정책공간에서 ‘순수’예술이 갖는 함의: 음악장르를 중심으로 (Implications of ‘Pure’ Arts in Policy Space: Focus on Music Sector)

서지정보

· 발행기관 : 세계음악학회
· 수록지 정보 : 음악과 문화 / 43호 / 63 ~ 106페이지
· 저자명 : 김경아

초록

Today, there are many different names that are used inattentively for music in the field of policies, including culture and arts, literature, Gukak, Yangak, cultural content, pure arts, pure music, and basic arts. These various names have been called or appeared in the context of new power or change of regime. Focusing on this point, this study summarized the implications of pure music in the field of policies into a battlefield of ideologies. The purpose of the study is to investigate the process of pure arts appearing in national records in the 2000s based on the patterns of the administration making an intervention into cultural policies with its political motivations and regulating the genre or music.
The way the government defines the domain of music institutionally and how music is transcribed in government documents reflect the way the government recognizes and perceives music. A common idea may be that music has been divided, becoming an internal musical factor or making a natural relation with the culture of the society. The fact is, however, that music has been incorporated and divided in a dominant ideology or has had its division controlled by the effect of ideology and the goal of a policy. The administration has expressed its political motivations with its ideology of cultural policies and regulated the division of the music domain via corresponding policies. This has been possible because music has formed close correlations with the ruling ideology of the administration as an object of its cultural policies.
In conclusion, Music was placed in the field of policies with different meanings as it was perceived by the government. During the military regime, music wandered between the options of self-censorship through creative support and compliance to the regime. It ended up into ambiguity that prevented pure music from being chosen as a policy term. It remained in the social and cultural consciousness as a non-policy transcription, forming relations with society. These findings suggest that the implication of pure arts' first appearance as a policy slogan during the people's government in the 2000s is an aphorism for pure that wandered around, not being included into the boundary of policy transcriptions during the military regime.

영어초록

Today, there are many different names that are used inattentively for music in the field of policies, including culture and arts, literature, Gukak, Yangak, cultural content, pure arts, pure music, and basic arts. These various names have been called or appeared in the context of new power or change of regime. Focusing on this point, this study summarized the implications of pure music in the field of policies into a battlefield of ideologies. The purpose of the study is to investigate the process of pure arts appearing in national records in the 2000s based on the patterns of the administration making an intervention into cultural policies with its political motivations and regulating the genre or music.
The way the government defines the domain of music institutionally and how music is transcribed in government documents reflect the way the government recognizes and perceives music. A common idea may be that music has been divided, becoming an internal musical factor or making a natural relation with the culture of the society. The fact is, however, that music has been incorporated and divided in a dominant ideology or has had its division controlled by the effect of ideology and the goal of a policy. The administration has expressed its political motivations with its ideology of cultural policies and regulated the division of the music domain via corresponding policies. This has been possible because music has formed close correlations with the ruling ideology of the administration as an object of its cultural policies.
In conclusion, Music was placed in the field of policies with different meanings as it was perceived by the government. During the military regime, music wandered between the options of self-censorship through creative support and compliance to the regime. It ended up into ambiguity that prevented pure music from being chosen as a policy term. It remained in the social and cultural consciousness as a non-policy transcription, forming relations with society. These findings suggest that the implication of pure arts' first appearance as a policy slogan during the people's government in the 2000s is an aphorism for pure that wandered around, not being included into the boundary of policy transcriptions during the military regime.

참고자료

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