21세기 한국음악학: 지금 여기 우리를 다(하나로) 담아내는 그릇이어야 (21st Century Korean Musicology: It's a Vessel that Puts Us All Here Now[As One])

서지정보

· 발행기관 : 세계음악학회
· 수록지 정보 : 음악과 문화 / 41호 / 5 ~ 26페이지
· 저자명 : 박미경

초록

This article is an attempt to diagnose the present situation of musicology in Korea and to promote the future in response to the changes in the global society of the 21st century. Starting with how far our musicology came, and also asking how our scholars assessed its development, this article has analyzed a series of works to identify the problems and crisis consciousness that musicologists have had so far. Furthermore, the process moved me to the thought that we should do what we could do first, and to the hope that we could do it. This article is about a series of enlightenment and practical suggestions gained through answering the questions.
Under the framework of "Western art music and the Other," the two-pronged system of musicology, which seemed never to collapse, clearly shows its collapsing stage in the in the 21st century's global community. Overcoming the knowledge accumulated in the existing "strong" disciplines of musicology, the direction now is to promote an 'not-to-be hard and old', 'newly mixing' and 'creative construct' identity, which is now showing an active energy that advances not only as an entity but also in the methodology. The recognition of such a phenomenon in the global community makes us want to see our musicology of "here we are now": "Korean musicology in the 21st century: It should be a vessel that captures us all (as one) here," and it is very urgent to find specific tasks for our scholars to carry.

영어초록

This article is an attempt to diagnose the present situation of musicology in Korea and to promote the future in response to the changes in the global society of the 21st century. Starting with how far our musicology came, and also asking how our scholars assessed its development, this article has analyzed a series of works to identify the problems and crisis consciousness that musicologists have had so far. Furthermore, the process moved me to the thought that we should do what we could do first, and to the hope that we could do it. This article is about a series of enlightenment and practical suggestions gained through answering the questions.
Under the framework of "Western art music and the Other," the two-pronged system of musicology, which seemed never to collapse, clearly shows its collapsing stage in the in the 21st century's global community. Overcoming the knowledge accumulated in the existing "strong" disciplines of musicology, the direction now is to promote an 'not-to-be hard and old', 'newly mixing' and 'creative construct' identity, which is now showing an active energy that advances not only as an entity but also in the methodology. The recognition of such a phenomenon in the global community makes us want to see our musicology of "here we are now": "Korean musicology in the 21st century: It should be a vessel that captures us all (as one) here," and it is very urgent to find specific tasks for our scholars to carry.

참고자료

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