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    분노와 절망 속에서 피어난 희망 = 모타운 소울(Motown Soul)과 흑인인권운동

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    https://www.riss.kr/link?id=A100109856

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    다국어 초록 (Multilingual Abstract) kakao i 다국어 번역

    By analyzing the social and cultural meaning of Motown Soul-one of the most popular music genres in the US in the 1960s-this paper focuses on how popular music can give hope to people in despair. After the tragedy of the Sewol ferry in South Korea, most popular music concerts and festivals were canceled because these musical events were not seen to be suitable while grieving for the victims. However, some music events were canceled by the central and local governments without considering their potential to offer consolation to people. The bureaucracy believes that popular music is only light entertainment. While popular music is certainly fun and provides joy, it can also provide hope and comfort to people. Among the genres, Motown Soul is a good example of how popular music can give hope to people in despair. Motown Soul was created by the record label Motown in the late 1950s, and it was one of the first recording companies to be established and managed mostly through African-American capital. It was a type of ‘crossover’ music; while it was based on black soul music, it adopted diverse musical elements from white pop music and rock and roll. In fact, Barry Gordy, the founder of Motown, and most of the musicians at Motown hesitated to directly express their political orientation. However, Motown could not help but become the hope of African-American, for Motown soul was the first black popular music, produced and sponsored by a African-American company, to hit the white-centric mainstream music industry. Also, the success of Motown Soul was closely related to the Civil Rights Movement in the 1960s, a racial, political, and social conflict between whites and blacks. In addition to Motown’s indirect support of the Civil Rights Movement-such as recording poetry and speech albums by civil rights activists-Motown sought, either intentionally or unintentionally, harmony between whites and blacks by producing Motown Soul, so-called a “harmonious sound”. It was loved and enjoyed by people regardless of their race, which showed that popular music and popular culture in general could reduce political and/or social conflict. Motown Soul maintained its identity as a form of black music, but with its harmonious crossover sound it became a hope for a better world for both African-Americans and Whites.
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    By analyzing the social and cultural meaning of Motown Soul-one of the most popular music genres in the US in the 1960s-this paper focuses on how popular music can give hope to people in despair. After the tragedy of the Sewol ferry in South Korea, mo...

    By analyzing the social and cultural meaning of Motown Soul-one of the most popular music genres in the US in the 1960s-this paper focuses on how popular music can give hope to people in despair. After the tragedy of the Sewol ferry in South Korea, most popular music concerts and festivals were canceled because these musical events were not seen to be suitable while grieving for the victims. However, some music events were canceled by the central and local governments without considering their potential to offer consolation to people. The bureaucracy believes that popular music is only light entertainment. While popular music is certainly fun and provides joy, it can also provide hope and comfort to people. Among the genres, Motown Soul is a good example of how popular music can give hope to people in despair. Motown Soul was created by the record label Motown in the late 1950s, and it was one of the first recording companies to be established and managed mostly through African-American capital. It was a type of ‘crossover’ music; while it was based on black soul music, it adopted diverse musical elements from white pop music and rock and roll. In fact, Barry Gordy, the founder of Motown, and most of the musicians at Motown hesitated to directly express their political orientation. However, Motown could not help but become the hope of African-American, for Motown soul was the first black popular music, produced and sponsored by a African-American company, to hit the white-centric mainstream music industry. Also, the success of Motown Soul was closely related to the Civil Rights Movement in the 1960s, a racial, political, and social conflict between whites and blacks. In addition to Motown’s indirect support of the Civil Rights Movement-such as recording poetry and speech albums by civil rights activists-Motown sought, either intentionally or unintentionally, harmony between whites and blacks by producing Motown Soul, so-called a “harmonious sound”. It was loved and enjoyed by people regardless of their race, which showed that popular music and popular culture in general could reduce political and/or social conflict. Motown Soul maintained its identity as a form of black music, but with its harmonious crossover sound it became a hope for a better world for both African-Americans and Whites.

