백석예술대학교 한국음악전공 정기연주회의 특징과 성과-국악찬양 연주곡목을 중심으로-

김묘신,정설주 서울대학교 동양음악연구소 2022 동양음악 Vol.52 No.-

This paper analyzes repertoires and performing styles over the 15 years (2008~2022) of annual concerts by Korean music majors at Baekseok Arts University, a junior college established by a Christian foundation. Two characteristics of the concerts are as follows. First, the primary repertoires are Gugakchanyang(Protestant church music applying Korean traditional music), and second, the performing styles can be categorized into three different types: traditional, contemporary and fusion. The fusion style, marked by its use of popular musical instruments, has gradually increased. These two concert characteristics are unique and not found in any other Korean traditional music department or college or university major. The predominant use of Gugakchanyang is apparently related to the fact that the school was founded based on Christian ideology. The increase in the number of performances in the fusion style is connected to the expansion in the compass of Korean traditional music with the addition of an applied Korean music major in 2012. Compared to four-year universities, Baekseok Arts University as a junior college had experienced difficulty recruiting Korean traditional music majors. To overcome this problem, they began to accept students whose musical training was based on popular music. Through analysis of the concerts, this paper examines two important topics: first, the recovery of contemporaneity in Korean traditional music through traditional style Gugakchanyang, and second, the possibility of a fusion style Gugakchanyang. In traditional style Gugakchanyang, forms including praise songs in Sijo(short lyric song), Pansori(long dramatic epic song), Minyo(folksong), and Gayageum byeongchang(song self-accompanied with a 12-string zither) can be developed and appreciated as professional church music genres since much well-known Western classical music is rooted in church music. Also, as ordinary church members learn these “new” church music genres, the music can be used in various contexts in the church, including worship services. The evolution of a Gugakchanyang that represents Korean sensitivity and identity in the church will ultimately bring about a restoration of the contemporaneity of Korean traditional music. The proliferation of fusion style Gugakchanyang coincides with a wider discussion of the growth of Fusion Gugak by voices coming from inside the Korean traditional music community. The necessity of Fusion Gugak is an outgrowth of the real-life experience of Korean traditional music graduates, and there has been strong advocacy for the establishment of an applied Korean traditional music major. The Department of Korean traditional music at Baekseok Arts University was the first to identify that need and was inaugurated in 2012. Subsequently, various attempts have been made to use popular music with the offering of related courses, and these changes have also appeared in the annual concerts. Furthermore, the development of Gugakchanyang through applied Korean traditional music is considered a useful musical direction for creating new church music by collaborating effectively with current church music, already primarily in Western music style.

국악을 활용한 한국적 찬송가 만들기: 다양한 비공인 찬송가집과 동월교회 한국 찬송가

김묘신 세계음악학회 2022 음악과 문화 Vol.- No.46

This paper examines Koreanized Protestant hymns applying Korean traditional music in South Korea. It first explores the creation of Koreanized hymns through the history of attempts in the early years of Protestantism in Korea and then via hymnbooks published by individuals, institutions, and churches. Next, characteristics of the Korean Hymnbook published by Dongwol Church, a representative minjung (mass or people) church of the 1970s and 1980s, are discussed in terms of notation, melody, rhythmic patterns, and lyrics. Although efforts to use Korean traditional music as church music—beginning with Rev. KIL Seon-ju and missionary James S. Gale in the early twentieth century—were not accepted by people of the time, Koreanized hymnbooks have been actively published since the 1980s. Dongwol Church’s Korean Hymnbook, in use for over 20 years in weekly worship, can be highly recognized for its use of jeongga (traditional Korean lyric song)-style hymns which were chosen symbolically as the proper musical genre to express Korean identity. However, despite the composer’s initial musical intentions, the fact that he composed folksong-style and Western music-style hymns with pentatonic scales in addition to jeongga-style hymns reflects his consideration of the musical level of the church members who sang the hymns. The Korean Hymnbook was used as an appropriate cultural tool to represent the spirit of the national, democratic, and communal church sought by Dongwol Church; furthermore, it is a cultural symbol representing the influence of the contemporaneous minjung cultural movement. Based on Minjung theology, the lyrics of the hymns contain autobiographical stories of church members who were the urban poor, their perspectives on the socio-political situation of the time, and a human-centered confession of faith. Different from the 1980s, today the perception of Korean traditional music has changed, and it is now possible to create various types of church music incorporating Korean traditional music genres. In addition, the spirit embedded in lyrics of the Dongwol Church hymns can be employed in singing not only the expression of vertical faith toward God but also the practice of horizontal love toward neighbors in Korean churches with weaker public faith traditions. .

