북한 교성곡의 효시「압록강」

배인교 ( Ihn Gyo Bae ) 단국대학교 한국문화기술연구소 2010 한국문화기술 Vol.10 No.-

This paper reviews social and musical context of the times when Aprokgang, the first cantata of North Korea, was composed by Kim, Okseong. It also analyses how its lyrics were constructed and how it was diversely evaluated upon different times. The purpose of such research is to understand the significations of Aprokgang in the history of music in North Korea. During the period of ‘Peaceful Democratic Construction’ when Kim, Okseong created Aprokgang, there was a demand of the times that a new type of music should be developed. The elegant music at that time was understood as the kind of music that expelled reactionary and decadent trend prevailed in the music composed by existing bourgeois composers and uses realistic methodology of socialism Next, the lyrics of Aprokgang was analyzed to find how 「Baekdusan」, a long epic poem, was adapted as lyrics of Aprokgang. The 6th chapter of the epic poem depicting ‘Bonchonbo battle’ where anti-Japan north Korean partisans crossed the Aprok river and advanced across the border into the Korean peninsula was most frequently used for the music. Especially, the beginning part from the 1st to 3rd stanza was selected as the lyrics for the entire 4 movements of music. However, the words of poem were modified with the technique of repetition and ommission to fit into the musical structure of Aprokgang. Lastly, it was reviewed how the cantata, Aprokgang was understood through different political environment. Basically positive perspective lasted for longtime considering that Aprokgang used Baekdusan, a long epic poem written by Cho, Gicheon, as its lyrics, that it was the first cantata in the history of North Korea music, and that it conveyed the narrative of minitary resistance against Japanese colonization as well as idealization of suryeong(leader). However, developing new genre of chrus and orchestral and using style of Jeolga for vocal were pointed out as limit in its genre as cantata. Accordingly, Aprokgang by Kim, Okseong has gradually become forgotten. However, after playing Yun, Isang’s cantata, it was possible to find that the awareness of Kim, Okseong’s Aprokgang was increased. Moreover, with the influx of nationalistic trend in music in 1990s, ‘national melody’has been commented to appreciated the musical value of Aprokgang.

1950~60년대 북한 전통 음악인들의 활동 양상 검토 -창극 관련 음악인을 중심으로-

배인교 ( Ihn Gyo Bae ) 판소리학회 2009 판소리연구 Vol.28 No.-

The period of 1950`s and 60`s has a great significance in the history of North Korean Music. The music of this time began to express the ideology of Juche, established from the time of Korean War to postwar days. The musicians of traditional music in North Korea at that time laid a fundamental structure for the following development process of North Korean music. Therefore, a close study on how they expanded their music in North Korea in accordance with the fluctuating political environment and policies of the political party of North Korea will help us to understand the overall situation of Minjok eumak (people`s music) in North Korea where traditional music evolved in different directions from South Korea. In this paper, the life of musicians of traditional music in North Korea in 1950`s will be traced to find out how they were placed musically in political turmoil and how they influenced on shaping contemporary North Korean Minjok eumak (people`s music). It is found from the research that the musicians who went to North Korea from South and those who originally lived in North Korea mainly played a role of encouraging the North Korea Army and the people of North Korea during the period of 1950`s and early 1960`s. After the Korea War, they were devoted to playing music, making new music and teaching young musicians at universities and theaters. In case of exile musicians, they were allowed to do music with their own music grammar in North Korea with political reasons and the advantage of their repertoire, Chang geuk. It is clear that this was possible with the strong support of Kim, Il-Sung on Minjok eumak (people`s music). However, the time span that they flourished with their own music styles limited to early 1960`s. This is because Daejung gayo (popular Songs or commoners` song) and the songs in Sinminyo (new folksongs) style were preferred as a means of fighting against reactionism and of controlling and promoting people with political ideology. All kinds of indigenous music of Korea fall into this category of Minjok eumak (people`s music) in North Korea. It is those exile musicians from South Korea and native North Korea musicians who laid the cornerstone of Minjok eumak (people`s music) from the period of 1945 to late 1960`s. Special attention should be paid to the fact that the Chang guek performed by the exile musicians in North Korea provided a basic structure for creating Minjok Gageuk (national musical) in《Seonghwang-dang》style and Hyeongmyeong Gageuk (revolutionary musical) in《Pibada》style. Their music performance contributed to shaping contemporary music of North Korea.