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    참고문헌 (Reference)

    1 George, Nelson, "Where Did Our Love Go? The Rise and Fall of the Motown Sound" St. Martin’s Press, 1986

    2 Gordy, Barry, "To Be Loved: The Music, the Magic, the Memories of Motown" Warner Books, 1994

    3 George, Nelson, "The Death of Rhythm and Blues" E. P. Dutton, 1989

    4 Malcolm X, "The Autobiography of Malcolm X" Penguin, 2001

    5 Fiske, John, "Television culture" Routledge Methuen, 1987

    6 Stowe, David W., "Swing Changes: Big-Band Jazz in New Deal America" Harvard University Press, 1994

    7 Frith, Simon, "Sound Effects: Youth, Leisure, and the Politics of Rock ‘n’Roll" Pantheon Books, 1981

    8 Filene, Benjamin, "Romancing the Folk: Public Memory & American Roots Music" University of North Carolina Press, 2000

    9 Chapple, Steve, "Rock and Roll Is Here to Pay: The History and Politics of the Music Industry" Nelson-Hall, 1977

    10 Gracyk, Theodore, "Rhythm and Noise: An Aesthetics of Rock" Duke University Press, 1996

    1 George, Nelson, "Where Did Our Love Go? The Rise and Fall of the Motown Sound" St. Martin’s Press, 1986

    2 Gordy, Barry, "To Be Loved: The Music, the Magic, the Memories of Motown" Warner Books, 1994

    3 George, Nelson, "The Death of Rhythm and Blues" E. P. Dutton, 1989

    4 Malcolm X, "The Autobiography of Malcolm X" Penguin, 2001

    5 Fiske, John, "Television culture" Routledge Methuen, 1987

    6 Stowe, David W., "Swing Changes: Big-Band Jazz in New Deal America" Harvard University Press, 1994

    7 Frith, Simon, "Sound Effects: Youth, Leisure, and the Politics of Rock ‘n’Roll" Pantheon Books, 1981

    8 Filene, Benjamin, "Romancing the Folk: Public Memory & American Roots Music" University of North Carolina Press, 2000

    9 Chapple, Steve, "Rock and Roll Is Here to Pay: The History and Politics of the Music Industry" Nelson-Hall, 1977

    10 Gracyk, Theodore, "Rhythm and Noise: An Aesthetics of Rock" Duke University Press, 1996

    11 Kenney, William H., "Recorded Music in American Life: The Phonograph and Popular Memory, 1890~1945" Oxford University Press, 1999

    12 Longhurst, Brian, "Popular Music & Society" Polity Press, 2007

    13 Early, Gerald, "One Nation Under a Groove: Motown and American Culture" Ecco Press, 1995

    14 Adorno, Theodor W., "On Record: Rock, Pop, and the Written Word" Routledge : 301 ~ 314, 1990

    15 Quinn, Eithne, "Nuthin’ But a “G” Thang: The Culture and Commerce of Gangsta Rap" Columbia University Press, 2004

    16 Thomas, Richard W., "Life for Us Is What We Make It" Indiana University Press, 1992

    17 "In Allmusic" Soul,

    18 Marable, Manning, "How Capitalism Underdeveloped Black America" South End Press, 1999

    19 Watkins, S. Craig, "Hip Hop Matters: Politics, Pop Culture, and the Struggle for the Soul of a Movement" Beacon Press, 2005

    20 Wald, Elijah, "Escaping the Delta: Robert Johnson and the Invention of the Blues" Amistad, 2004

    21 Wilson, Mary, "Dreamgirl and Supreme Faith: My Life as Supreme" Cooper Square Press, 1999

    22 Smith, Suzanne E., "Dancing in the Street: Motown and the Cultural Politics of Detroit" Harvard University Press, 1999

    23 Hall, Stuart, "Culture, Media, Language" Hutchinson : 107 ~ 116, 1980

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