뉴노멀 시대의 음악하기 : 2020~2021년 미국에서 발표된 학위논문에 나타난 코로나19의 음악 분야에 대한 영향을 중심으로

김묘신 서울대학교 동양음악연구소 2021 동양음악 Vol.50 No.-

한국화된 첫 세계음악 입문서 : 서평: 『문화의 시각으로 음악을 보다』 김희선, 최윤자, 변지연 지음 (서울: 띠움, 2020)

김묘신 세계음악학회 2021 음악과 문화 Vol.- No.44

한국에서 우쿨렐레의 유입, 확산 과정과 향유 양상

김묘신 ( Myosin Kim ) 세계음악학회 2021 음악과 문화 Vol.- No.45

This paper examines the introduction and use of the ukulele, the representative string instrument of Hawai‘i, to the social and cultural circumstances of Korea. The ukulele was first introduced to Korea in the early 1970s, but did not receive much attention. However, since the 2000s, it has rapidly emerged as a popular instrument with the promotion of “life music” at the national policy level. Ukulele quickly established itself as a versatile music educational tool due to its portability, ease of learning, playability in both solo and ensemble music and as accompaniment for singing. In the educational system, it spread through after-school classes while in community art education, demand for it rapidly increased through various channels including cultural centers, music clubs, and academies. The surge of interest in ukulele can be read through the number of private qualification registration agencies issuing instructor certificates, with six institutions in 2011 increasing to 105 in 2016 and 200 as of 2021. The ukulele began to gain popularity as a useful music education tool for young children in the early 2000s, and in the 2010s, when it became possible to obtain a masters’ degree in life music majors, the ukulele entered into the institutionalized music education system. From interviews with people who played important roles in the influx and spread of the ukulele, together with literature and internet searches, this paper explores the ukulele’s introduction, dissemination, and establishment in South Korea. It first discusses historical aspects of the arrival of the ukulele in Korea and corrects some misunderstandings. Second, it reviews the spread of the instrument which began in earnest after the 2000s, focusing on significant people and organizations. Third, it explores various aspects of the ukulele music enjoyed in Korean society, dividing it into the three areas of education, life music, and professional music.

