Earticle

초록

영어

Most analyses of historical or contemporary folk music, at one level address issues of authenticity, directly or indirectly. Having studied and written about Korean music for more than a decade now, I find that whether researching traditional or newly created (changjak) pansori, traditional or fusion gugak, or the globalization of sound and identity, a consistent underlying question is that of “what is authentic Korean music?” With the recent trend among many traditional Korean musicians to experiment with instrumentation, harmonization, and presentation of gugak for contemporary audiences, this topic takes on an even deeper, more profound meaning. My point has never been to dismiss that which is may be deemed by some as “inauthentic,” but rather to questions the very labels, categorizations, and presumptions that accompany the concept of authenticity. In order to better understand my interest in a so-called "authentic" sound, presentation and experience of Korean music, I propose a two-part article. Here, I wish to address the issue of authenticity not directly in Korean music, but as I was first confronted with the idea some fifteen years ago while concentrating my studieson contemporary American folk music. The reason for doing so is that in the United States, and the United Kingdom as well, this is a highly contestable subject that has been bitterly debated for nearly a hundred years; as such there is a great deal of relevant research and writing that can be referenced. Building on this foundation, I will subsequently present a second article that will turn the lens of authenticity onto the subject of contemporary Korean folk music performances. In order to best understand the issue of authenticity as it relates to folk music, however, we must first begin with an even more basic question, at least as it applies to the American folk scene.

한국어

과거 혹은 현대의 포크 음악(folk music)에 관한 연구는 대부분 어떤 식으로든 진정성(authenticity)의 문제를 다루고 있다. 다시 말해서, 특정 장르의 특징을 직접적으로든 무심코든 설명하려는 시도를 발견할 수 있다. 미국의 경우, 포크 음악과 포크 음악에서 파생된 컨트리(country)와 블루그래스(bluegrass)와 관련된 학계에서는 과연 ‘진정성’이란 무엇인가라는 주제를 놓고 오랫동안 논쟁을 벌여왔다. 오늘날 이 담론은 비단 학계뿐 아니라 마케팅과 소비자중심주의(consumerism)라는 측면에서도 중요한 가치를 지닌다. 본고는 포크 음악의 개념을 정의하고 특징을 분석한 기존의 연구를 간략하게 검토하고, ‘만들어진 전통(invented tradition)’이라는 문제도 논의하고자 한다. 이어서 ‘진정성 있는’ 음악가로 평가 받은 여러 음악가들의 커리어와 음악 스타일을, 삶과 음악 모두가 커다란 반향을 불러일으킨 한 여성, 질리안 웰치의 삶과 음악과 비교하고 분석할 것이다. 마지막으로 질리안 웰치가 가사, 선율, 시각적 연출 면에서 진정성을 확립하기 위해 어떤 시도를 했는지 알아보려 한다.

목차

〈Abstract〉
 Ⅰ. What is Folk Music?
 Ⅱ. What is Authenticity?
 Ⅲ. Gillian Welch: Reviving Questions of Authenticity
 Ⅳ. Authenticity : A comparison
 Ⅴ. Authentification
 Ⅵ. CONCLUSION
 〈References〉
 요약

키워드

저자

• Heather A. Willoughby [ Professor of Graduate School of International Studies, Ehaw Womans University. ]

참고문헌

발행기관

간행물

표지보기 관심저널 등록

• 간행물명

  한국음악연구 [STUDIES IN KOREAN MUSIC]

• 간기

  반년간

• pISSN

  1975-4604

• 수록기간

  1975~2025

• 등재여부

  KCI 등재

• 십진분류

  KDC 679 DDC 780