민간영웅으로서의 “ 나쁜남자” 이야기 - 20 세기 전환기 미국흑인 민간속요를 중심으로 -

독고현 글로벌 문화콘텐츠학회 2014 글로벌문화콘텐츠 Vol.0 No.17

Around the end of the 19th century after the Civil War and the emancipation of slaves, stories of the “badman” as an outlaw often appeared in African-American folk ballads. Unlike other outlaws and folk heroes, the badman often acted violently against the members of his own African-American community. What is more interesting is the fact that such unjustifiable violence made the badman an folk hero in the African-American community and his stories came to be loved by many. Under these circumstances, this paper explores the stories of the “badman” as a folk hero by focusing on folk ballads which were widely enjoyed by African-Americans around the turn of the 20th century. First of all, this paper focuses on the social and political situation that was faced by the African-American community after the emancipation of slaves, in the context of an unfavorable legal system from the late 19th century to the period just before the outbreak of the First World War. It then reflects on how the concept of the “badman” was created and changed during this period. In an attempt to study the prototype of the “badman” as a folk hero, the research describes the concept and role of the “trickster” and the “conjurer” who frequently appear in the oral tradition of the US slavery era. Next, the paper explains how such characters are linked to the tacit approval of the “badman” as an outlaw in the African-American community after the emancipation. Finally, the paper contextually analyses some representative “badman ballads” that were sung by the African-American community in that era, in order to understand how such a historical situation is reflected by these works. 남북전쟁과 노예해방 이후의 19 세기 후반부 무렵에 미국흑인들(AfricanAmericans) 사이에서 무법자로서의 “ 나쁜남자(badman)”이야기가 흑인 민간속요를 통해 자주 등장하게 되는데, 이 “ 나쁜남자”들은 여타의 무법자 민간영웅들과 달리 그들의 폭력을 흑인사회 내부의 동족을 향해 행사하는 경우가 많았다. 더욱 이채로운 점은 그럼에도 이 같은 “ 나쁜남자”들의 어처구니없는 악행들이 흑인공동사회 내에서 민간영웅담으로 만들어져 애송되었다는 사실이다. 본 연구에서는 이러한 점들을 염두에 두고 20 세기 전환기 무렵 미국 흑인사회에서 널리 향유되던 민간속요를 중심으로 민간영웅으로서의 “ 나쁜남자” 이야기를 살펴보는 데 중점을 두었다. 연구는 우선 노예해방 이후 19 세기 말에서 1차 세계대전 발발 이전까지 흑인 공동사회가 불리한 법률 체계 아래서 직면한 사회적ㆍ정치적 상황에 주목하여 이 시기 동안 “ 나쁜남자” 의 개념이 새롭게 만들어지고 변모해가는 과정을 고찰하였다. 이 과정은 민간영웅으로서의 “ 나쁜남자”의 원형을 탐구하는 일환으로 노예시대의 구전전통에 자주 등장하는 트릭스터와 주술사의 개념과 역할을 간단히 살펴보고, 이를 해방 이후 무법자로서의 “ 나쁜남자”가 흑인사회 내부에서 암묵적으로 수용되는 상황과 연계하는 작업으로 이루어져 있다. 그런 후에 당대 흑인사회의 대표적 ‘ 나쁜남자 민간속요(badman ballads)’들의 서사 콘텐츠를 맥락적으로 분석하면서 이러한 상황들이 작품에 반영된 양상들을 확인해 보았다.