해외 한인공동체의 문화적 정체성 읽기 -하와이 한인농악단 활동을 중심으로

김묘신 ( Kim Myosin ) 한국공연문화학회(구 한국고전희곡학회) 2021 공연문화연구 Vol.0 No.42

이 논문은 미국 하와이주에 거주하는 한인공동체를 중심으로 1970년대 이래 나타난 세 개의 한인농악단을 통해 표현되는 이민 1세의 세대별 특징과 정체성이 농악이라는 공연예술 매개체를 통해 어떻게 발현되고 변화되었는가에 주목한다. 와히아와 한인농악단(Wahiawa Korean Farmer’s Music Band), 칼리히-팔라마 한인농악단(Korean Farmer’s Music Band at Kalihi-Palama Immigrant Service Center), 하와이 한인농악단(Hawaii Korean Farmer’s Music Association)은 각각 1970년대, 1980년대, 1990년대에 형성된 농악단으로 각 농악 단체의 형성과 연행의 역사는 한인 디아스포라의 시대적 특성을 반영한다. 오랜 기간 활발히 활동했던 와히아와 한인농악단과 칼리히-팔라마 한인농악단은 더이상 운영되고 있지 않으며, 현재는 1990년대에 만들어진 하와이 한인농악단이 활동하고 있다. 세 단체를 비교해보면 전체적인 변화의 흐름이 있는 것을 알 수 있다. 첫째 친목이 목적인 음악연행 단체에서 음악이 목적인 단체로의 변화이다. 둘째 서로의 음악적 차이를 조절하여 새로운 음악을 만들어내는 단체에서, 음악적 위계질서를 따르는 단체로, 나아가 음악적 향상을 추구하는 단체로의 변화이다. 셋째 각 단체는 무속적 원형(prototype)과 관련이 있는 단체, 농악만을 연행하는 단체, 농악과 사물놀이를 겸하여 연행하는 단체라는 특징을 보여준다. 세 단체의 차이는 구성원 모두가 이민 1세이기는 하지만 모국에서의 농악에 대한 경험이 다른 것과 사물놀이라는 음악 장르에 대한 인식과 수용이 다른 것에 근거한다. 농악을 연행하는 것이 단체의 친목에 중점을 두는 반면 사물놀이의 연행은 음악적 성취에 목표를 둔다. 나아가 이러한 변화는 농악이라는 문화적 매개체를 통해 나타나는 한국인으로서의 정체성이 더이상 외부에 알리려고 노력해야 하는 것이 아닌, 스스로의 즐거움을 통해 자연스럽게 표출되는 것으로 변화되었음을 시사한다. This paper examines the unique features of Korean farmer’s music―or nongak―in Hawaii by exploring three nongak groups from different decades beginning in the 1970s. The first community-based nongak group began in the 1970s, with the establishment of the Wahiawa Korean Seniors Club. In the 1980s, there was another group supported by the Kalihi-Palama Immigrant Service Center. And in the 1990s, the Hawaii Korean Farmer’s Music Assoiation, which is still active, was founded. I ullustrate the overall changes made by the three nongak groups as follows. First, they show a shift from social groups playing music to a music group doing social activities. Second, from a group of people negotiating their music, through a group led by musical leadership, to a group with a leader who created his own musical leadership. Third, from a music group began out of a pseudo-shaman ritual, through a group purely playing music, to a group adding samulnori and further creating a new rhythmic pattern. These changes occurred because, while the members are all first-generation immigrants, their experience of nongak in the motherland was different because of their age differences. In addition, they emerged because the level of awareness and acceptance of samulnori―which has gained huge popularity in Korea―were different.

1980년대 이후 국악찬양의 전개: 다양한 연행형식을 통한 "한국적" 정체성 만들기

김묘신 ( Myo Sin Kim ) 세계음악학회 2013 음악과 문화 Vol.28 No.-

This paper examines gugak chanyang, a musical phenomenon related to the Koreanization of Protestant church music in South Korea, especially that utilizing Korean traditional music. With the substantial Westernization of the overall musical circumstance in Korean society since the introduction of Western music at the end of the 19th century, along with the inflow of Protestantism, the church has rejected Korean traditional music for use in services because of its relation to indigenous religions and its low social image that had been deliberately built up during Japanese colonial rule. For over a century, Western music has been considered to be "authentic"music in the Korean church, presenting Korean Protestant identity. Despite the fact that there have been continuing efforts to utilize Korean traditional music as church music from the beginnings of church history in Korea, it was not until the 1980s that notable and persistent attempts at gugak chanyang appeared and continued to develop. This paper explores the three performative contexts of gugak chanyang: presentational, quasi-presentational/participant, and worship. I suggest that three different stages of “Korean” identity are manifested in these three contexts. Drawing on Christopher Small`s ideas, I interpret these musical contexts as, respectively: an “act of exploration of identity (to try on identities to see who we think we are;)" conducted in the presentational context; an “act of affirmation of community (this is who we are)" conducted in the quasi-presentational/participant context; and an “act of celebration (to rejoice in the knowledge of an identity not only possessed but also shared with others)" presented in the worship context. By examining leading figures, ensembles, and churches related to gugak chanyang, I investigate how each performative context was formed and how it promoted "Korean" identity for Korean Protestants.

풍물과 사물놀이의 교회 수용양상: 진보성과 보수성

김묘신 ( Myo Sin Kim ) 세계음악학회 2014 음악과 문화 Vol.30 No.-

In the democratic society freedom is the highest value. How can the economic freedom and social-political freedom be in harmony when the liberal market und democratic society are divided? The work for the Harmony of efficiency that is required from the liberal market and of the equality?justice that are demanded from the democratic society is the task for the completion of the modern civil revolution and of the republican democracy. At the point of being free the pursue of private interests in the market as a private sphere from the political regulation, individuals can not publics exist as citizens any more. The way to resurgence of the citizen`s autonomy is the same way to acquisition of social-political, economic rights and freedom. This way also complete the democracy not only in market but in whole society. The tasks for these ways, First, on the ethical dimension the market regards the overall needs of the whole person. Then the market keeps a civilized economic order and can accept the institutional regulation. Second, on the institutional dimension the social power should be divided into market, government and civil society. These three powers should ensure the public interest and democratic system through the solidarity and containment of each other. Third, as the normal task for the above two dimensions, individuals acquire the public position as citizen and the autonomy. Thereby efficiency and the private interests that are the aims of the market can fall into chime with the public interests. These three tasks would contribute to the completion of a democracy including the all social spheres.

