1970년대 ‘범음악제’를 통해 본 한국 현대음악의 실험

이희경(Lee Heekyung) 한국예술종합학교 한국예술연구소 2017 한국예술연구 Vol.- No.15

다중 임무 수행을 위한 관심 객체 기반 전처리 네트워크

이희경(Lee, HeeKyung),이진영(Lee, Jin Young),추현곤(Choo, Hyon-Gon),서정일(Seo Jeongil) 한국방송·미디어공학회 2022 한국방송공학회 학술발표대회 논문집 Vol.2022 No.11

양방향 개인맞춤형 모바일 방송 시스템

이희경(HeeKyung Lee),양승준(Seung-Jun Yang),이한규(Han-Kyu Lee) 한국통신학회 2010 韓國通信學會論文誌 Vol.35 No.2

1960년대 한국 현대음악의 재구성

이희경 ( Heekyung Lee ) 민족음악학회 2016 음악과 민족 Vol.52 No.-

The 1960s hold special meaning in Korean society. The post-Korean War generation sought out new experiences and thoughts from abroad in the 1950s; in the 1960s, following the April 19 Revolution, modernity became a part of society-wide discourse, within the framework of nationalistic modernization undertaken by the new military regime. The music scene likewise took an interest in musical modernity, reconnecting to traditional music and engaging with international trends to create the prototypes for today``s Korean music: the first concerto for a traditional Korean instrument by Hoe-gap Chung; the first piece of electronic music by Sukhi Kang; significant modernist compositions by Byung-dong Paik; new kayagum pieces by performer-composer Byungki Hwang; and the rise of governmentsupported Shin-gugak. This article is an attempt to reconstruct the historical narrative of 1960s contemporary Korean music by highlighting major events and trends in terms of the modernization ideology of the military dictatorship and the broader social craze for modernism. My approach integrates perspectives beyond the dichotomy of Yangak(Western music in Korea) and Gugak (Korean traditional music) to argue that the modernization ideology prevailing in Gugak and the modernism pursued by Western oriented composers were in fact two sides of the same pursuit of Korean musical modernity in the 1960s.

객체 출현에 따른 360VR 중첩영역에서의 왜곡 보정

이희경(HeeKyung Lee),임성용(Seong Yong Lim),서정일(Jeong-il Seo) 한국방송·미디어공학회 2018 한국방송공학회 학술발표대회 논문집 Vol.2018 No.11

머신용 비디오 코딩을 위한 세그먼트 기반 RoI 파이프라인

이희경(HeeKyung Lee),이진영(Jin Young Lee),추현곤(Hyon-Gon Choo) 한국방송·미디어공학회 2023 한국방송공학회 학술발표대회 논문집 Vol.2023 No.11