한국 전통 성악곡 중 6박 계통 장단의 말붙임새와 교육 활용 방안 -도살풀이, 도드리, 엇중모리장단을 중심으로-

배인교(Bae, Ihn-gyo) 한국민요학회 2021 한국민요학 Vol.62 No.-

이 글에서는 경기도당굿의 도살풀이장단과 정가나 잡가의 도드리장단, 그리고 판소리 엇중모리장단의 말붙임새를 살펴봄으로써 한국 전통 성악곡 장르 중 6박 계동 악곡의 특성과 말붙임새의 친연성 및 특장점을 검토하였으며, 나아가 초중등 음악교과서 교재 개발 및 가사 창작을 위한 활용 방안을 제안해보았다. 경기도당굿에서 사용하는 도살풀이장단은 6박계통의 장단 중 가장 지역성이 강하다고 할 수 있다. 이 장단의 구조적 특징은 가사가 2소박2박을 단위로 붙되 마지막 두 박은 채우지 않으며, 노래에서 변화를 줄 경우에는 “2+2소박/2+2소박//2+2소박”의 구조를 도살풀이춤에서 혼용하는 “3+3소박//3+3소박”의 자진굿거리로 바꾸어 강세의 위치를 변화시킴으로써 노래에 집중하게 하거나 단조로움을 덜 수 있도록 하였다. 그러나 대체로 도살풀이장단의 말붙임새를 유지하였다. 3소박6박의 도드리장단으로 부르는 12가사과 12잡가는 대체로 4 · 4조의 노래말을 2장단에 배치하되 1∼6장단까지 다양하게 붙여 부르는 모습을 확인할 수 있었다. 또한 박을 늘려 붙여놓았다 하더라도 말붙임새는 3박+3박의 형태를 유지하고 있는 것을 볼 수 있다. 간혹 3+3박의 말붙임새에서 벗어나 2+2+2박으로 변화를 준 경우도 있으나 박을 늘리는 것에 집중한 결과 말붙임새의 변화에는 관심을 두지 않고 있음을 짐작할 수 있다. 판소리에서 사용하는 엇중모리의 말붙임새는 기본적으로 3+3박이다. 그러나 살펴본 판소리 마무리 대목에서는 2+2+2박의 말붙임새가 많이 쓰였다. 그리고 3+3박의 말붙임새를 쓰는 경우에도 “2+2+2소박//2+2+2소박”이 아닌 “3+3소박//3+3소박”의 3소박4박자 형태가 쓰인 것을 확인할 수 있다. 4박 위주의 국악 교육에서 나아가 6박 계통 장단 악곡의 이해를 통해 전통음악의 다양한 박자와 말붙임새를 이해하고 음악적으로 활용할 수 있도록 교육할 필요가 있다. In this article, by examining the lyrics attached to the rhythm of the dosalpuri jangdan(rhythmic pattern), the dodri jangdan of the Jeongga and Japga, and the eotjungmori jangdan of the Pansori, which are closely related to them, the characteristics of 6-bak(beat) rhydmic pattern songs among the Korean traditional vocal music genres are investigated. In addition, I proposed a plan to use it for the development of music textbooks for elementary and middle school and the creation of lyrics. The dosalpuri jangdan used in Gyeonggi Dodanggut is said to have the strongest locality among the 6-beat rhythms. The structural characteristic of this rhythm is that the lyrics are added in units of 2 sobak(small beat) and 2 bak(beat), but the last two beats are not filled in. By changing the structure of “2+2+2+2+2+2” to the structure of “3+3+3+3”, the position of the stress was changed to focus on the song or reduce monotony. In the 12 Gasa and 12 Japga sung in Dodri-jangdan, 4 and 4 song words are usually arranged in 2 jangdans, but you can see that they are sung in various ways up to 6 jangdans. Also, there are cases where a change was made from 3+3 beats to 2+2+2 beats, but as a result of concentrating on increasing the beats, it can be inferred that they are not paying attention to the changes in the phrasing. Eotjungmori used in pansori is basically 3+3 beats. However, in the closing part of the pansori we looked at, the lyrics were often used in the form of 2+2+2 beats. And even when using the 3+3 bak of the lyrics attached to the rhythm, you can see that the 3 sobak 4 beat form of “3+3 sobak//3+3 sobak” is used instead of “2+2+2 sobak//2+2+2 sobak” This understanding of 6-beat rhythmic music suggests the possibility of expanding traditional music education centered on 4-beat music. It will be important to develop the ability to understand and utilize the various beats and lyrics attached to the rhythm of Korean music.

