Earticle

초록

영어

It is widely accepted in contemporary Western* 9) ethnomusicological scholarship that, as part of fieldwork, researchers will themselves learn the genres they are studying, often not just to the level of ‘bi-musicality’ (Hood 1960) but to the level of professional performance (Baily 2001). In contrast, Korean musical scholarship, while especially strong in musicological analysis and historical musicology, has only received limited impact from Western traditions of ethnomusicological research (Park Mikyung 2013: 25). In examining the different scholarly traditions encountered in my research on Korean sung storytelling form pansori, I postulate that it is through the practical learning and performance of a musical genre that the gap between different research approaches can be breached. By showing demonstrable skill and in-depth knowledge of a genre in terms acceptable to local music scholars, an ‘outsider’ scholar can build a path to engage with and thus build bridges between academic traditions that have so far mostly developed independently, fostering the potential for constructive future debate.

목차

Ⅰ. The Role of Performance in Ethnomusicological Research
Ⅱ. Whose Ethnomusicology? Differences in Koreanand Western Musical Scholarship
Ⅲ. Learning and Performing pansori in Research
1. The Fieldwork Process
2. Returning from the Field
Ⅳ. Conclusion: Returning to ‘the field’
References
Abstract

키워드

저자

• Anna Yates Lu [ Seoul National University, Department of Korean Music, Assistant Professor ]

참고문헌

발행기관

간행물

표지보기 관심저널 등록

• 간행물명

  무용과 이론 [Dance and Theory]

• 간기

  반년간

• pISSN

  2713-7678

• 수록기간

  2020~2026

• 십진분류

  KDC 685 DDC 792