힙합문화와 음악교육콘텐츠:디제잉과 엠씨잉을 중심으로

독고현 한국음악교육공학회 2010 음악교육공학 Vol.- No.10

아프리카계 미국인 청년들을 중심으로 발전해온 힙합문화가 이제 글로벌문화로서의 위상을 갖추게 되었다. 힙합문화는 디제잉, 엠씨잉, 비보잉, 그리고 그래피티 등 다양한 표현예술 및 생활방식을 아우르는 통합적 개념인데, 이 중 디제잉과 엠씨잉이 음악과 직접적으로 관련이 있어 이를 음악교육콘텐츠로 수용할 여지가 있다. 디제잉은 턴테이블이나 이에 상응하는 최신 기기들을 조작하여 사운드를 믹싱하는 과정이고, 엠씨잉은 디제잉을 통해 연주되는 리듬 위주의 음악에 랩을 얹어 하나의 노래를 완성하는 것이다. 이 힙합음악은 음악 자체의 미학적 완성도 측면에서뿐 아니라 사회ㆍ문화적 맥락에서도 연구와 적용 및 향유의 가치가 충분하다. 이 논문의 목적은 이러한 가치에 대해 폭넓은 이해를 구하고 이를 공교육 현장에서 활용하도록 하자는 데에 있다. 이에 논자는 힙합의 음악적 요소, 그리고 이와 관련한 디지털 테크놀로지의 현황을 살펴본 후, 음악교육콘텐츠로서의 힙합의 가능성을 음악교육의 공학적 측면과 교육과정의 영역에 연계하여 전반적으로 개괄하고자 한다. Hip-hop as a cultural movement manifest in DJing, MCing, B-Boying, and graffiti writing has spread around the world, though created in the United States by African Americans. Hip-hop as a global culture is now the center of a mega music and fashion industry around the world, and it is recognized as the world's favorite youth culture in which just about every country on the planet seems to have developed its own local rap/hip-hop scene. Of the major cultural pillars mentioned above, DJing and MCing are those containing more musical elements. DJing is related to being a DJ(disc jockey) performing on stage. Hip-hop DJs show various techniques such as sampling and scratching using discs and turntables connected to a mixer and some other pieces of electronic music equipment. MCing, also known as rapping, refers to spoken or chanted rhyming lyrics with a strong rhythmic accompaniment called a beat. With the introduction of digital technology, greater creative possibilities are being offered to hip-hop amateurs as well as to pro musicians. Considering these situations, we should think about embracing hip-hop as a means of music education. DJing and MCing can motivate students in the music classroom both inside and outside because they have attractive educational "contents"(CT) and various contextual information. Furthermore, it is surprising to find out that the elements of hip-hop music apply to many detailed items of 'comprehension, activity, and life application' in music curriculum. All schools including music colleges are expected to enjoy these wonderful music education contents.

부기우기와 비밥의 시적 체현: 랭스턴 휴즈의 『지연된 꿈의 몽타주』

독고현 한국현대영미시학회 2007 현대영미시연구 Vol.13 No.2

This study attempts to examine the procedure in which Langston Hughes combined his poetry with the vernacular music for poetic embodiment of the blues and jazz, or more specifically, ‘boogie-woogie’―a style of piano blues, and ‘bebop’―a modernist movement in jazz. With that aim, this thesis analyzes boogie-woogie poems and bebop poems from Montage of a Dream Deferred(1951), one of his volumes of collected poems professing to be “musical” in particular. Hughes’s music poems are differentiated from most of the other music poems. While the others tend to just employ musical elements partially or imitate musical images superficially, Hughes’s works try to embody not only the structure and subject of his people’s music, but also its process of evolutionary transition. Boogie-woogie poems and bebop poems from Montage show the process of shift from the blues to diverse “lower genres” of jazz. Montage is carefully orchestrated as one continuous poem employing the technique of montage. The theme of “the dream deferred” is carried in the musical motifs. The boogie-woogie rumble of walking bass touches the bottom of the emotions, and nonsense bebop syllables or scat singing represents uneasy state of mind from constant reversals and contrasts. Here music as structure and metaphor helps hold the poem together and drive it to the end, creating continuity in depth. In this sense, Montage can be said to be “one long interrelated poetic jam session.”

