한국의 음악학, 또 한 번의 진단 = Critical Review on Musicology in Korea: A Renewed Attempt

다국어 초록 (Multilingual Abstract)

Critical Review on Musicology in Korea: A Renewed Attempt starts with a statement that similar review should be carried regularly and constantly among Korean musicologists and with the question whether Korean musicology is a humanistic discipline. It continues that since the Korean musicology cannot separate it from the scholastic history and achievement of Western musicology, this paper deals the subject in two directions, that is, Western musicology and Korean musicology. After the discussion on the scholastic identity of musicology in the West, this paper reviews its main stream as two-fold direction, one the musicology, the study of Western music history and the other the ethnomusicology, the study of world music. While these two disciplines have independently grown, each producing appropriate theories and methods some of which sometimes exclusive each other, they together contribute to expand the horizon of musical knowledge consistently. Recently these two disciplines show various attempts to unite on the premise that it`s necessary to overcome their limitations. Many graduate universities in USA began to recruit prospective students under an integrated category, titles as such as musicology/ethnomusicology. Comparing to the Western musicology with 100 years` worth of scholastic achievements, Korean musicology has a very poor constitution with the history of 30 years. Under the Korean musicology, there developed two disciplines, one Korean musicology, the study of Korean Music, and the other, Western musicology, the study of Western music history. This dichotomized division appears as similar situation. Scrutinizing it with critical eyes, the such dichotomy as the western and the Korean leaves out in result the great portion of the world, such as Asia, Africa, and the, so-called, New World. Such an ill-balanced system has a problem of not having humanistic disciplinary basics. While Korean musicologists have been struggling to build their scholastic identities through establishing learned societies and academic journal publications, they have not been able to penetrate into the performance oriented setups in universities. Korean musicologists who work painstakingly hard under such poor surrounding, in addition, have to face the stress of producing not only the creative but also the internationally competitive results. This situation let us to ask such humanistic question what should the musicology be to us.