성악 작품을 통해 본 진은숙의 음악 세계: 《트로이의 여인들》에서 《별들의 아이들의 노래》까지

이희경 ( Lee Heekyung ) 이화여자대학교 음악연구소 2021 이화음악논집 Vol.25 No.2

올해 60세가 된 진은숙은 21세기 클래식 음악계에서 독보적인 위치를 차지하는 작곡가다. 탁월한 관현악 음악의 대가로 알려져 있고 관현악곡과 협주곡들이 주목받지만, 성악 작품 역시 진은숙의 음악 세계에서 중요한 한 축을 이룬다. 공식 목록에 오른 첫 곡도 《트로이의 여인들》(1986/1990)이고, 출세작이라 할 《말의 유희》(1991/1993) 이후 2000년대 초반에는 《시간의 거울》, 《칼라》, 《스내그스 앤 스널스》, 《칸타트릭스 소프라니카》를 연달아 발표했으며, 오페라 작업 후 2010년대에는 《세이렌의 침묵》과 《별들의 아이들의 노래》 등, 총 열 한 편의 성악곡이 있다. 전체 작품목록에서 곡의 규모나 비중도 적지 않다. 이 논문은 성악 작품을 통해 진은숙의 음악 세계를 조망해보려는 시도다. 인성을 포함하는 성악곡은 작곡가에게 기악 작품과는 다른 음악적 상상력을 요구할 수밖에 없다. 노래를 위한 텍스트도 필요할뿐더러 인간 목소리가 지닌 직접성은 어떤 형태로든 감정을 유발하기 때문이다. 직접적인 메시지보다 추상화된 음향 세계의 아름다움을 추구하는 진은숙이 인간 목소리라는 매체를 어떻게 다루는지, 그의 성악 작품에 나타나는 음악적 특징은 무엇인지 들여다본다. 우선, 열 한 곡의 성악 작품을 편성과 텍스트 면에서 개관한 후, ‘말과 음악의 관계’에서 그의 음악적 상상력을 촉발하는 문학 작품은 무엇이고, 텍스트를 다루는 방식은 어떠하며, 이를 통해 드러나는 언어유희ㆍ초현실ㆍ유머의 세계는 어떤 모습인지 검토한다. 또한, 진은숙 성악 작품에서 나타나는 ‘인간 목소리의 다양한 음악적 표현’을 극적 구성과 모노드라마, 악기로서의 인성과 성악가의 수행성이라는 측면에서 고찰한 후, 마지막으로 그의 최근 관심사인 우주의 생성과 인간 존재의 본질이 어떻게 음악적으로 형상화되는지 살펴본다. 개별 작품에 대한 심층 분석보다는 진은숙의 음악적 문제의식 전반을 파악하는 데 초점을 둔다. In the oeuvre of the composer Unsuk Chin, vocal works occupy a special place: from the first piece on her official works list, Die Troerinnen for chorus and orchestra (1986/1990), through her breakthrough Akrostichon-Wortspiel for soprano and ensemble (1991/1993) and nine vocal works so far in the twenty-first century, Chin’s vocal music not only demonstrates the colorful and expansive unfolding of her aural imagination inspired by literature, but reflects how her musical styles and compositional interests have developed over the past 35 years. Chin’s vocal works do not follow the art-song model of setting poems that convey concrete content or emotions; rather, she is fascinated by abstract wordplay and surreal paradoxes, favors the structures and sounds of experimental poems, and treats the voice in the relatively abstract, instrumental manner. However, following the completion of her opera project (2004-2007), her attitude toward vocal music has evidenced more flexibility. Chin’s broadened perspective is apparent in both the expression of emotional character of Le Silence des Sirènes (2014) and her use of traditional choral idioms and approaches to tackle the conceptual scope of Le Chant des Enfants des Étoiles (2016). The multifarious components of Chin’s compositional approach to texted music is illuminated by their different themes and formation. This article examines Chin’s vocal music according to some categories of characteristics: vocal and orchestral makeup (e.g. works for solo voice or/and chorus, for mixed chorus and organ, etc.); concepts or themes (e.g. Greek mythology, Lewis Carroll’s surreal world, the performative act of singing, the universe and human existence, etc.); and compositional style and form (e.g. avant-garde vocal contexts, adapted medieval palindrome, monodrama, etc.). In doing so, this paper offers a survey of the complexities presented in Chin’s vocal music.

성폭력범죄 피해실태와 개정법상 피해자보호 및 지원방안

이희경(Lee, Heekyung) 한국피해자학회 2013 被害者學硏究 Vol.21 No.2

A series of special criminal law amendments were made this past December 18, 2012 in relation to sexually violent crimes, including the Criminal Act, Special Act on the Punishment, Etc. of Sexually Violent Crimes, and Act on the Protection of Children and Young Adults. The most distinguishing features of the December 2012 amendments include the full abolishment of provisions that make the prosecution of these crimes contingent on the victim’s filing a criminal complaint, and the change of language in the object of sexual crimes from “woman” to “person,” thus recognizing male victims of sexual crimes. In addition, the Special Act on the Punishment, Etc. of Sexually Violent Crimes provided legal basis for the protection and support for the victims of sex crimes, including victim’s counsel to prevent harm to the victim arising from the criminal process and to provide legal aid, witness support officers to protect and support the victims and others who stand witness, and witness assistants to provide assistance to those witnesses who have difficulty communicating. Victims of sexually violent crimes face such a difficult battle to reclaim their normal lives that they are termed “survivors.” The state has too much responsibility in failing to prevent these crimes in the first place to leave victims on their own to survive and overcome. Therefore, in addition to extending all efforts to efficiently implement the new systems in the amendments of December 2012 including victim’s counsel, witness support officers, and witness assistants, both the state and society must strive to discover and mend any deficiency in the preexisting solutions for sexual violence so that victims of sexual violence can reclaim their lives. Most of all, the best means to protect the victims of sexual violence is to prevent sexually violent crimes so there are no victims in the first place. To this end, means are necessary to prevent convicted sex criminals from committing future crimes given the high recidivism rate of these crimes, and also to prevent the victimization of potentially vulnerable groups through prevention education and the preparation and promotion of manuals on dealing with sexual violence. Sexual violence prevention education, far from being a formality to comply with mandatory regulations, should be made into effective tools to prevent sexual violence.