음악시로서의 힙합시와 현대사설시조 비교분석: 서사의 사회적 맥락을 중심으로

독고현 한국음악교육공학회 2013 음악교육공학 Vol.- No.17

African American hiphop poetry and Korean modern narrative sijo, which have preserved the essence or authenticity of hiphop and narrative sijo respectively, still seem to be located on the frontiers or in the fringe area of poetry. There are a couple of reasons for that. First, both genres are of multicultural nature. Second, they are not supported by stronger "cultural power" since they are preferred and enjoyed by socially weak groups. However, the hiphop culture has become one of the strongest icons of popular culture not only in America but also around the world since the 1990's. Under these circumstances, hiphop poetry has played a major role in speaking on behalf of society. In contrast, modern narrative sijo hasn't been supported by pop culture as in the case of hiphop poetry. Only by making their own efforts, poets sometimes produce high-quality works with comic beauty, an important factor of traditional narrative sijo. Nevertheless, many of the recent works tend to be limited to immature satire of reality and humor or boring daily routine (of being content amid poverty and taking pleasure in acting in an honest way) and meaningless smiles. Consequently, they are far from drawing readers' attention. In this context, this research first looks into representative cases of reflecting social reality, among the poems that can be regarded as typical hiphop poetry and rap lyrics of hiphop music. It then finds modern narrative sijo works that could be studied in the same vein and compares them with the aforementioned hiphop poetry works. The purpose of this research is to reflect on if modern narrative sijo has been weaker than hiphop poetry when it comes to expressing the social conflict among different groups and to playing a role of alleviating the conflict. Moreover, its another purpose is to widely promote the value of modern narrative sijo and to encourage more fruitful creative activities, so that modern narrative sijo of satire and humor can find its place as "poetry of reality"(realistic poetry) and "poetry of resistance"(resistant poetry) again, not ignoring its role of participating in reality and speaking on behalf of society just as hiphop poetry that always speaks up. Modern narrative sijo will then be able to be loved by the public as much as hiphop poetry. 본 연구에서는 서술기법 등에 있어 전형적인 힙합시(hiphop poetry)라 칭할 수 있는 미국흑인 음악시들과 힙합음악의 랩 가사들 중 사회적 현실성을 견지한 대표적 사례를 살펴보고, 주제의 유사성 측면에서 비교 고찰해 볼만한 한국 현대사설시조 작품들을 찾아 서사의 사회적 맥락을 중심으로 이 둘을 함께 살펴보고자 한다. 힙합시와 현대사설시조는 창작기반과 배경, 향유계층에 있어 다소 차이가 있지만, 이 둘은 개인 혹은 계층 간의 사회적 갈등을 구전전통의 예술 형태로 표출하면서 그 갈등을 완충하는 역할을 하는 데 있어 어느 정도 맥을 같이 한다고 할 수 있다. 무엇보다도 이 두 장르는 각자의 구전전통을 바탕으로 음악과 시가 결합한 데서 출발하여 서사를 확장하는 서술방식을 사용한다는 점이 매우 유사해서 그 방식과 내용을 비교분석해 볼 만하다. 이 과정을 통해 풍자와 해학의 맥을 담은 현대사설시조가 이미 커다란 영향력을 확보해가고 있는 힙합시처럼 현실참여와 사회적 발언의 역할에 보다 눈을 돌려 '현실시' 혹은 '현장시'로서의 자리를 잡아가도록 관심을 기울이고 독려하고자 하는 것이 이 논문의 목적이라 하겠다.