불후의 고전적명작 가요의 음악적 지향

배인교 ( Ihn Gyo Bae ) 북한연구학회 2012 北韓硏究學會報 Vol.16 No.2

북한에서 불후의 고전적명작가요는 다른 장르의 것과는 달리 김일성과 김정일이 창작한 노래가 섞여 있다. 이 노래는 외적으로 절가형식을 갖고 대체로 두도막형식을 취하고 있는 점에서 유사하다. 그러나 창작자가 다른 두 부류의 음악이 존재하며, 창작 시기가 다르고, 사용하고 있는 음계의 양상도 다르다. 불후의 고전적명작 가요는 북한 가요의 모범이 되는 작품이며, 모든 창작가들이 배우고 견지해야 할 작품이다. 김정일은 그의 저서인 『음악예술론』에서 명곡의 조건으로 사상성과 함께 민족성, 인민성, 통속성을 말하면서 그 예로 불후의 고전 적명작 가요를 제시하였다. 즉, 불후의 고전적명작 가요는 가사에서 사상성이 담보되어 있으며, 음악형식은 민족성, 인민성, 통속성을 갖추었다는 것이다. 음악적인 면에서 볼 때 민족성은 김일성 창작의 가요가 5음음계로 이루어졌다는 점에서 찾아볼 수 있으나 김정일 창작의 가요에서는 찾을 수 없으며, 인민성과 통속성은 절가형식과 두도막형식, 그리고 인민들이 좋아하는 선율진행과 쉽게 따라 부를 수 있도록 만들어졌다는 점에서 두 종류의 가요 모두에서 찾을 수 있다. 즉, 북한의 관점대로라면 김일성 창작의 가요에서는 민족적 형식을, 김정일 창작 의 가요에서는 북한 인민의 현대적 미감 이 적용되었다고 볼 수 있으며, 이러한 민족적 형식과 현대적 미감을 북한 가요창작가들에게 요구하고 있기 때문에 북한 가요의 본보기와 모범이 된다. 그러나 선율에서의 민족성과 인민성, 통속성은 부르기 쉽고 전하기 쉬운 단순한음악이 될 가능성이 매우 높다. 결국 현재 북한의 가요는 이러한 단순한 형태의노래가 전체 가요 부문을 장악하게 되었으며, 예술적인 기교를 사용하거나 복잡하고 어려운 형태의 노래는 지양하는 일련의 과정을 거쳤음을 알 수 있다. 뿐만아니라 김일성 작 가요에 보이는 음계는5음음계를 사용하고 있다고는 하나 한곡을 제외한 나머지 모두 전통음악의 5 음음계가 아닌 일본식 요나누끼장음계이며, <조선인민혁명군>은 일제의 군가이기도 하여서 김일성 작 가요에서 민족성을 담보하고 있다고 말할 수 있을지 의문이다. 이러한 일본식 음계에 대한 무비판적 사용은 음악부분에서의 일제청산이 이루어지지 못한 북한 음악계의 한계라고 할 수 있다. Unlike other genres of songs in North Korea, the songs from immortal classic masterpieces include the songs created by Kim Il-sung and Kim Jong-il. These songs are similar in that they are, by and large, in binary form with strophic variations. However, these songs are also different in many ways; different in their composers, the times of creation, and their scales. Those songs from immortal classic masterpieces are exemplar of North Korean songs, which every composer should learn and adhere to. In his work, Theory of Music and Art, Kim Jeong-il cited immortal classic masterpieces as examples explaining that ethnicity, populism, and popularity as well as Juche idea are what make masterpieces. This means that the songs from immortal classic masterpieces assure of Juche idea and have ethnicity, populism and popularity in their musical forms. In terms of music, the songs created by Kim Il-sung are in pentatonic scale which reveals ethnicity, and this is not found in those songs created by Kim Jong-il. Both songs by Kim Il-sung and Kim Jong-il, however, have melodies that are popular and easy for people to sing along. That is, we can find ethnic forms in the songs created by Kim Il-sung, while we can find modern taste of North Korean people in the songs by Kim Jong-il, both of which make good exemplar of North Korean songs since the composers of North Korean songs are required of such ethnic musical forms and modern taste. However, it is highly likely that the ethnicity, populism, and popularity of the songs give the music such simplicity that people can easily sing along and pass around. Eventually, these simple forms of songs have taken the entire songs of North Korea today, having sublated the songs that require artistry or sophistication. Nevertheless, it is questionable if these songs truly assure of ethnicity, as most of the songs created by Kim Il-sung, except for one piece, are in the Yonanuki major scale, the typical Japanese scale, not the traditional Korean pentatonic scale, and one of the songs, <Joseon Inmin Hyeongmyeonggun: Joseon People`s Revolutionary Army> is a military song made by Japanese. The uncritical use of Japanese scale can be considered the limitations of North Korean songs, revealing that they have not cleared away the remnants of Japanese colonialism in their music.

