단법인 언론과 사회 2006 언론과 사회 Vol.14 No.3

이 연구는 전 세계를 대상으로 유통되고 있는 글로벌 대중문화 생산물, 그 가운데서도 특히 글로벌 팝 또는 초국적 대중음악을 한국의 대중음악 생산자와 젊은 음악수용자들이 어떻게 소비하고 변용하는가에 주목하고 이를 혼성성 개념을 중심으로 한 탈식 민주의적 정체성 논의와 관련해 접근한다. 더 나아가 글로벌 자본주의의 상호 모순되는 전 지구성과 지역성이라는 두 가지 권력작용이 한국이라는 지역 내에서 어떻게 나타나는지, 그리고 문화의 국제적 흐름에 반응하며 생산된 대중문화물에 한국성 혹 은 한국적 문화정체성 개념이 어떠한 모습으로 변화되어 나타나는지에 주목한다. 이러한 초국적 문화의 수용과 혼성적 문화실천에 대한 분석 및 그 정치적 의미를 파악하기 위해서 이 논놈문은 글로벌자본의 영향력이나 로컬의 자율적 문화 실천의 입장만 각각 강조하는 단순한 흑백논리에서 탈피하여, 한국사회의 제반 권력관계의 구체적 맥락 내에서 이를 이해하려는 노력이 필요함을 강조한다. 이를 통해 성, 세대, 취향 등 탈민족적 정체성 변수들이 피억압적 위치에 놓인 다양한 집단의 입장과 접목함으로써 한국 내 기존의 권력지형을 변화시킬 수 있는 가능성을 제시하고 탈식민주의 논의의 비판적 지평을 확대하는 데 기여하고자 한다. This article aims to explore theoretical debates about cultural appropriation, hybridity and postcolonial identity and to offer a case study analysing the processes through which national cultural identity is formed and transformed in the realm of Korean popular music. In this article, I examine the localization of global culture, in other words, the emergence of a shared transnational cultural imagery among Koreans, and highlight how the multiplicity and hybridity of cultural identities and Koreanness are constructed, in relation to the processes of appropriating transnational popular music. Within the sphere of what I call a 'global or postcolonial' perspective, I focus on the realm of popular music in Korea, in particular on synthetic(or hybrid) and transnational music making practices of popular musicians, as well as local consumption of imported, mainly Western, popular music among the younger generation of music enthusiasts. Using interview-based research of the Korean musicians, I demonstrate how contemporary Korean musics, which are almost indistinguishable from so-called 'transnational pop music', can be grounded for competing narratives of cultural identities and of the shifting notions of 'Koreanness'. In effect, this musical hybridity mirrors the reality of Korea today, in which the traditional sense of nationhood and identification is challenged. The Korean people now more openly embrace new musical styles from abroad as if they were their own. What results from their vigorous exposure to international styles is a use of various styles by local musicians and audiences who then create different forms and modes of identification. Within the Korean context, pluralized and hybrid identities have been formed at the interface of the global and local, marking the decline of naive notions of an essential cultural identity within bounded realms - such as family, community, nation and race - as well as marking the beginning of new identity politics, that has to work through ambivalence and multiple inflections. This new notion of 'multi-faceted Korean identities', needs to be evaluated carefully alongside empirically situated accounts of vernacular culture, and the article aims to achieve this. On this point, my own work 'may be' subject to critique, in as much as it may have overly favoured this anti-essentialist perspective. In other words, my research on the increasing heterogeneity of Korean popular music as a globalized local site(where concerns on the practices of consumption, life styles, identities and, more importantly, the lived effects of culture and its changing role have risen especially among the younger generation of consumers since the 1990s), might be criticized for the romantic celebration of all such culture as 'resistance'. However, this criticism fails to understand how class is lived through race, ethnicity, generation, sexual orientation, and gender, by denying the autonomy and political significance of these social forces and movements in contemporary society. It is also simple to define various cultural sites as either commodified or liberating. To do so is to ignore the complicated question of contextuality. Overall, any transnational contact with the other must be seen as being mediated internally within a culturally/socially specific context. The Korean experience of transnational sounds and cultural imagery clearly demonstrates that the basic dualism between a simplistic cultural universalism/particularism and East/West needs to be challenged. From this viewpoint, in drawing on the critical consciousness which includes postcolonial perspective, I'd like to discuss how 'critical postcolonialism' can function as a possible cultural strategy for dismantling essentialism, and for dismantling the dominant institutional structures and cultures within the Korean context.

