포스트음반 시대의 음악과 민중의 재구성 = Locating the People in the Music of the Post-Gramophone Era

다국어 초록 (Multilingual Abstract)

What`s the difference between popular music(dae-jung eum-ak) and people`s music(min-jung eum-ak)? I begin my paper with this basic question, but keeping away from investigation into related conceptual branches and layer difference of the masses, the people, nation, and the multitude. More practical questions shall be handled as follows instead. How about the aspects of practical behavior surrounding people`s music in Korea? Can we find a sign or feasibility of people`s music in 2013`s Korean pop music? The difference between people`s music and popular music can be regarded as the difference in ``musicking`` called by Christopher Small rather than in a musical style. ``Musicking`` as an extended musical activity based on ``anthropologic viewpoint`` has ritual property to explore, confirm, and celebrate ideal relationships shared with certain community members and further their identity. People`s music(especially in 1980`s protest songs) showed a certain type of production and consumption which was distinguished from commercial pop music in several respects, and accordingly built musical relationships quite different from those shown in pop music. Participants in such people`s music explored, confirmed and celebrated ideal identity according to collection of such musical relationships. ``The people`` is the name for the special identity that they aimed, and represented collective subjects that were granted historical mission called democracy. To sum up the specific aspects of such musicking, it was utilization of alternative or decentralized media, preservation of orality, and socio-critical attitude accompanied by expression of anger. Alternative characteristics of media in people`s music and orality of performance have a meaning as an exit and liberated implication not caught by the system. which allowed musical participants to secure critical distance from socio-political power. People`s music became a practical motive for the democratic movement in 1980`s when formal conditions for democracy were not satisfactory for. But, people`s music got gradually powerless and had less influence as the long history of military dictatorship was terminated, though seemingly formal since 1990`s, and got achieved procedural democracy in Korean society. It may well happen as ``musicking`` aimed for democracy seemed to achieve the goal. As Small pointed, if music is a ``verb`` not a ``noun`` and collective relationships surrounding performance of a work rather than a styled musical work itself, the people whom music represents as democratic subjects should be understood as certain collective relationships. It is just good-will relationships for the otherness under suppression, and hostile relationships with social absurdity giving inhuman disgrace. Such relationships can be represented in the words of songs and expressed through the style and sound itself. Furthermore, they can be produced in musician-musician, audience-audience, and musician-audience relationships. I want to point that in the recent pop music, some relationships that people`s music aimed are getting formed, even if they are in fragments, in recent non-mainstream musical cases. Whether musicking can constitute a certain ``popularity`` beyond a simple ``mass appeal`` depends on audience participation in how to interpret and react to initiating musical conversation.