21세기 북한 민족음악의 변화 양상

배인교(Bae Ihngyo) 한국예술종합학교 한국예술연구소 2018 한국예술연구 Vol.- No.22

북한, 음악, 그리고 통합 연구

배인교 ( Bae Ihngyo ) 단국대학교 한국문화기술연구소 2018 한국문화기술 Vol.25 No.-

The beginning of North Korean music research began with the report of the government task in 1978. Knowing North Korea as an enemy is highly political, and it is bound to be aggressive by the need to distinguish between inferiority and superiority. This view is still in progress. But with political issues, academic growth has begun to go beyond politics. This can be seen as an interest in music in political science. In addition, the growth of music academy is remarkable. The study of North Korean music in 1990s and early 2000s was concentrated after the 1980s. However, in early 2010, North Korean music was done in the early part of the division. Through these researches, it can be said that North Korean music research is moving from knowing of North Korea to understanding of North Korea. In addition, North Korean music research is growing as one of the branches of Korean music studies. Therefore, future research on North Korean music should not be confined to traditional music, western music, or ethnic music, but should be promoted as a way of integrating Korean culture.

조선후기 무부군뢰(巫夫軍牢) 연구

배인교(Bae Ihngyo) 한국무속학회 2009 한국무속학 Vol.0 No.18

본 논문은 조선후기의 문서와 그림을 통해 무부군뢰(巫夫軍牢)의 형성과 그들의 활동 양상을 검토해 본 글이다. 무부군뢰에 관한 기록은 『여지도서』와 19세기 관찬읍지에서 찾아볼 수 있으며, 경상도 전역과 충청도 일부에서만 나타났다. 이들은 각 군현에서 차출되어 감영이나 병영에 배치되었다. 이들은 각 군현에서 실제 차출되어 군역을 행한 경우도 있으나, 대체로 역가(役價)를 내어 감영이나 병영으로의 번상(番上)을 피하였다. 무부군뢰와 연관되는 명칭으로 난후군(?後軍)이나 난후병(?後兵), 난후별초(?後別哨), 난후별대(?後別隊) 등이 있는데, 이들의 기원은 훈련도감 내에 설치된 난후별초이다. 난후별초는 왜병 복색을 하고 군사훈련에 참가하였으며, 난후별대는 어가의 호위를 맡았다. 이후 지방으로 확대되어 귀인(貴人)의 행차 앞에서 연기를 하면서 시위(侍衛)를 담당하는 사람들로 성격이 변하였음을 추측할 수 있다. 무부군뢰는 군뢰라는 별도의 직역을 부여받아 고관의 시위를 담당하게 한 이유는 무부군뢰가 재예(才藝)를 겸비한 군인이기 때문이다. 또한 이들은 취고수와 세악수가 악기 연주만으로 시위를 했던 것에 비해 재주를 부리거나 연기를 하면서 행렬의 위엄을 도왔던 것으로 보인다. 이러한 무부군뢰의 활동 양상은 18~19세기의 기록화인 《평양감사향연도》와 《안릉신영도》등에서 확인할 수 있으며, 이는 『조선무속고』의 “각(角)을 불고, 연기(演技)도 하고, 혹은 곤장을 가지고 앞에서 인도”하였다는 기록과 상통한다. 