Hybridity of Ghanaian Popular Music: Focused on Hiplife

윤서영 한국외국어대학교(글로벌캠퍼스) 아프리카연구소 2015 Asian Journal of African Studies Vol.37 No.-

Hiplife, a genre of pop music from Ghana that began to develop in the 1990s, is now a growing trend in that country. It is a mixture of highlife music, which gained popularity among young Ghanaians in the 1980s, and hip-hop music borrowed from Western culture. In other words, hiplife is a combination of Ghana’s traditional music and Western pop music. In any given society there will always be the establishment (or the center) and the underclass (or the fringes). Conquest and governance continue around the world, regardless of the changing times and the advent of postmodernism, and Ghana is no exception to this rule. In Ghana, as elsewhere, young people challenge and attempt to break the upper class through popular culture. The key to this challenge is “hybridity”. This paper researches the hybridity of hiplife music based on a concept of Gilles Deleuze. It also examines the hybrid characteristic of this music, which is a means of defying the upper class, and was created as a deterritorialization area based on young Ghanaians’ desire to escape from dichotomous boundaries.

Hybridity of Ghanaian Popular Music

YUN, Seo-young(윤서영) 한국외국어대학교 아프리카연구소 2015 Asian Journal of African Studies Vol.37 No.-

가나 대중음악의 한 장르인 힙라이프(hiplife)는 가나의 젊은이들 사이에서 유행하는 음악이다. 이것은 젊은이들이 주축이 되어 1980년대까지 유행하던 하이라이프(highlife) 음악에 서구의 힙합(hip-hop)을 차용하여 혼합한 것으로서 1990년대에 들어 본격적으로 발전하기 시작하였다. 따라서 힙라이프는 가나의 전통음악과 서구의 대중음악의 혼합물이라고 할 수 있다. 한 사회 내에는 항상 중심과 주변 혹은 기득권층과 비기득권층이 존재하기 마련이다. 시대가 변화하고 포스트모더니즘 시대가 도래하였다고는 하나 주체의 지배와 정복은 계속되고 있으며 가나도 예외는 아니다. 따라서 중심에 대한 주변부의 도전과 해체가 일어나고 있으며 다른 곳과 마찬가지로 가나에서도 대중문화를 통해, 그리고 젊은이들이 중심이 되어 그 중심을 해체하고자 한다. 그리고 그들의 무기는 바로 혼종성이다. 본고에서는 가나 대중음악의 하나인 힙라이프 음악을 들뢰즈가 제시한 개념에 맞추어 분석함으로써 그것의 혼종성을 분석한다. 이 힙라이프의 혼종적 성격은 결국에는 주변의 중심에 대한 저항이자 그 이분법적 경계를 가로지르는 가나 젊은이들의 탈주와 그를 바탕으로 한 탈영토화된 영역임을 밝히고자 한다. Hiplife, a genre of pop music from Ghana that began to develop in the 1990s, is now a growing trend in that country. It is a mixture of highlife music, which gained popularity among young Ghanaians in the 1980s, and hip-hop music borrowed from Western culture. In other words, hiplife is a combination of Ghana’s traditional music and Western pop music. In any given society there will always be the establishment (or the center) and the underclass (or the fringes). Conquest and governance continue around the world, regardless of the changing times and the advent of postmodernism, and Ghana is no exception to this rule. In Ghana, as elsewhere, young people challenge and attempt to break the upper class through popular culture. The key to this challenge is “hybridity”. This paper researches the hybridity of hiplife music based on a concept of Gilles Deleuze. It also examines the hybrid characteristic of this music, which is a means of defying the upper class, and was created as a deterritorialization area based on young Ghanaians’ desire to escape from dichotomous boundaries.

