社會變動期의 大衆歌謠와 大衆情緖의 相關性 硏究 : 韓國 1970年代 産業化와 都市化 過程을 中心으로 = (The)relationship between popular music and public sentiment at a time of social transformation : in the context of industrialization and urbanization in Korea in the 1970s

다국어 초록 (Multilingual Abstract)

The 1970s was a most dynamic and dramatic period in contemporary Korean history in terms of politics, economy, societal issues and culture. This study, by employing a positive approach, aims to analyze the public's preference for certain popular music during that period and to reconfirm that while public acceptance has furthered the development of popular music, the public itself was strongly influenced by the popular music at the same time. Understanding the relationship between the popular music and public sentiment and its significance are objectives of this paper.
A study of various philosophical approaches to popular music, as well as characteristics of society and public sentiment in the 1970s preceded a positive analysis of the subject. Perspectives from high arts and functional music are critical of popular music. An assessment of their cognitive premises and problems was undertaken. As an alternative to these perspectives, an analysis of an "aesthetics of reception" is suggested in this paper. The two critical perspectives mentioned above describe popular arts(music) as commercial and low in artistic value. However, the approaches are problematic in that they do not take into account the users. They are based on a dichotomy of black and white such as high arts versus popular arts, and fine arts versus commercial arts. Aesthetics of reception is suggested as an alternative which can overcome these cognitive limitations. Aesthetics of reception is a theory which stresses the users'(public's) role. Acceptance and rejection of popular arts is determined by who experience it, and the theory argues that no work of popular art can last unless it is rooted in users' preferences and sentiments. This research identifies public's role in popular arts and its significance based on the aesthetics of reception theory.
Considering societal circumstances and public sentiment in the 1970s was necessary in order to empirically approach the relationship between public and popular music. This understanding formed the basis for categorizing the characteristics of popular music from that time. Popular music from the 1970s is highly likely to reflect sentiments during the time of industrial transition.
Eighty well-known and popular songs from the 1970s were selected. They were further categorized and associated with the four major themes in public sentiment: 1) longing for the rural and urban life, 2) forming new relationships and separation, 3) hope and nostalgia, and 4) joy and sorrow. A study of origin and particulars of the songs, as well as interviews with the song writers and lyricists were part of the research.
Research in the earlier chapters formed a foundation for the objective of the research the relationship between public and types of popular music. Target population for the survey was limited to people who are now in their 50s and 70s who experienced rapid social changes in the 1970s. They were in their 20s and 30s in the 1970s, and most active listeners of popular music. Music experts analyzed characteristics of the eighty songs and assigned numerical values for their reflection of a certain sentiment. A survey on preferences for popular music in the 1970s revealed that users did not prefer a particular sentiment over another but equally appreciated the seemingly diametric sentiments, thus exhibiting dualistic tendencies.
In the process of industrialization and urbanization, people strove for the life in the city and longed for the life in the country at the same time. While cherishing hope, public reminisced over the past. People formed new relationships and experienced separation at the same time. People felt joy and sorrow all at once. Popular music of the 1970s expressed all these sentiments, meaning it was a source comfort and courage for people. Close relationship between popular music and public sentiment, and its effect on each other transformed and developed both. Lack of economic resources in the process of modernization did not allow many outlets for expressing public sentiment. It provided material for popular music and at the same time, found a voice through popular music. Popular music does not merely express public sentiment at surface and transient level, but it is deeply rooted in public sentiment. People accept and interpret popular music for themselves and it becomes an integral part of people. Thus, popular music is a process and space for aesthetics. Tears, laughter, joy and sorrow, silence and cries of people find a voice in popular music. Popular music is culture in its own time and a cultural asset in posterity.

목차 (Table of Contents)

• 제1장 서론 1
• 제2장 대중가요의 연구관점 12
• 제1절 기존 대중가요론 검토 12
• 1. 고급 예술론적 관점 12
• 2. 기능 음악론적 관점 19
• 3. 수용 미학적 관점 26
• 제2절 1970년대 대중가요와 대중정서의 관계 31
• 1. 1970년대 사회상과 대중정서 31
• 2. 1970년대 대중가요의 특성 36
• 제3장 1970년대 대중가요 유형 분석 40
• 제1절 대중가요의 선정과 분석방법 40
• 제2절 대중가요의 4가지 정서지향 41
• 1. 도시와 시골 41
• 2. 만남과 이별 55
• 3. 희망과 추억 69
• 4. 기쁨과 슬픔 84
• 제4장 대중과 대중가요 유형의 상관성에 관한 실증적 분석 99
• 제1절 조사방법 100
• 1. 연구대상 및 표집방법 100
• 2. 조사도구 103
• 3. 분석방법 108
• 4. 연구대상자의 특성 109
• 제2 절 1970년대 대중이 선호한 대중가요 129
• 1. 도시와 시골의 노래 130
• 2. 만남과 이별의 노래 135
• 3. 희망과 추억의 노래 142
• 4. 기쁨과 슬픔의 노래 145
• 5. 대중가요의 재해석 150
• 제5장 결론 153
• 참고문헌 164
• <부록 1〉설문지(전문가용) 170
• 〈부록 2〉설문지(일반인용) 189
• 〈부록 3〉노래별 척도치 산출 과정 199
• ABSTRACT 203