그리고 무부군뢰의 시위 업무는 군대 조직의 일환으로, 19세기 후반에는 각 군현으로 까지 확대되었음을 알 수 있다. This thesis is about formation and their activities of mubugunrwoi (巫夫軍牢) which are on the basis of investigating the documents and pictures of the latter term of Choseon Dynasty. Mubugunrwoi is the name of a petty official who is responsible for gunrwoi as a mubu which means a shaman’s husband or sun. The document on mubugunrwoi can be seen in the book of ‘yoejidosoe (輿地圖書)’ and ‘gwanchanyuebji (官撰邑誌)’ which is written in the 19th century. The records were found in the region of the whole Kyoengsang province and a part of Chungchoeng province. Mubugunrwois were deployed to a government office or barrack from each counties and prefectures. Sometimes they actually did their military service duty, but usually they avoided their rotated duty by paying the money proportionate to their duty. There are some names related with mubugunrwoi such as nanhugun (?後軍), nanhubyoeng (?後兵), nanhubyoelcho (?後別哨), nanhubuoeldae (?後別隊). The origin of these names is nanhubyoelcho which was established in a central army, hunryoendogam (訓練都監). Nanhubyoelcho participated in military drill while nanhubuoeldae was in charge of royal carriage guard. As time goes by, the system was expanded into regions and it can be estimated that the character of nanhubyoelcho, nanhubuoeldae were changed into those who was responsible for escort high personages and performing a play in front of a parade for the noble men. The reason why the job of gunrwoi was given to mubu and the mubu was responsible for escort a government dignitary would seem that compared with chigosu and seaksu who escorted a dignitary only playing musical instruments, mubu was a military personnel with talent of art, so he could add the dignity of a parade by exercising his talent and performing a play. This aspects of mubugunrwoi’s activities can be checked in the pictures for record in the 18th to 19th centuries such as ‘pyoengyangkamsahyangyoendo (平壤監司饗宴圖)’, ‘anluengshinyoungdo (安陵新迎圖)’ etc, which has a thread connection with the record of “playing a gak (角) and performing or leading the parade with a stick” in the book of ‘chosoenmusokgo (朝鮮巫俗考)’. Also the escort by mubugunrwoi was a part of military service and the organization of mubugunrwoi was spread to each counties and prefectures. The records indicate that mubugunrwoi was responsible for entertainment in the 19th century.