K-pop 뮤직비디오를 활용한 한국어 및 한국문화 멀티리터러시 교육: 개념적 토대와 비판적 리터러시 교수학습 모델의 탐색

김성우,김경채,김모란,김진규,정기인 한국인문사회과학회 2023 현상과 인식 Vol.47 No.3

영화와 음악 산업을 필두로 한류의 영향이 커지면서 한국어와 한국문화에 대한 관심이 증가하고 있다. 퍼포먼스를 중심으로 한 ‘보는 음악’으로서의 K-pop 뮤직비디오는 K-pop의 핵심 미디어로 자리잡았다. 한국어와 한국문화 교육은 문자중심주의에서 탈피하여 K-pop 뮤직비디오 등 다양한 미디어를 활용하고 있다. 그러나 여전히 언어 중심 교육의 틀 안에서 다층적이고 다면적인 기술-문화 텍스트로서의 뮤직비디오의 잠재력은 발휘되지 못 하고 있으며, 부가적인 도구로 인식되는 경향이 크다. 이에 본 연구는 비판적 멀티리터러시의 관점에서 담론과 문화, 기술과 산업, 예술과 테크놀로지가 복합적으로 작동하는 K-pop 뮤직비디오의 교육적 잠재력을 탐색하고, 기존의 텍스트 중심 교수를 넘어서기 위한 이론적, 실천적 방향을 모색한다. 먼저 멀티리터러시 이론의 문제의식을 분석함으로써, K-pop 뮤직비디오에 기반한 한국어 및 한국문화교육의 목표를 ‘K-pop 뮤직비디오를 향유하고 비판적으로 분석하며 새로운 미디어를 창조하는 과정을 통해 비판적 멀티리터러시 역량을 함양하기’로 정의한다. 이를 실현하기 위한 개념적 작업으로 다중양식 미디어로서의 K-pop 뮤직비디오 분석 방법론 및 젠더와 문화적 혼종성을 중심으로 한 다층적 문화 텍스트로서의 K-pop 뮤직비디오 분석 방법론을 제시한다. 이러한 이론적 작업 위에 멀티리터러시 교수가 이루어지는 네 단계, 즉 (1) 상황적 실천, (2) 명시적 교수, (3) 비판적 프레이밍, (4) 변형된 실천을 한국어와 한국문화 교육에 유기적으로 통합함으로써, 다양한 사회문화적 맥락에서 K-pop 뮤직비디오를 교수학습의 핵심 미디어로 활용할 수 있는 방안을 제안한다. 본 연구를 통해 K-pop 뮤직비디오 기반 멀티리터러시 교육이 폭과 깊이를 더하며, 전 세계 한국어 및 한국문화 교수자와 연구자들의 적극적인 협력이 활성화되기를 기대한다. As the influence of the Korean Wave, led by the film and music industry, expands, global interest in the Korean language and culture is rising. K-pop music videos, centered on performances and often referred to as ‘the music of the eye,’ have established themselves as a key medium of K-pop. Korean language and culture education is shifting away from traditional text-centered literacy pedagogy, utilizing a variety of media, including K-pop music videos. However, within the enduring effect of language-centered education, the potential of music videos as a multi-layered and multifaceted techno-cultural media text yet to be fully realized. Rather, they tend to be perceived more as supplementary materials. To address this issue, this study adopts the perspective of critical multiliteracies, exploring the educational potential of K-pop music videos, where discourse, culture, technology, industry, art, and technology are intertwined in a complex and dynamic manner. Furthermore it seeks to offer theoretical and pedagogical directions to move beyond conventional text-centered literacy instruction. In alignment with the conceptual underpinnings of multiliteracies, the study defines the goals of Korean language and culture education based on K-pop music videos as ‘cultivating competencies in critical multiliteracies through the process of enjoying, critically analyzing, and creating new media from K-pop music videos.’ As a conceptual foundation for pedagogical praxis, the study proposes a set of methods for analyzing K-pop music videos as a multimodal text as well as a multi-layered cultural text, drawing on literature on gender and cultural hybridity. On top of these theoretical tasks, the study proposes using K-pop music videos as an integral media repertoire for teaching and learning in various sociocultural contexts. This can be achieved by seamlessly integrating the four stages of multiliteracies teaching--(1) situated practice, (2) explicit instruction, (3) critical framing, and (4) transformed practice--into Korean language and culture education. We hope that this study can play an instrumental role in enhancing the depth and breadth of K-pop music video-based multiliteracies education, as well as fostering collaboration among Korean language and culture teachers and researchers worldwide.