‘음악 감상과 비평’ 교과서를 통해 바라본 음악비평 교육

독고현 한국음악응용학회 2018 음악응용연구 Vol.10 No.-

흑인영가의 버내큘라 전통 연구: 가사의 맥락적 고찰을 중심으로

독고현 한국음악교육공학회 2015 음악교육공학 Vol.- No.23

이 논문은 유기적으로 맞물려 있는 미국흑인 구연예술과 버내큘라 전통에 있어, 흑인영가에 주목하여 가사의 맥락적 분석을 통해 그 정체성을 고찰한 연구이다. ‘어느 특정한 나라 혹은 지역에 새로이 고착한 고유 예술’을 의미하는 버내큘라는 우세한 문화의 언어와 예술 즉 백인들의 언어와 예술을 매개로 창조된 텍스트에 들어 있는 ‘흑인 경험의 표현’들을 가리킨다. 사실상 ‘미국흑인음악의 가장 커다란 뿌리’라고 할 수 있는 흑인영가는 아프리카 구전전통의 노동요와 민간속요가 백인들의 찬송가를 수용하는 과정에서 생겨난 버내큘라 예술로서, 노예제로 인해 아프리칸 디아스포라를 경험해온 미국흑인들의 정신과 심리가 잘 담겨 있다. 이에 본 연구는 버내큘라의 정체성을 대표적으로 잘 드러내고 있는 흑인영가를 중심으로 가사 텍스트를 맥락적으로 살펴보는 작업을 통해 버내큘라의 학술적 가치에 대한 관심을 불러일으키고, 아울러 정리된 연구결과가 음악교육을 위시한 예술교육 및 문화교육의 자료로 활용되어 통합교육콘텐츠의 지평을 넓히는 데 보탬이 되기를 기대한다. The “vernacular” comes from the Latin - verna, a slave born in his master’s house. In the context of art, the term refers to traditional art that is received by a particular region or country. In the tradition of orally narrated African-American art, the vernacular is defined as the expression of African-American experience that is found in the texts that are created in the form of the predominant (i.e. white) culture including language and art. This style of expression springs from the creative interaction between the African tradition that has been transmitted and learned by African-American slaves or migrants from their ancestors and a new one that is locally invented based on their own tradition. Exploring African-Americans’ oral art and their vernacular tradition, which are organically connected to each other, this paper focuses on their spirituals and reflects on the identity of these songs through a contextual consideration of their lyrics. Indeed, African-American spirituals, which form the largest root of African-American music, constituted the vernacular as orally transmitted African work and folk songs adopted white Americans’ gospel. Such spirituals allow us to understand the spirit and mentality of African-Americans who went through the African diaspora during the period of slavery. Under these circumstances, this paper attempts a contextual analysis of the lyrics of African-American spirituals that represent their vernacular tradition. The ultimate goal of this analysis is to raise awareness of the academic value of the vernacular and to contribute to enriching the integrated education content by encouraging the results of this research to be used as arts (music, above all) and culture education materials.

정치적 래퍼로서의 아미리 바라카

독고현 글로벌 문화콘텐츠학회 2020 글로벌문화콘텐츠 Vol.0 No.43

Amiri Baraka established himself as one of the most interesting, controversial, and influential figures in modern literature and art through his prolific and varied work as poet, dramatist, essayist, critic, community organizer, and educator. In Baraka’s poetry, music serves as a primary source in the context that the trajectory of black life in America is most reliably recorded in music that the experience has produced. It cannot be denied that Baraka is one of the most influential antecedents in the birth of hip-hop raps. This study is designed to find a contextual connection between his political poems and hip-hop raps in order to shed new light on his position as a political rapper. Results of this study would be helpful in broadening educational content of not just English literature and cultural studies but also music education including popular music. 아미리 바라카(Amiri Baraka)는 드라마, 시, 소설, 에세이, 정치ㆍ사회 문화비평, 음악평론 등 다방면에 걸쳐 반세기 넘는 세월 동안 왕성한 작품 활동을 했던 아프리카계 미국인 작가이다. 바라카의 시에 있어서 음악은 미국흑인들의 삶의 궤적이 고스란히 담겨있는 기록이라는 역사적 맥락에서 가장 중요한 창작의 원천이 된다. 바라카는 오늘날 세계적으로 향유되는 힙합 랩의 탄생에도 큰 영향을 준 인물이다. 이에 본 연구에서는 서사로서의 랩이 보여준 초기의 진정성과 이를 제대로 계승한 ‘정치적 랩’(political rap)의 시학(詩學)을 연계해보고, 정치성과 예술성을 겸비한 음악적 시작품을 통해 힙합시(hip-hop poetry)의 초석을 다진 선구자로서뿐 아니라 그 자체로 ‘정치적 래퍼’의 면모를 보여준 바라카의 작품세계를 살펴보고자 한다. 이 연구의 결과는 영미문학과 문화연구뿐 아니라 대중음악을 포함한 음악교육의 콘텐츠를 확장하는 데에도 기여할 것이다.