북한의 천리마운동시기 음악적 감성 ­노래집 『풍어기 휘날리자』를 중심으로­

배인교 ( Ihn Gyo Bae ) 한민족문화학회 2014 한민족문화연구 Vol.45 No.-

이 논문은 1950년대 말부터 1960년대 초, 수산업에서의 천리마운동의 진행과 이를 독려하고 인민들을 교양하기 위해 출판된 노래집 『풍어기 휘날리자』를 중심으로 노래집에 출판된 배경과 수록된 노래에서 찾을 수 있는 음악적 감성을 살펴본 글이다. 1957년부터 시작된 수산업 발전과 인민교양에 대한 논의는 1962년 2월까지 이루어 졌으며, 수산업에서의 어획량 증산과 어로공들을 위한 노래를 만들 것이 요구되었다. 그리고 1962년 2월에는 1950년대의 40만 톤에서 수산물 80만 톤이라는 목표량을 설정하고 계속 매진하도록 독려하였다. 이러한 상황에서 창작가들은 바다가 무서운 곳이 아니며, 젊은 사람들이 나아가 꿈을 실현하는 무대라고 선전하였고, 더 많은 물고기를 잡으라고 경쟁을 촉구하였다. 가사에서는 미래에 대한 낙관과 희망, 청춘의 노력, 만선하여 귀항하는 어로공들의 기쁨, 흥겨움, 환영의 분위기를 전하고 있으며, 음악적으로는 씩씩하고 경쾌한 리듬과 흥겹고 약동적인 선율, 그리고 낙천적이고 서정적인 느낌이 들도록 음을 사용하고 있었다. 그러나 여성들의 노동력까지도 요구하면서 노래집에는 여성들을 위한 노래를 삽입해 놓지 않아 북한의 이중적인 성향을 엿볼 수 있다. This paper explores the background of the publishment of the music collection 『Blessing the Fishing Season』 and the musical sensibilities found in it which was published to encourage the progress of Chollima Movement in Fisheries and cultivate the people`s morale during end of 1950`s to early 1960`s. The development of Fisheries and the debates about the people`s education started from 1957 and continued through Feb. 1962, which required to compose the song for the increase in the amount of fish caught and for the fishermen. Also, in Feb. 1962, North Korea pushed their fishermen to achieve the goal of 0.8 million tons of marine products vs. 0.4 tons of 1950`s. In this situation, the songwriters campaigned that the sea was not a scary place, and advertised it was where to realize the youngman`s dream, pushed them to compete with each other to catch more fishes. Its lyric contained the optimism and hope for the future, efforts of the youngman, pleasure and joyfulness and welcoming mood to the fishermen`s inbound with a full boat. Its music had the brave and light rhythm, and joyful and active melody, and used the tune of optimism and lyricism. However, even demanding the women`s labor, there were no songs for women`s in the music collection, which disclosed the dualism of North Korea.