EXPANDING PRACTICES AND PERFORMING POPULAR SONGS IN TAIWANESE OPERA

PATTIE HSU 아시아음악학회 2009 Asian Musicology Vol.14 No.-

Taiwanese opera (gezaixi), the most vibrant type of traditional theatre in Taiwan today, is sustained as a living art primarily through temple performances and secondarily through government-sponsored events. During temple festivities, patrons hire troupes for daylong performances that include a ritual performance, and opera performances in the afternoon and evening. On any specific day, professional troupes usually perform in different styles for the afternoon and evening shows, with a notable variance in vocal musical repertoire. The music of the "classic style" opera performed in the afternoon consists of songs from a pool of uniquely Taiwanese opera tunes. In contrast, popular songs dominate the musical repertoire used for the evening's "hybrid style" performances. Although hybrid style opera has been performed for over forty years and the two operatic styles are both equally important to the performance practices of professional troupes, hybrid style opera continues to be marginalized. Surprisingly, some practitioners and scholars reject and critique hybrid style opera as deviant and non-traditional, particularly in its inclusion of popular songs. Government-sponsored events heavily favor classic style operas. My field research experience with Taiwanese opera, however, has led me to deconstruct the disapproving viewpoint of hybrid style opera and reconsider the nature of the opera's musical repertoire formation. Through analyses of performance practices and dramatic functions of songs, I contend that performers select and use popular songs in corresponding manners as they do for that of non-popular, that is, traditionally-based, music. Furthermore, I delve into the formation of the opera's vocal repertoire to argue that the bulk of the repertoire is formed through the appropriation of existing songs. Performers' selection and usage of songs from the popular music genres is part and parcel of the vocal repertoire's formation process. The latest transformation is in the performance of popular songs and the ways in which actors are featured in unprecedented fashions.

상하이 時代曲을 통해 본 중국 근대 유행음악의 혼종성 연구

최명숙,김현주 조선대학교 국제문화연구원 2021 국제문화연구 Vol.14 No.2

After the First Opium War (1840∼1842), the concession of Shanghai (tentatively 31199; within the boundary) freely transplanted Western cultures such as Britain, the United States, France and Japan, and began to flow into multinational mixed cultures. Like this, Shanghai pop songs made in 1920∼1940s have also influenced the narrative and reproduction of Chinese pop music for nearly a century. In this paper, through the Shanghai old songs, which appeared mainly in Shanghai in the 1920s and 1940s and gained great popularity in the public, also named Shanghai period songs, primarily discussed the hybridity and characteristics of them. Next is the examination of the genre of Chinese new music and the mixed pattern of singing methods born in the process of introducing Western music. The nationwide success of academic musicians through Japan, the expansion of jazz music, and patriotic songs created by left-wing musicians of "Academic group" developed through mutual intersection and mix between musical elements. It is a huge and complex task to reveal the full picture of the mixing of modern Chinese pop music and Shanghai period songs. This paper throufg the understanding China's complex and multi-layered historical events, social phenomena, and musical hybridity, can be meaningful in providing an important clue for a full-fledged comparative study of modern pop music between Korea and China.