디지털시대의 새로운 창작문화: 샘플링 테크놀로지와 그 예술적 정체성에 관하여

독고현 한국음악교육공학회 2008 음악교육공학 Vol.- No.7

This study is to investigate ‘sampling’ technology as a new culture of creation in this digital age, and to advocate its artistic identity. With those aims, this thesis introduces ‘digital sampling technology’ along with traces of culture/art/music concerned, and then attempts to relate it with (post)modern aesthetic concepts such as pastiche, hypertext, technological reproduction, the aura, simulacre, etc. While the concepts concerned visual arts and literature most, these are also relevant here in the new way of music making in 0’s and 1’s. Digital sampling is a type of computer synthesis in which sound is rendered into data, highly manipulable data that in turn comprise instruction for reconstructing that sound. The range of music material from which composers draw is vast, including speech and environmental sounds, as well as live and recorded music; the practice raises difficult questions about every aspect of composition, from aesthetics to ethics, even to law. Now the legal or ethical criteria for judging quotation or plagiarism seem relatively well established, and so sampling can clear itself of suspicion when done right. Sampling still tends to be criticized as basically uncreative because of the way of musical borrowing. Too often discussions of sampling treat the practice simply as technological quotation. Sampling, however, is most fundamentally an art of transformation. A sample changes the moment it is relocated. The sampled sounds are really only raw materials, waiting to be minded and refined. The sampling technology at once “decontextualizes and recontextualizes” prerecorded sound, giving it a new functions and meanings while sustaining unity. How can we underestimate this art of “fragmentary reproduction”? Some say modern art works are poor in contents and rich in philosophy, but sometimes aesthetics or art philosophy supporting the way of creation can be employed in order to narrow a distance between the work’s form and its interpretation. That is the reason this study is carried out. This study is to investigate ‘sampling’ technology as a new culture of creation in this digital age, and to advocate its artistic identity. With those aims, this thesis introduces ‘digital sampling technology’ along with traces of culture/art/music concerned, and then attempts to relate it with (post)modern aesthetic concepts such as pastiche, hypertext, technological reproduction, the aura, simulacre, etc. While the concepts concerned visual arts and literature most, these are also relevant here in the new way of music making in 0’s and 1’s. Digital sampling is a type of computer synthesis in which sound is rendered into data, highly manipulable data that in turn comprise instruction for reconstructing that sound. The range of music material from which composers draw is vast, including speech and environmental sounds, as well as live and recorded music; the practice raises difficult questions about every aspect of composition, from aesthetics to ethics, even to law. Now the legal or ethical criteria for judging quotation or plagiarism seem relatively well established, and so sampling can clear itself of suspicion when done right. Sampling still tends to be criticized as basically uncreative because of the way of musical borrowing. Too often discussions of sampling treat the practice simply as technological quotation. Sampling, however, is most fundamentally an art of transformation. A sample changes the moment it is relocated. The sampled sounds are really only raw materials, waiting to be minded and refined. The sampling technology at once “decontextualizes and recontextualizes” prerecorded sound, giving it a new functions and meanings while sustaining unity. How can we underestimate this art of “fragmentary reproduction”? Some say modern art works are poor in contents and rich in philosophy, but sometimes aesthetics or art philosophy supporting the way of creation can be employed in order to narrow a distance between the work’s form and its interpretation. That is the reason this study is carried out.

