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          우리의 음악문화 : 세계 안의 한국, 한국 안의 세계 the Korea in the World, the World in Korea

          박미경 세계음악학회 2004 음악과 문화 Vol.10 No.-

          It became now a core concept in ethnomusicology that, if we are to study music, we should approach it in its context or as culture. In spite of such general acknowledgement, Korean scholarship on music had been extremely limited in terms of genre to Korean traditional music or Western classical music and in terms of approach to music as a product. Such limitations are not valid anymore. Contrary to this scholastic retardation, the Korean musical culture itself, free from its academically dichotomous paradigm, is slowly but steadily becoming multi-cultural. It is also recognized in our educational field that Multi-cultural approach is urgently needed. Korea now must face the world directly (not via America or Japan) and find her own perspective on the worldmusic. To to so, we should cultivate Korea in the world, and the world in Korea, We should be ready to value our changing and multi-cultural music scenes and to update our scholastic perspective to deal with them.

        • KCI등재후보

          세계화와 월드뮤직, 월드비트의 종족음악학적 이론 : Ethnomusicological Theories

          김진우 세계음악학회 2004 음악과 문화 Vol.10 No.-

          Globalization has been one of the most actively discussed terms in many disciplines since 1990s and, as a phenomenon prominent in the end of the 20th century, its effects have been dealt heavily within and out of scholastic world. From the economic, cultural, and political viewpoints, the issues related in globalization are as such as "its effects on labor market," "the effects of Americanization on the world," "the effects on the future economics of many nations," "its effects on the political currents of the world" and so on. However, when the term globalization was used in relation to our culture and especially in the mass-media, it has been often used in such context as to introduce our culture to the world, or to go forward to the world market, similar to the term internationalization. In this paper I will try to clarify these terms and examine concepts and theories of the globalization, and stretch further to the terms like worldmusic and worldbeat.

        • KCI등재

          세계 음악의 인식조사와 교과서 내용분석을 통한 다문화 교육의 성찰: 초등학생과 예비교사를 중심으로

          임혜숙 세계음악학회 2020 음악과 문화 Vol.0 No.43

          The purpose of this study is to investigate the perception of world music as multicultural music education for 5th and 6th grade elementary school students and pre-service elementary teachers, analyze the learning contents of world music in the 5th and 6th grade music textbooks, and find out if multicultural music education is being carried out effectively and desirable direction in the future. The results of this study were as follows. First, 5th and 6th grade elementary school students and pre-service elementary teachers recognized that singing a fork songs from different country was effective in understanding the culture of various countries. However, 30 percent of elementary school students who participated in the study negatively perceived on understanding other countries through music. Second, elementary school music textbooks mainly introduced folk songs to learn world music. The countries introduced in the textbooks are varied, but the number of songs, which represent of the countries, were very little. Third, the major learning activities of each music textbooks were singing in the original language, however, activities were organized to understand the music and culture of other countries by singing along with body expression, traditional play, and instrumental accompaniment. The contents were organized to familiarize by singing with unfamiliar culture and to understand the music and characteristics of other cultures through appreciation, so that students effectively learn other countries's music and culture through various music activities through appropriate steps. Fourth, as the results of the survey on the perception of elementary school students and pre-service elementary school teachers indicated that the activities of singing songs from other countries, especially folk songs reflecting the country's emotions, have been found to be helpful in understanding the culture of other countries. In other words, although elementary music textbooks mainly introduce folk songs, such learning contents are beneficial to multicultural music education, so collection and research on folk songs of various countries should be conducted. Fifth, various countries are introduced in music textbooks, however, the activities to understand the music of different countries were mostly similar, such as 'singing in native language', 'singing with body expressions'. To carry out better multicultural music education, the development of teaching and learning materials and programs are needed through the collaboration of ethnomusicologists and music educators.

        • KCI등재후보

          우리의 음악문화: 세계 안의 한국, 한국 안의 세계

          박미경 세계음악학회 2004 음악과 문화 Vol.0 No.10

          Our Musical Culture: the Korea in the World, the World in Korea, Mikyung ParkIt became now a core concept in ethnomusicology that, if we are to study music, we should approach it in its context or as culture. In spite of such general acknowledgement, Korean scholarship on music had been extremely limited in terms of genre to Korean traditional music or Western classical music and in terms of approach to music as a product. Such limitations are not valid anymore.Contrary to this scholastic retardation, the Korean musical culture itself, free from its academically dichotomous paradigm, is slowly but steadily becoming multi-cultural. It is also recognized in our educational field that Multi-cultural approach is urgently needed. Korea now must face the world directly (not via America or Japan) and find her own perspective on the worldmusic. To to so, we should cultivate Korea in the world, and the world in Korea. We should be ready to value our changing and multi-cultural music scenes and to update our scholastic perspective to deal with them.