북한의 화선(火線)음악 -6.25전쟁기를 중심으로-

배인교 ( Bae Ihngyo ) 한국음악사학회 2016 韓國音樂史學報 Vol.57 No.-

이 글은 1950년 6월부터 1953년 7월 휴전협정이 체결된 6.25전쟁기간과 이 기간 전후에 진행된 북한음악의 양상을 파악하는 동시에 북한에서 말하는 화선음악(火線音樂)의 실체를 알아보는데 목적을 두었다. 북한의 체제 성립 초기부터 체제에 부합하면서도 인민성(人民性)에 기초한 새로운 음악을 창작하는데 노력하였다. 특히 전쟁기인 1951년부터 1953년에 창작된 가요는 439곡, 합창곡 142곡으로 전체 악곡수의 절반을 넘는다. 이는 전쟁에 참여하는 인민군을 독려하는 동시에 연주의 기동성(機動性)과 빠른 보급 속도를 고려한 결과로 보인다. 그리고 이렇게 만들어진 곡은 농어촌을 포함한 노동현장, 그리고 학교에 이르기까지 직맹(職孟) · 농맹(農孟) · 여맹(女孟) 등 다양한 조직체계를 기반으로 광범위하게 보급되었으며, 군대에서도 군대 내 음악써클을 통해 다양한 형식의 노래 가창(歌唱)이 이루어졌다. 체계적인 조직의 구축과 이를 기반으로 한 음악활동은 전쟁기에 인민군대내에서 혁명적 낙관주의를 보급하는 역할을 하였다. 화선에서 진행된 인민군협주단(人民軍協奏團)을 비롯한 전문 음악단체의 위문공연과 함께 인민군대 스스로 화선예술선전대(火線藝術宣傳隊)를 조직하여 최전선에서 전투에 매진하는 인민군대를 독려하였다. 특히 이들은 거문고와 나팔, 가야금과 같은 악기를 손수 제작하여 연주에 사용하였으며, 전쟁기간 중인 1953년 5월에 있었던 군무자예술축전(軍務者藝術祝典)에 참가하여 위용을 뽐내기도 하였다. 그러나 인민군대의 화선악기(火線樂器)에 대한 서술은 전쟁 이후 점차 확대되어 체제선전에 이용되는 경향을 보였다. 즉, 김정일(金正日)을 군사지도자로 만들기 위해 화선예술활동의 이름을 부여하였으며, 1990년대 고난의 행군 시기에 화선음악을 소환하여 전쟁과 같은 고난의 행군 시기도 화선예술을 통해 충성심과 투쟁정신, 혁명적 낙관주의로 무장시키고자 하였다. 김정일 사후 김정은(金正恩) 계승 이후 북한의 대표적인 악단인 모란봉악단(牡丹峰樂團)은 2012년과 2013년 연이어 화선공연(火線公演)을 진행하였다. 김정은 시대의 화선공연이라는 제명은 여전히 남과 북은 분단상태이고 전쟁이 잠시 멈춘 휴전상태이며, 언제든 전쟁이 일어날 수 있다는, 지금이 시기도 전쟁기라는 것을 암시한다고 할 수 있다. The purpose of this writing is to understand the condition of North Korean music developed during the Korean War period from June 1950 to July 1953 when the Cease-Fire Agreement was executed and before and after the said period while examining the substance of the fire line music, i.e. hwason umak 火線音樂, referred to in North Korea. From immediately after the establishment the North Korean regime, the North Korean government made effort to create new music that conforms to the regime while being based on the nature of the people. In particular, the songs created between 1951 and 1953, which was the war period, were 439 solo pieces and 142 choruses accounting for more than a half of the entire number of musical pieces. This is considered attributable to the North Korean government`s intention to encourage people`s soldiers that participated in the war while considering the mobility of musical performance and high diffusion speed of music. The musical pieces made as such were widely spread based on diverse organizational systems such as workplace federations, agricultural federations, and female federations in many regions ranging from agricultural and fishing villages to labor spots and schools and diverse forms of songs were sung in the army through music circles in the army. The construction of systematic organizations and the music activities based on the organizations played the role of spreading the revolutionary optimism in the People`s army during the war period. Along with the performances professional music groups including People`s army concerto ensembles held at fire lines, the People`s army organized fire line art propaganda squads by itself to encourage the People`s army that was striving for combats at the front line. In particular, the fire line art propaganda squads made musical instruments such as komun`go (6-stringed zither), horn, and kayagum (12-stringed zither) by them- selves and used them in performances. They also participated in the civilian military employee art festival held in May 1953 during the war period to show of their dignity. However, the People`s army`s narration about fire line musical instruments was gradually expanded after the war and showed a tendency to be used for regime propaganda. That is, the name of fire line art activities was given to Kim Chong-Il 金正日 to make him into a military leader and fire line music was called in the period of North Korean famine in the 1990s to make the people armed with loyalties, combat mentality, and revolutionary optimism in the period of North Korean famine that was like a period of war. After Kim Chong-un 金正恩 succeeded to the presidency after the death of Kim Chong-Il, Moranbong Musical Band called Moranbong aktan (牡丹峰樂團), which is a representative musical band in North Korea, successively gave fire line performances in 2012 and 2013. The title fire line performance in the age of Kim Chong-un can be said to allude that South Korea and North Korea are still in a divided state, a state of truce in which the war has stopped for a while, and that the war can occur at any moment, and that this moment is also in a war period.

