전통악기로 실험한 교향시 이해식의 <해동신곡>

이경분 ( Kyung Boon Lee ) 한국음악학학회 2008 음악학 Vol.15 No.-

일본 식민지 시기 서양음악의 수용과 그 정치적 의미

이경분 ( Kyung Boon Lee ) 한국음악학학회 2010 음악학 Vol.18 No.1

본고는 식민지 시기 한국사회에서 서양음악이 어떻게 수용되었는지에 대한 연구이다. 연구를 시작하는 근본적 질문은 두 가지이다. 하나는 20세기 초반 여전히 전통음악을 향유하는 사람들이 많았음에도 불구하고, 어떻게 서양음악이 이 오랜 ‘터줏대감’ 전통음악을 몰아내고 대신 주인 행세를 하게 되었는가, 다른 하나는 식민지 통치는 이 과정에서 어떤 역할을 했는가이다. 이런 의문을 풀기 위해 첫째, 서양음악이 20세기 초반 한반도에서 수용된 배경과 의미를 당시 잡지, 신문, 소설 등의 자료를 바탕으로 다양한 측면에서 살펴보고, 이를 크게 6가지로 정리해 보았다. 둘째, 이 시기는 일본 식민지라는 큰 정치적 테두리를 떼어놓고 생각할 수 없으므로, 이러한 서양음악의 수용이 식민지라는 전제 조건과 어떻게 상호 작용하는지, 어떤 정치적 의미를 함축할 수 있는지 내선일체 이데올로기와 관련하여 논의했다. 따라서 본 논문은 결국 음악과 사회 정치의 관계를 밝히는 결과가 되리라 기대된다. This study focuses on the relationship between the reception of Western music in colonial Korea and modernity. In this essay I ask firstly how in such a short time, only within about 50 years, Western music could banish almost the Korean traditional music, which had been continued more than one thousand years. In order to answer this question I conducted to find out which meanings Western music had at that time in the Korean society, and I assumed various functions of it, for example Western music as “enrich the country and strengthen the army(富國强兵)” ideology or as a symbol of civilization and modern life, in a word: Western music may have played a role as a place to imagine the modernity. While the Japanese, who also imported Western music to their country, had reached a higher level of the concert culture than the Korean, Western music could contribute - a thesis of this essay - to realize “the Japanese and Korean as one body(內鮮一體)” ideology. It might have been easier for the Korean upper class or intellectuals and musicians, embracing fascination and envy, to identify themselves with the Japanese and their empire.

강석희의 음악극 《보리스를 위한 파티》 연구 -보리스의 미스터리한 죽음을 중심으로-

이경분 ( Kyung Boon Lee ) 서울대학교 서양음악연구소 2005 음악이론연구 Vol.10 No.-

영화음악으로 해석한 식민지 조선 영화 「반도의 봄」(半島の春)

이경분 ( Lee,Kyung Boon ) 서울대학교 인문학연구원 2012 人文論叢 Vol.68 No.-

The film Spring in the Korean Peninsula, made in March 1941 by Byungil Lee, is considered as a wonder discovery - its technical lapidary style stands out from other Korean films at ``the time of slogan`` of the colonial period. Furthermore, the astonishing film music of Spring in the Korean Peninsula, in particular using the Leitmotiv (I call it tragic love Leitmotiv) functions, give obvious messages to screens which alone remain unclear. This study addresses the understudied film music exploring a new possibility of interpreting this film. As result, the dual construction of the film can be apparently exposed: the first part deals with the production of the film Chunhyanjon (the film in the film) by the Korean filmmaker Huh, while the love story between two women and a man (Joenghee, Ana and Yongil) composes the second one. However, according the description of music, Ana becomes the key figure among them and has the function of combining the two different parts of Spring in the Korean Peninsula - she plays the Antipodean of the filmmaker Huh.