        • KCI등재

          국악의 세계화 담론과 월드뮤직화

          김희선 세계음악학회 2009 음악과 문화 Vol.0 No.20

          Using theories of cultural globalization and glocalization by Robertson and Appadurai as a point of departure, this paper investigates how the discourses of globalization and world music-ization of the Korean traditional music constructed and practiced among Korean musicians. The paper first provides theoretical accounts on cultural globalization, glocalization, and it investigates the general relationship between globalization and the world music. The main body of the paper examines a historical overview of discourses among Korean traditional musicians, aspects, backgrounds, the process of constructing world music-ization, and the meaning of globalization of Korean traditional music. The construction and development of discourses of globalization and world music-ization within the field of Korean traditional music is strongly associated with old discourses including modernization and popularization of traditional music. At the same time, musicians's awareness of social reality experienced through their own success in overseas performances, reports on recent success of new category of world music, recent development and changes of cultural production system, helped to increase of needs to construct new discourses. For the Korean musicians, globalization of Korean music is the way of achieving cultural superiority and identity, the future of Korean traditional music, and a means of useful marketing strategy as a global cultural commodity. But at the same time, this is criticized as powerless subordination to globalization. The most important point of globalization discourse among Korean musicians is a strong sense of cultural ethnie nationalism. In this sense, cultural nationalism is a very useful tool. In the case of Korean traditional music, cultural nationalism is a subjective discourse as opposed to globalization and alternative strategy to achieve modern value as opposed to anti-globalization. With the discourse of globalization, Korean musicians have an opportunity to reveal and emphasize local identity through "glocalization" and "displacement" of local identity. In this sense, contemporary Korean traditional music has become the sphere where glocalization is practiced. Using theories of cultural globalization and glocalization by Robertson and Appadurai as a point of departure, this paper investigates how the discourses of globalization and world music-ization of the Korean traditional music constructed and practiced among Korean musicians. The paper first provides theoretical accounts on cultural globalization, glocalization, and it investigates the general relationship between globalization and the world music. The main body of the paper examines a historical overview of discourses among Korean traditional musicians, aspects, backgrounds, the process of constructing world music-ization, and the meaning of globalization of Korean traditional music. The construction and development of discourses of globalization and world music-ization within the field of Korean traditional music is strongly associated with old discourses including modernization and popularization of traditional music. At the same time, musicians's awareness of social reality experienced through their own success in overseas performances, reports on recent success of new category of world music, recent development and changes of cultural production system, helped to increase of needs to construct new discourses. For the Korean musicians, globalization of Korean music is the way of achieving cultural superiority and identity, the future of Korean traditional music, and a means of useful marketing strategy as a global cultural commodity. But at the same time, this is criticized as powerless subordination to globalization. The most important point of globalization discourse among Korean musicians is a strong sense of cultural ethnie nationalism. In this sense, cultural nationalism is a very useful tool. In the case of Korean traditional music, cultural nationalism is a subjective discourse as opposed to globalization and alternative strategy to achieve modern value as opposed to anti-globalization. With the discourse of globalization, Korean musicians have an opportunity to reveal and emphasize local identity through "glocalization" and "displacement" of local identity. In this sense, contemporary Korean traditional music has become the sphere where glocalization is practiced.

        • KCI등재후보
        • KCI등재

          민족성에서 지역성으로: 한국음악의 ‘탈식민적 세계시민주의'

          최유준 세계음악학회 2020 음악과 문화 Vol.0 No.42

          Euro-centrism has been accepted as the unconscious premise of universal music discourse in Korea. In this essay, I took issue with this colonial dichotomy of "The West and the Rest," and sought alternative ways of thinking for overcoming it. My views on this is summed up by the phrase “from ethnicity/nationality to locality.” This means that the word "Korea" in "Korean music" would cease to be an essentialist sign of "ethnicity/nationality," and instead refers to a physical and specific place where bodily experiences and cultural memories are entangled. In this case, the institutional dichotomy between Western music and Korean music would lose effect, and the boundary and contact zone would be productively highlighted. Overall, I am looking for a path to what Walter D. Mignolo calls “cosmopolitan localism” or “decolonial cosmopolitanism,” which aims for a polycentric and “pluriversal” world based on “border thinking.” This could ultimately be shaped in translocal encounters that are set against globalization. .

        • KCI등재후보
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