북한 음악계의 일제 잔재 청산

배인교(Bae, Ihn-gyo) 한국민요학회 2021 한국민요학 Vol.63 No.-

이글의 목적은 1950~60년대 북한 음악계에서 도선법 악곡에 대한 북한 음악계의 해석 및 적용의 양상을 살펴봄으로써 일제 잔재의 청산 의지를 살펴보는 것이다. 1950년대 북한 음악계는 일본 노래의 잔재를 없애는 한편 민족성이 강한 민요의 발굴과 민요이론 연구에 집중하면서 일제 잔재 청산 의지를 굳혔다. 그러나 일제강점기 음악의 급격한 변화 양상을 인정하면서 민요와 민족음악을 교조적으로 강조하지 않았다. 그리고 수집된 민요중 도선법 악곡에 대한 해석은 20세기 이후 변화상을 수용하면서 이루어졌다. 1960년대는 김일성의 수령형상화 작업이 강화되면서 일본 군가나 창가조로 만들어진 독립군 노래들이 혁명가요로 부각되었고 북한 가요의 모범으로 자리매김하였다. 그 결과 요나누끼장음계와 같은 음계를 갖는 도선법 민요풍노래의 수가 급격히 증가하는 결과를 낳았다. 체제 성립 초기부터 반일의지를 분명하게 드러냈던 북한에서 창작된 민요풍 노래는 일본식 창가조음계, 즉 요나누끼음계와 같은 도선법을 많이 사용하였으나 음악교과사에 수록된 노래의 가사에는 일제에 반대하는 내용이 그대로 드러나 있다. 이에 비해 우리의 경우는 요나누끼장음계를 반대하는 학계의 의견이 노래 창작자들에게 전달되지 못하였으며, 초중등 교과서에 수록된 악곡의 노래 중 일제에 반대하는 가사를 갖는 노래는 찾을 수 없다. 반일과 음악에서의 일제 잔재의 청산에 대한 지속적인 교육이 필요한 지점이다. The purpose of this article is to examine the willingness to liquidate the remnants of the Japanese colonial rule by examining the interpretation and application of the North Korean music group to the music of the Doseon Law in the 1950s and 1960s. In the 1950s, the North Korean music community strengthened its willingness to clean up the remnants of Japanese songs while focusing on discovering folk songs with strong ethnicity and researching folk song theory. However, while acknowledging the rapid change in Japanese colonial era music, he did not emphasize folk songs and national music in a cultivating way. In addition, the interpretation of the collected folk songs of Do-mode music took place after the 20th century while accepting the change. In the 1960s, as the songs of the independence army of the Japanese military or Changga style song emerged as revolutionary songs, they established themselves as models of North Korean music. And as the Juche ideology was consolidated, the number of folk songs with the Yonanuki major scale increased rapidly. Folk-song style songs created in North Korea, which clearly revealed anti-Japanese will from the beginning of the system, used a lot of conducting methods such as the Japanese-style Changga, that is, the Yonanuki scale, but the lyrics of the songs in the music textbook clearly show opposition to Japan. On the other hand, in our case, the opinions of academia against the Japanese changga style scale were not conveyed to popular songs. And we couldn"t find any anti-Japanese songs in elementary and middle school music textbooks. This is a point that requires continuous education on anti-Japanese and the liquidation of the remnants of Japanese colonialism in music.