윤이상의 음악과 평화사상

이경분 ( Lee Kyung-boon ) 서울대학교 통일평화연구원 2017 통일과 평화 Vol.9 No.2

음악 분야에는 노벨상이 없지만, 윤이상은 노벨상을 받고도 남을 업적을 남긴 인물이다. 남북문제와 한반도의 평화통일을 위해 작품창작 뿐 아니라, 민주화 운동에도 직접 관여했다는 점에서 윤이상은 ‘민족주의자’였는데, 그로 인해 외국에서의 높은 명성에도 불구하고, 한국에서는 일차적으로 ‘반한인사’로서 그의 음악은 배척되어왔다. 남한의 음악가, 또는 북한의 음악가라고 말하기 힘든 윤이상이 평생 염원하였던 민족적 과제는 한반도의 평화통일이었다. 유럽에서 1959년 작곡가로 데뷔했을 때만 해도 윤이상은 오로지 작곡가로 살아남는 것에 집중하여 ‘음악을 위한 음악’을 발표했다. 하지만, 1970년대 중반부터 그의 작품에 변화가 나타난다. <사선에서>, <광주여 영원히>와 같은 희생자를 추모하고 평화를 표방하는 ‘참여적’ 음악을 작곡한다. 이러한 변화의 계기는 무엇이었고, 그의 작품이 발신하는 메시지는 어떤 것이었는가? 본 논문에서는 평화사상을 담은 윤이상 음악의 수용 미학적 평가에 대한 분석은 추후의 과제로 남기고, ‘창작자의 입장’에서 어떻게 음악으로 평화를 말하고자 했는지 윤이상의 평화사상을 ‘정의로운 평화’라는 가설로 제시해보고자 한다. Although Isang Yun was one of the most important composer of the 20th Century in Western Europe, because of his political state against the dictatorship of Park Jeonghi, his music was almost abandoned in South Korea. Yun had to go to exile after he was kidnapped from West Germany to Seoul in 1967 and was expelled from the country. This study explores how Isang Yun became a world wide celebrated composer, what is a turning point of his music to take part of actual political reality from the mid 1970s, how and which message his music transfer in terms of the Korean unification, pro-democracy and peace movement. Furthermore, a ‘just peace’ as a hypothesis of his peace thinking was discussed which needs a further study.

일본의 윤이상: "동아시아 작곡가"로서 윤이상

이경분 ( Kyung Boon Lee ) 세계음악학회 2011 음악과 문화 Vol.24 No.-

The famous Korean Composer Isang Yun has a lot of students from different countries. Among the students from Asia, the Japanese, no the Korean, were the most numerous: Yun had twelve Japanese students, but only four Koreans. Because the Korean dictatorial regime didn`t permit him to enter his native country, Yun came in touch more with Japanese musicians, and some of his works were premiered in Japan by Japanese musicians. However Yun`s relationship to Japan has been explored neither by Korean nor by Japanese musicologists. This article is based on interview given by some of his earlier Japanese students like Masahiro Miwa in Tokyo, who is well known as computer musician, and the famous contemporary composer Toshio Hosokawa in Berlin. Also, I analyzed not only the interview materials with Miwa and of Hosokawa, but also the Japanese lectures of Yun in Tokyo (1988, 1992), and documents of other Japanese contemporary composer writing for Yun. This study shows that the Japanese reception of Yun` music emphasized ``the East Asian tradition`` in his compositions. This is a difference of the Korean reception which supposes that Yun`s music translates a ``Korean traditional`` musical aesthetic into European music language.

전쟁, 살인 그리고 음악

이경분(Kyung-Boon Lee) 역사비평사 2007 역사비평 Vol.- No.80

식민지 조선의 음악문화에 나타난 쇼와천황의 청각적 이미지

이경분 ( Kyung Boon Lee ) 연세대학교 인문학연구원 2012 人文科學 Vol.96 No.-

There were lots of music pieces which glorified the Japanese emperor in the first half of 20th century. The emperor is praised in at least fifteen musical versions of the Japanese nationalhymn Kimigayo. Thus, during World War II, Tenno was one of the most favored subjects in military or propagandistic songs (Kokuminkayo 國民歌謠). In colonial Korea, the emperor was praised and used for propagandistic purposes during the war in various ways: In 1940, to commemorate the 2600th anniversary of the birth of the Japanese Imperial family, Kim Gisu composed Hwangha Manyonjigok, which is performed using Korean traditional instruments, sung by the composer. Concerts began with Kimigayo or song of the Empire of Great Japan. In other cases, propagandistic songs should encourage Korean young men to volunteer to fight for the sake of the Japanese Emperor. For example, in Korean songs like March for Volunteers or Song for the beloved nation, the Japanese emperor was not signified with translations of the Japanese word ``Kimi(君)``, but instead the pure Korean word ``Imgum(임금)`` was used. This rather alluded to the Korean King of the Yi dynasty, creating an overlap of Korean kingship and Japanese emperorship. My study attempts to explore how the theme of the emperor was used for propagandistic aims in colonial Korean musical culture and question how the aural image of the emperor is created using various musical materials, including forms of Korean traditional music or European music.