로컬의 제스처와 전통의 현재화: 한국 창작음악에서 작곡가 강준일의 의미

이희경 ( Heekyung Lee ) 민족음악학회 2015 음악과 민족 Vol.50 No.-

Joon-Il Kang(1944-2015) holds a unique place in the contemporary Korean music. After studying physics, he became a self-taught composer; his oeuvre, more than 150 pieces, embraces various ensembles including Western and Korean traditional instruments. As he encountered masters of Korean folk music in the 1970s, he became fascinated by traditional music. Since then, he first gained attention and success as a composer with his Concertos for Samulnori and Orchestra (1983), which were the product of his encounter with the Kim Duk-Soo Samulnori Band. During the 1980s and 1990s, Kang explored the use of traditional folk music gestures through Western musical instruments; in the new millennium, he has focused on the coexistence and assemblage of those different musical worlds in a new framework. Indeed, Kang was an exquisite composer who devoted his entire life to scrutinize how to revive the spirit of Korean tradition in the context of fast modernizing South Korea. He musically expressed the local gestures that he obtained in his everyday life, instead of superficially imitating elements of traditional music; he inquired the fundamental essence ingrained in traditional music and attempted to elevate it into a new musical idioms. He was a truth seeker who strived for the identity and the spiritual value of Korean music.

전통, 민족, 지역: 한국 현대음악의 정체성 담론 변화

이희경 ( Lee Heekyung ) 민족음악학회 2020 음악과 민족 Vol.0 No.59

한국 현대음악의 역사에서 정체성 문제는 피해갈 수 없는 본질적인 물음이었다. 서양음악 도입 이후 등장한 ‘작곡가’라는 존재가 정착해가는 과정에서 자신만의 음악적 고유함을 만들어내는 일은 모든 작곡가의 화두였기 때문이다. 하지만 그것이 드러나는 방식은 시대에 따라, 개인에 따라, 또 그 문제가 다뤄지는 맥락과 층위에 따라 복잡다단했다. 일제강점기와 해방, 분단과 한국전쟁을 지난 후 남한에 본격적인 작곡계가 형성되기 시작한 이래 현재까지 한국 작곡가들은 의식적·무의식적으로 자신이 처한 조건에서 이 문제를 고민해왔다. 작곡이란 자기 자신과 오롯이 대면하는 데서 시작되는 행위인바, 작곡가들의 정체성 담론을 살피는 일은 한국 현대음악의 주요 이슈가 어떻게 전개되는지 파악하는 데 필요한 과정이다. 이 논문은 한국 현대음악의 역사에서 정체성 담론이 어떻게 변화해왔는지 그 흐름을 되짚어보려는 시도다. 나운영 세대부터 최근 30대 작곡가들까지 정체성에 대한 생각들을 검토하며 그 역사적 맥락과 내용을 정리했다. 이를 통해 한국 작곡가들의 정체성 인식이 시대적 흐름에 따라 어떻게 달라졌는지, 이들의 문제의식이 서로 어떤 연관 관계를 맺고 있는지 드러날 수 있을 것이다. 그에 앞서 논의를 위한 이론적 전제로서 정체성 담론을 둘러싼 몇 가지 쟁점을 살펴보았고, 전통인식·민족주의·로컬리티라는 세 가지 이슈를 중심으로 한국 현대음악 속 정체성 담론을 재구성해 보았다. In the history of Korean contemporary music, ‘identity’ was an important issue that most composers inevitably had to face: Korean composers meant to find their own musical styles, while appropriating Western new music trends and contemplating their identity as Korean. Through the harsh post-war period, experiencing modernization and modernism during the 1960-70s, the democratic movements in the 1980s, and fast incorporation into the global neo-liberal system since the late 1990s, Korean composers revealed their musical identities in diverse ways, according to their socio-cultural conditions and individual concerns. This paper attempts to review how Korean composers’ ‘identity’ discourses have changed in Korean contemporary music, from the post-war generation like Unyung La to young composers in their thirties, focusing on three issues: tradition, nationalism, and locality. As a result, I argue that the identities of Korean composers are thoroughly individualized, hybridized, and multi-faceted in the globalized new music scene, both transgressing boundaries and connecting the locals.