민요로서의 블루스

독고현(Hyun TOCKGO) 한국음악교육공학회 2018 음악교육공학 Vol.- No.35

본 논문은 20세기 전환기 미국남부 흑인공동사회를 중심으로 태동한 ‘대중음악으로서의 블루스’가 21세기에 들어서도 범(汎)세계적 영향력을 유지하고 있는 상황을 염두에 두고, 무엇보다도 민중의 소양과 집단정서 및 사회적 맥락을 충실히 반영한 ‘민요적 성격’에 중점을 두어 ‘민요로서의 블루스’를 고찰한 연구물이다. 민요적 성격을 고찰하기 위해 본고에서 논의의 범주로 삼은 세 가지 기준은 블루스가 지니고 있는 ‘원작자의 모호성’,‘형식의 단순화와 가사의 상투성’, 그리고‘주제의 사회적 맥락’인데, 이는 일반적으로 민요의 개념과 범주를 규정하는 기준인‘익명의 작곡’과 ‘구전전수’,그리고 민요의 구전전통을 구성하는 3요소인‘연속성’,‘변주’,‘선택’등을 참고로 하여 재구성한 것이다. Today the blues dating from the 1890s have grown in popularity and influence from a regional folk style found among African Americans to a worldwide phenomenon. In this paper, exploring the origins and development of the blues, and how they have evolved to the present popularity and musical status, the writer will focus on the aspects of the blues as folk songs. The aspects are uncertain originality, simplification of the form and cliches, and the social context of themes. These standards of deciding the identity of the blues as folk songs are taken through reorganizing the criteria: anonymous composition and oral transmission, and the three essential aspects: continuity, variation, and selection.

버내큘라 구전전통의 연속성 - ‘즉흥 서술시’에서 ‘힙합 서사’로

독고현 ( Tockgo Hyun ) 세계문학비교학회 ( 구 한국세계문학비교학회 ) 2018 世界文學比較硏究 Vol.63 No.-

이 논문은 민간속요(folk ballads)와 즉흥 서술시(narrative poems; toasts)에서 힙합의 랩으로 이어져오는 버내큘라(vernacular) 전통의 연속성을 구전전통의 언어관행에 중점을 두어 고찰한 연구물이다. 먼저 미국흑인들의 버내큘라 언어관행을 개괄할 목적으로 조라닐 허스튼(Zora Neal Hurston)의 「흑인 표현의 특징들」(“Characteristics of Negro Expression”)과 ‘미국흑인 버내큘라 영어’(AAVE)의 특징적 어법들을 살펴본 후, 이러한 고유의 언어체계를 바탕으로 ‘시그니파잉’(Signifying)이라는 포괄적인 언어관행과 여기에 속하는 세부적인 사항들을 살펴볼 것이다. 그런 후에 이 사전작업을 바탕으로 ‘토스트’라고 불리는 즉흥적인 서술시와 오늘날의 힙합 서사를 언어관행에 주목하여 비교하면서 버내큘라 구전전통의 연속성을 탐색하는 것이 본 연구의 핵심이다. This is the research to investigate continuity of the vernacular tradition from folk ballads and narrative poems called ‘toasts’ to hip-hop narrative or rap, focusing on the language practice from the oral tradition. In African American literature or art, the vernacular is defined as expression coming from the creative interaction between the African-rooted tradition and that which is invented in the new land. The vernacular art includes the church songs such as spirituals and gospel, the blues, jazz, ballads (including toasts), sermons and prayers, folk-tales, and rap songs that are part of the oral tradition of black expression. For the systematic research process this paper examines and summarizes Zora Neal Hurston’s wonderful catalog of “Characteristics of Negro Expression” and distinctive usages of African American Vernacular English(AAVE) first of all, and ‘Signifyin(g)’ which is a practice in African American language culture involving a verbal strategy of indirection. The essence of this thesis is the procedure of examining the relation between toasts and hip-hop narrative on the basis of these.