6·25전쟁기 거제 포로수용소의 음악 - 냉전이데올로기와 노래 -

이경분(Lee, Kyung-boon) 국방부 군사편찬연구소 2020 군사 Vol.- No.117

There is no war without any POWs and then POW camps are needed. If there is a camp for POWs, there must be always their routines with sports, theater and music etc.. The Geoje POW camp during the Korean War was no exception. However, so far, the music of prisoners in Geoje POW camp has not been researched, though the Geoje POW camp was such a noisy singing camp that it was hardly to see in any other POW camps of previous wars. The Geoje POW camp was noisy with demonstrations, riots and slogans, but the prisoners sang whenever they had the chances to sing. For prisoners, songs can always be easily mobilized anytime, anywhere, making them the simplest and most convenient instruments of expressing their demands, joys, grievances and resistance. Especially for pro-communist prisoners, singing was important as a means of struggle against anti-communist ideology and against the policies of the camp authorities. In this context, it is highly likely that the second volume of "The Songs for the Soldiers" published in November 1951 reflects the intention of the General Political Bureau in Pyeongyang to support the song struggle of pro-communist prisoners at the Geoje POW camp. This paper explored the songs of the prisoners of Geoje POW camp which have not been studied so far. In conclusion, the diverse value of the song in the Geoje POW camp was hard to imagine in other POW camps of previous wars, which can also be seen as a characteristic of the Geoje POW camp, which was born as the first result of the Cold War period.

<기미가요>와 일본우익

이경분(Lee, Kyung-Boon) 고려대학교 아세아문제연구소 2016 亞細亞硏究 Vol.59 No.2

신중론에서부터 반대여론까지 사회 각층의 우려의 목소리가 있었지만, 1999년 8월 13일, 일본정부는 히노마루를 국기로, 기미가요를 국가로 하는 법률(정식명칭: 国旗及び国歌に関する法律)을 공포하고 강행하였다. 오랫동안 히노마루와 기미가요를 관습법적으로 국기・국가로 사용되어 왔던 관례를 법으로 못 박은 것이다. 이는 일본인의 국가통합과 애국심을 강조하는 ‘새로운 상징정책’의 새 국면을 보여주는 하나의 중요한 사건이라 할 수 있다. 본 논문의 목적은 1970년대부터 기미가요 제창을 선전해 왔던 우익음악가 마유즈미 도시로(黛敏郎)와 기미가요의 국가 법제화를 적극적으로 지지했던 <일본회의>의 주장을 통해 기미가요와 우익의 관계를 설명하고자 하는 것이다. 이를 통해 본 논문은 결론적으로 1990년대 말 일본 사회의 우경화가 새로운 단계에 진입했음을 주장하고자 한다. 지금까지 국기국가법 논쟁에서 히노마루 기미가요를 하나의 세트로 분석하던 기존 연구와 달리, 본 연구는 (히노마루는 필요한 부분에서만 언급하고) 기미가요에 초점을 맞추고, 기미가요의 음악과 가사를 구분하여 분석함으로써 우익 내의 미묘한 해석 차이와 국가적 상징으로서 히노마루와 구분되는 기미가요의 차이를 포착해 내고자 했다. 이러한 의도를 위해 <일본회의> 기관지 『일본의 숨결(日本の息吹)』(1994~2000년)과 대중적인 우익 잡지 『쇼군(諸君)』(문예춘추사 발행)에 게재된 히노마루 기미가요에 관한 기사(국기국가 법제화 전후인 1998~2000년), 마유즈미 도시로의 기미가요 언설 및 신문자료를 분석하였다. This study focuses on the relationship between Kimigayo and the Japanese right in terms of the Japanese right group Nihonkaigi. Further, it looks at Mayuzumi Toshiro, a composer who leads the group and who transformed from anavant-garde musician to an activist for the Kimigayo Singing Movement. Analyzing articles on Kimigayo in the Nihonkaigi magazine “Nihon no Ibuki”(1994~2000) and the popular “Shogun”(1998~2000), this study depicts the process by which Hinomaru and Kimigayo became the Japan’s national flag and national anthem, respectively. Finally, this study asserts the passage of the Act on National Flag and Anthem in 1999 demonstrates that the Japanese society starts a new dimension of the right.