Earticle

이 글은 한류 혹은 포스트-한류 시대의 대표적인 문화적 표현물이자 상품인 케이팝(K-Pop)의 문화적 지형과 그 ‘생산-분배-소비’를 둘러싼 동학(dynamics)에 대한 시론적인 고찰을 목표로 한다. 우선, 최근 급격히 진행되고 있는 케이팝의 ‘인터 아시아(inter-Asia)화’를 넘어선 ‘탈 아시아화’ 과정은 ‘혼종성(hybridity)' 개념에 대한 보다 집중적인 관심을 요구한다. 대중문화 텍스트로서 케이팝 혹은 한국 대중음악의 지속적인 혼종성은, 문화-경제적 연예산업 시스템으로서 한류의 최근 '글로컬(glocal)' 전략/전술과 상보적 관계를 구축하고 있다. 즉 케이팝은 혼종적인 문화적 텍스트이면서, 동시에 글로벌과 로컬이 복합적으로 상호 작동하는 탈국적인 사회문화적, 경제적 장(field)으로 변모하고 있는 것이다. 한편으로 당대의 케이팝에 대한 고찰은 생산과 유통 과정 뿐 아니라 지금까지 상대적으로 주목받지 못했던 소비의 의미에 대한 고민하게 한다. 맹목적인 팬돔(fandom)을 넘어서는 적극적인 문화적 실천으로서 케이팝의 초국적 소비와 수용의 사례들은, 문화산업으로서 케이팝 혹은 한류에 대한 이해가 단순히 그 생산과 분배/유통에 대한 분석 혹은 그 과정을 둘러싼 담론에만 국한될 수 없음을 보여준다. 정교해지고 대규모화된 케이팝이라는 대중음악 텍스트 혹은 문화산업 구조물은 글로벌-로컬, 혼종성-순혈적 민족주의, 탈국적성-국지성이라는 상반된 문화적 개념과 사회경제적 범주들이 공존하며 뒤섞여 있다. 따라서 생산과 유통에서 소비에 이르는 케이팝의 상호 연관되고 일관된, 하지만 유동적이고 복합적인, 동학에 대한 체계적인 고찰이 요구된다.

As an international cultural sensation since the late 1990s, Hallyu (Korean Wave) has been the center of attention from both academia and media in Korea. While, in a circle of inter-Asia cultural studies, it has been discussed in the context of its socioeconomic and cultural impacts on other East Asian countries including China and Japan, Hallyu has also been presented as an important nationalist marker when promoted by Korean media and the government. Among a variety of the Hallyu items, K-Pop is perhaps the most powerful and popular genre nowadays. As it has gained a huge popularity around and across the border of Asia, K-Pop is transforming the landscape surrounding culture industry and popular culture in and outside of Korea. This paper examines such cultural and socioeconomic landscape of K- Pop while exploring the dynamics of its production, distribution and consumption in the 'post- Hallyu' era. First of all, in order to understand the transnational process of K-Pop production and distribution across and beyond the continental Asia, it is all the more necessary to dig into the notion of hybridity. Continuous hybridity of K-Pop or Korean popular music as a popular cultural text is now interwoven into the recent 'glocal' strategies of Hallyu as a system of cultural and economic entertainment industry. That being said, K-Pop is not only a hybrid cultural text, but also a complex transnational field where 'global' and 'local' interact each other socioculturally as well as economically. On the other hand, an inquiry into contemporary K-Pop makes us pay attention to the meaning of consumption which has been usually overshadowed in comparison to that of production and distribution as far as popular cultural studies is concerned. Several cases of transnational consumption and reception of K-Pop exemplify very active cultural practices beyond blind devotion of typical teenaged fandom to idol stars. It suggests that, in order to understand K-Pop or Hallyu as culture industry, the research should not be confined to simple analysis of its production and distribution/circulation, or the discourse surrounding them. The more K-Pop is elaborated as a cultural text, the bigger it gets in its scale as a construct of culture industry. It is a field where coexist and mingle each other contrasting cultural concepts and socioeconomic categories such as global and local, hybridity and pure nationalism, and transnational and regional. Therefore, it is required to thoroughly examine the interconnected and coherent, but fluid and complex, dynamics of K-Pop from its production and distribution to consumption and reception.

