남과 북의 민요창법 (Vocalism of Folk Songs of South and North Korea)

서지정보

· 발행기관 : 서울대학교 동양음악연구소
· 수록지 정보 : 동양음악(구 민족음악학) / 30권 / 105 ~ 137페이지
· 저자명 : 고상미

초록

This thesis elucidates how South and North Korea have succeeded to and developed the traditional vocalism of folk songs up to now respectively, and what is the difference between them.
Chapter 1 makes a definition of traditional folk songs from each point of view of the South and the North. Chapter 2 chases the history of inheritance and development of traditional folk songs since the 1953 Armistice Agreement between the South and the North. And then Chapter 3 covers the current vocalism of folk songs which has got changed.
Both of the South and the North have the common view on folk songs that the songs ground on people's sentiment. However their antagonistic ideologies have caused the difference in inheritance and development of folk songs.
South Korea has put emphasis on characteristics of folk songs which contains sentiment from people's daily lives, while North Korea has taken a more active attitude toward folk songs. North Korea has viewed folk songs as music full of creativity of people and developed them into the root of national music of future. Such opponent views have given rise to huge difference in inheritance and development of folk songs for last 60 years.
South Korea introduced a system of intangible cultural properties since 1962 and has preserved folk songs by apprenticeship. On the other hand, North Korea aggregated traditional folk song artists into fields of school education and then modernized folk songs so that they could be an important base of national music.
Such differences appear in the nanling of folk song artists. In the South, the artists are called Minyo-In, Soreekkun, Myung-ln, Myungchang following tradition whereas, in the North, they are called folk song singers - emphasizing images as popular singers -or national vocalists.
Vocalization of both is also different. The south uses vocalism of natural voice, trying to restore old traditional vocalism, while the North created its own national vocalism on the foundation of the New-Folk-Song vocalism which was popular during the period of Korean modern music - from the late nineteenth century to the early twentieth century.
The folk song vocalism of the South has a tendency of husky voices under the influence of its southern province, but that of the North has clear and high tones affected by its western province- Pyungando and Hwanghaedo.
The folk songs of the South are usually accompanied by traditional instruments up to now. However, the North play mixed orchestral accompaniment, using western instruments and improved traditional instruments together.
The results of inheritance and development of folk songs in both Koreas assume different looks, since they are the outcome of antagonistic ideologies and cultures from the long division of Korea into south and north. Although both of the South and the North succeeded to the common original form of folk song vocalism, the South focused on inheritance and restoration of the tradition, whereas the North has modernized folk song vocalism on the base of the New-Folk-Song, the legacy of the modern music.
The goal of this thesis is to know their changed cultural circumstances through the analysis of folk songs of the South and the North for sixty years since the 1953 Amtistice Agreement. To recognize and understand the circumstances forms the feeling of solidarity which is essential to survival and communication of the South and the North as a single nation.
The age of modem Korea was the period of dissemination and comsions of diverse cultural circumstances. The New-Folk-Song is also the outcome of the progress during the period. The identity of traditional music of South Korea has failed to inherit abundant legacies of the Korean modem age. On the other hand, North Korea has weak points in creativity and restoration of traditional music.
From a point of view that tradition itself deserves preservation, when the South absorbs North Korea's national music developed from the Modem music legacies and the North learns the creativity of South Korea's traditional music, they would complement their own current problems and get helps for mutual development of folk songs.

영어초록

This thesis elucidates how South and North Korea have succeeded to and developed the traditional vocalism of folk songs up to now respectively, and what is the difference between them.
Chapter 1 makes a definition of traditional folk songs from each point of view of the South and the North. Chapter 2 chases the history of inheritance and development of traditional folk songs since the 1953 Armistice Agreement between the South and the North. And then Chapter 3 covers the current vocalism of folk songs which has got changed.
Both of the South and the North have the common view on folk songs that the songs ground on people's sentiment. However their antagonistic ideologies have caused the difference in inheritance and development of folk songs.
South Korea has put emphasis on characteristics of folk songs which contains sentiment from people's daily lives, while North Korea has taken a more active attitude toward folk songs. North Korea has viewed folk songs as music full of creativity of people and developed them into the root of national music of future. Such opponent views have given rise to huge difference in inheritance and development of folk songs for last 60 years.
South Korea introduced a system of intangible cultural properties since 1962 and has preserved folk songs by apprenticeship. On the other hand, North Korea aggregated traditional folk song artists into fields of school education and then modernized folk songs so that they could be an important base of national music.
Such differences appear in the nanling of folk song artists. In the South, the artists are called Minyo-In, Soreekkun, Myung-ln, Myungchang following tradition whereas, in the North, they are called folk song singers - emphasizing images as popular singers -or national vocalists.
Vocalization of both is also different. The south uses vocalism of natural voice, trying to restore old traditional vocalism, while the North created its own national vocalism on the foundation of the New-Folk-Song vocalism which was popular during the period of Korean modern music - from the late nineteenth century to the early twentieth century.
The folk song vocalism of the South has a tendency of husky voices under the influence of its southern province, but that of the North has clear and high tones affected by its western province- Pyungando and Hwanghaedo.
The folk songs of the South are usually accompanied by traditional instruments up to now. However, the North play mixed orchestral accompaniment, using western instruments and improved traditional instruments together.
The results of inheritance and development of folk songs in both Koreas assume different looks, since they are the outcome of antagonistic ideologies and cultures from the long division of Korea into south and north. Although both of the South and the North succeeded to the common original form of folk song vocalism, the South focused on inheritance and restoration of the tradition, whereas the North has modernized folk song vocalism on the base of the New-Folk-Song, the legacy of the modern music.
The goal of this thesis is to know their changed cultural circumstances through the analysis of folk songs of the South and the North for sixty years since the 1953 Amtistice Agreement. To recognize and understand the circumstances forms the feeling of solidarity which is essential to survival and communication of the South and the North as a single nation.
The age of modem Korea was the period of dissemination and comsions of diverse cultural circumstances. The New-Folk-Song is also the outcome of the progress during the period. The identity of traditional music of South Korea has failed to inherit abundant legacies of the Korean modem age. On the other hand, North Korea has weak points in creativity and restoration of traditional music.
From a point of view that tradition itself deserves preservation, when the South absorbs North Korea's national music developed from the Modem music legacies and the North learns the creativity of South Korea's traditional music, they would complement their own current problems and get helps for mutual development of folk songs.

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