한국 클래식음악 연주회의 사회 구조 : 1981-2000년 피아노 독주회 = (The) social structure of the classical music performance in Korea

다국어 초록 (Multilingual Abstract)

This thesis analyzes the structure of classical music performances considered as a High Culture in Korea through an examination of the piano recitals from 1981 to 2000.
The focus of this research is to analyze the phenomenon of the routinization of the contents and its reason in the personal classical music performance. And through it, I would like to point out the division of the mass-produce performance from the small-scale personal concert in a classical music market in Korea.

This dissertation examines the piano recitals of the total 794 cases that held in Sejong Center for Performing Arts and Seoul Arts Center that are main culture-artistic halls of Seoul from 1981 to 2000.

According to the examined result, the frequencies of the piano recital indicate that they were keeping a steady growth in the quantitative respect. Moreover, there is not different in contents of the piano recitals. The significant change was researched through the work's lists and the appearance frequencies of the composer who performed them. It is examined that the 3,505 pieces of the classical music was played with 124 total composers. Especially it is worth to note that the frequency of the performed music largely appears to the limitation of a composer of 20 people and 20 masterpieces respectively. These phenomena did not have a difference even if the data is classified as the four times(1981～1985, 1986～1990, 1991～1995 and 1996～2000), and I tried to compare after controlling education background and occupation of a musician. These results show that there is a similarity in the performed composers and masterpieces without the relation to the other variations. Even though there is a continual increase in quantitative aspects, the recital formats are monotonous, and contents are fixed to a regular pattern, I found.

And then, I am trying to give explanation what the reason that recitals are kept is without the economic system of capitalism. In historical approach, classical music was introduced as a foreign culture in Korean society, and it was regarded as conception of high culture in modernization. In social hierarchy, the higher stratum of society has received the institutionalized education of the classical music, and accepted and consumed the classical music not only as the enjoyment of performance itself but also as a symbol of the social rank. Consequently, the high class exploits the music concert as a means to maintain their social position and an occupation. Additionally, a personal concert forms and keeps the social network of musicians themselves.

In the recent situation that music industry is closely related with market logic, it is unique phenomenon that a small-scale personal classic concert is separate from the law of production and consumption, and that its performance is not affected by the movement of capitalism. I think that this characteristic is to be positive with respect to the independence of cultural consumption. However, because a system and contents of these personal concerts are not various and there is no distinction, a personal concert is treated as a way to maintain a social network of a musician rather than culture phenomenon. So, it also has attained the a variety of criticism.

Conclusively, This thesis analyzed small-scale piano recital materials with regard as the model of High Culture in Korea. Then I examined the implications of the existing critical discussion in classical music concert. In my approach, the meaning of a personal concert is not fundamentally different from the prevailed criticism. However, I would like to criticize the simplification and routinization of recent classical concert, which has only a repeated play of the past music without the social contributions. Nevertheless, this paper has the limitation of the materials, which are confined to the piano instrument, and also the limitation of places for it to be played. With those restrictions, it is uncertain to make generalization of the results of this paper. It is a need to do further research to collect the personal concert, which included numerous music genres. It is required to do the more detailed analysis of a characteristic of a personal concert, compared with the popularized classic areas.