외래의 춤음악과 한국음악의 접근론

다국어 초록 (Multilingual Abstract)

The "Imported Dance Music" in this paper mainly means the Latin American(the area, generally called Middle America) music and dance that rooted to African culture. The reason I choose a dance music from this area is that the African music and dance have conquered all cultures of the world in spite of the severe racism against their ethnics. This happens in my country too. In our traditional culture, there were several traces that dance cultures from other countries imported into Korea and penetrated into indigenous Korean dance cultures. Nowadays, more foreign dance music rushes for the door of Korean culture, and therefore the cultural border has been collapsed before a long ago. In this situation, my conception, which makes relations between the Latin dance music and Korean traditional music, can be a little bit strange. However, in the dance or music performances the body of the human beings roles as a media. Therefore, I try to find any similarities between them. Above all, it is very important that we inspect imported culture closely based on the self- consciousness in these days, when even imported jazz culture encroach upon the traditional folk music. In this paper, the reason I focus on the blues is that the blues is placed in the middle of jazz culture. Also, the blues is that Korean enjoy the most at the moment among the imported dance patterns but also the Korean do not understand the most. Therefore it roles very badly in the current Korean society. I examine such blues with p'yong sijo(平時調) in my paper. This thought is started based on the notion that foreign culture should be imported correctly only based on the right understanding of our traditional culture. In this paper, all dance music, which are tried, have such meaning above(translated by Gyewon Byeon).

목차 (Table of Contents)

• Ⅰ. 머리말
• Ⅱ. 블루스
• Ⅲ. 라틴 아메리카의 춤과 음악
• Ⅳ. 룸바와 차차
• Ⅴ. 삼바
• Ⅵ. 파소 도블레(paso doble)
• Ⅶ. 플라멩꼬(flamenco)
• Ⅷ. 디스코(disco)
• Ⅸ. 탱고
• Ⅹ. 맺음말
• 참고 문헌
• Abstract