한국 가톨릭 교회음악의 한국화에 대한 연구

김묘신(Kim, Myosin) 국립국악원 2017 국악원논문집 Vol.35 No.-

이 논문은 1980년대 이후 한국 가톨릭교회에서 가시화되기 시작한 교회음악의 한국화에 대한 것으로 특별히 국악성가 작곡자로 잘 알려진 강수근신부의 음악활동에 집중한다. 1960년대 제2차 바티칸공의회 이후 장려되기 시작한 교회 음악의 토착화는 1960년대와 1970년대를 거치며 한국교회 내에서도 점차 그 논의가 강화되었다. 1987년 발표된 강수근신부의 <국악미사곡 하나>는 한국 가톨릭교회음악사에 있어 교회음악의 한국화 혹은 토착화의 이정표가 되었다. 1990년대 초반 강수근신부의 국악성가에 영향을 받고 그 활동의 중요성과 필요성에 공감하는 공동체가 형성되어 국악 성가배움터가 발생하게 되었으며, 이후 이 활동은 국악성가합창단으로 발전하게 된다. 강수근신부의 미국과 로마로의 두 번의 유학 중에도 국악성가 공동체의 활동은 지속적으로 성장하였다. 광주의 한소리합창단, 의정부의 가톨릭국악합창단, 수원의 한울림합창단, 서울의 우리소리합창단과 한길합창단이 강수근신부의 영향력아래 세워진 국악성가합창단 이며, 이들은 국악성가연구소를 중심으로 유기적으로 협력하며 활동한다. 30여 년의 기간 동안 한국 가톨릭교회 내에 ‘국악미사’, ‘국악성가’라는 용어를 일반화 시키며 국악성가를 교회음악의 한 장르로 성장시켜온 데에는 여러 가지 요인이 작용을 했다. 이 논문에서는 강수근신부에 의한 국악성가의 발전과 변화 요인을 음악적 측면과 종교․문화적인 측면으로 나누어 살펴본다. 음악적 특징과 변화에 관하여는 장단, 발성, 음악적 표현의 요소를 연주의 실제적 상황에 적용할 때 나타나는 문제점 또는 특성에 비추어 논의한다. 종교․문화적인 측면에 관해서는 가톨릭교회의 토착화에 대한 공감적 토대형성, 강수근신부의 성직자로서의 위치, 신자들의 국악성가에 대한 중요성의 인식에 대해 논의한다. 이러한 국악성가의 출현과 발전의 과정은 한국 가톨릭교회 내부의 전통문화 수용에 대한 전반적인 변화일 뿐만 아니라 한국인의 외래문화에 대한 주체적 수용과 한국적 정체성의 반영을 보여 주는 예이다. This paper explores the Koreanization of Catholic Church music in South Korea that has been taken place since the 1980s, especially focusing on the gugak seongga activities of Catholic priest Father KANG Su-geun. Interest in the indigenization of Catholic Church music which encouraged use of the indigenous music of each country after the Second Vatican Council in the 1960s, also grew throughout the 1960s and ’70s in South Korea. The presentation of <Gugakmisagok hana (The First Mass in Korean Traditional Music)>, composed by Father Kang in 1987 was a milestone in the Koreanization of Catholic Church music in South Korea. In the early 1990s, a learning community of gugak seongga was spontaneously formed by lay-believers under Father Kang’s guidance in Kwangju, South Jeolla Province; it eventually became the first gugak seongga choir. Despite the vacuum left by Father Kang’s two absences in the 1990s and 2000s due to his study abroad in the U.S. and Italy, the influence of his music grew among the church community. Five gugak seongga choirs have been formed through his musical influence: the Hansori Choir in Kwangju, South Jeolla Province; the Catholic Gugak Choir in Uijeongbu, Gyeonngi Province; the Hanullim Choir in Suwon, Gyeonggi Province, and the Urisori and Hangil Choirs in Seoul. These choirs are organically associated under the Institute of Korean Hymns established by Father Kang and his supporters in 2009. This paper specifically examines Father Kang’s development of gugak seongga from musical and religious-cultural perspectives. Musical elements, rhythmic cycles, vocalization, and musical expression are discussed in relation to the problems and characteristics inherent to the practicalities of performing gugak seongga. Among religious-cultural factors, the formation of a general consensus among Korean Catholics about the Koreanization of church music, the influence of Father Kang’s status as a priest, and lay-believers’ understanding regarding the importance of gugak seongga are explored. The appearance and the process of development of gugak seongga reflected a changed attitude of Korean Catholics toward Korean traditional music and, furthermore, Koreans’ autonomous acceptance of foreign musical culture with a Korean identity.

민중, 문화운동, 개신교: 동월교회의 "한국적"예배와 한국찬송가 창안시도

김묘신 ( Myo Sin Kim ) 세계음악학회 2015 음악과 문화 Vol.33 No.-

This paper examines ‘Koreanized’ worship services and hanguk chansongga (Lit. “Koreanhymns,” hymns in Korean traditional music style) that had been used in Dongwol Church during the 1970s and 1980s. Dongwol Church, a representative minjung church of the 1970s and 1980s, was established in 1976 by Rev. HEO Byeongseop (1941-2012) in Wolgokdong, a slum area on the out skirts of northern Seoul at that time. The church was well-known for the progressive works of Rev. Heo, whose religious creed was based on minjung theology, a Koreanized theology that sees the people or the masses as the main agent of history and, further, considers the people itself as God. Rev. Heo’s search for Koreanized church music was influenced by the minjung cultural movement of the 1970s and 1980s, which utilized Korean traditional performing arts, such as talchum (masked dance) and pansori (one person narrative singing), as the main cultural tools in conveying its ideology. As Rev. Heo himself was familiar with traditional performing arts.he learned talchum, for instance.he tried various ways of utilizing Korean traditional music in the worship service. He used pansori for sermons, tried a pungmul (farmers’ band music) style service and gut (shaman ritual) style service, and sang the Korean hymns. However, most of these attempts were not successful because they required professional performing skill. Among these, only singing of the Korean hymns had been continually practiced for more than ten years. In 1979, Rev. Heo and YI Seongjae, who aspired to make hymns in Korean traditional musical style at that time and later became the music director of the church, saw the possibility of creating practical and usable Korean hymns, while Yi found an opportunity to create Korean hymns and put them into actual use in worship. Yi decided to compose hymns in jeongga (vocal music of aristocrats) style, because Yi had many years of training in that style of music, and he believed that jeongga would be proper as church music since the musical form of Western hymns is also more similar to Western art music than to popular music. Yi composed over forty hymns in jeongga style and taught the hymns to church members throughout the 1980s. According to the weekly bulletin of the church, in the worship service of Oct. 21, 1984, Korean hymns were sung throughout the entire service for the first time. This might have been the first Christian worship in contemporary Korean society that was ever performed with entirely Koreanized church music. After that appearance, there were occasional instances of applying Korean hymns for complete worship services for about two years. From Dec. 14, 1986, the order of Sunday worship in its bulletin began to show numbering for the Korean hymns, which means that the church had a sufficient Korean hymn repertoire to organize them with ordinal numbers. They used a bundled leaf music for about nine years, and in 1995, the church published a hymnbook entitled Hanguk Chansongga (Korean Hymns), which is believed to be the first hymnbook entirely consisting of hymns composed in Korean traditional music style notated with jeongganbo (a Korean mensural notation). The church also issued a cassette tape, Korean Hymns Composed in Traditional Gagok Style, which contains twenty hymns in the 1980s. The values and influence of Dongwol Church-not only as the first Protestant church to use Koreanized church music in ordinary worship services, and the first church to publish a Koreanized hymnbook, but also as an agent of the minjung cultural movement in the 1970s and 1980s.relative to other minjung churches as well the broader realm of Korean society deserve further attention, and should be studied in more detail.