영화 <사이코>는 아직도 서스펜스 스릴러의 최고봉으로 여겨지는 공포영화이다. <사이코>가 이러한 평가를 받게 되는 데에 큰 역할을 한 것이 소름이 끼치게 만드는 배경 음악이다. 버나드 허먼은 <사이코>의 주인공들이 가지는 광기, 강박관념, 영화의 공포스러운 분위기들을 위하여 불협화음과 복조성, 반음계주의, 오스티나토 등 여러 가지 방법들을 사용하였으며, 이러한 방법은 현재까지도 다른 영화 음악가들의 모델이 되고 있다. 영화에서 음악은 매우 중요하다. 영화에서 아무리 배우가 연기를 잘해도 음악이 그 영화의 스토리와 등장인물의 심리를 잘 묘사해주지 못하면 좋은 영화가 될 수 없다. 이러한 면에서 버나드 허먼은 히치콕 감독의 서스펜스 영화를 위한 최고의 영화음악가라 할 수 있겠다.

Anyone would agree that the best director of classic movie is Alfred Hitchcock. About when sound films appeared, <Blackmail(1929)> made him recognized in the field of film making. He also established "Hitchcock Touch" which is a directing method that leads people into anxiety. After mid-1950's, he released masterpieces such as <Vertigo(1958)>, <Psycho(1960)>, <The Birds(1963)> which led him to the time of flourish as a film director. In most of Hitchcock's movies, Bernard Herrmann participated as a music composer. Herrmann composed concert music and film music, of which nine are for Hitchcock's films. Just like Hitchcock was a film master of his time, Herrmann was also a talented composer who used many musical techniques to effectively create a tense atmosphere. This paper will discuss about the kinds of techniques Herrmann used to make psychological suspense and what effects those techniques have throughout Hitchcock's <Psycho> which is a representative horror movie. Herrmann's <Psycho> film score is typical among his works but unique compared to other composer's music. The unique part about this film score is that he only used string instruments. Hitchcock shot <Psycho> in black-and-white for fearful atmosphere, and Herrmann only used string instruments to make harmony with black-and-white screen. He also used the seventh chord, dissonances and polytonality, chromaticism, repetition technique with ostinato to make suspense and horror. Especially, he used small clusters of notes to make audiences fearful and describe the character's suspense. They were developed and transformed throughout the film to connect the events. On the narrative aspect of the film, Herrmann played the same music several times to give a hint to the audiences that a specific situation related to the music will repeat later on. <Psycho> influenced other film music composers as well as Herrmann himself.

본 연구의 목적은 지방자치제 이후 지역축제를 통한 축제브랜드화에 성공적인 성과를 거두고 있는 ‘보령머드축제’와 ‘안동국제탈춤페스티벌’의 성공요인을 분석하여 축제브랜드화의 전략적 방안을 도출하여 지방자치단체의 지역축제 운영에 적용하고자 함이다. 보령머드축제와 안동국제탈춤페스티벌은 성공적인 축제운영으로 2011년 두 축제 모두 대한 민국 명예 대표축제로 선정되었다. 이들 축제의 성공요인을 분석해보면 다음과 같다. 첫째, 지역자체만의 고유한 주제와 지역대표성이 드러나고 있다. 보령머드축제에서는 ‘머드’ 라는 지역자원을 이용하였고, 안동국제탈춤페스티벌에서는 ‘탈춤’이라는 문화자원을 이용하여 축제의 대표성을 드러내고 있다. 둘째, 지역만의 특성화된 프로그램이다. 지역만이 가지고 있는 고유성과 향토성이 반영될 때 특성화된 프로그램이라 할 수 있다. 셋째, 지역의 특성을 살린 연 계상품의 개발이 뒤따라야 한다. 보령머드축제는 보령머드화장품과 관광 상품을 개발하여 지역 경제에 이바지 하고 있다. 안동국제탈춤페스티벌 또한 지역문화관광여행 상품을 개발하여 축제 와의 연계를 구축하고 있다. 넷째, 두 축제 모두 축제와 관련된 문화마케팅 홍보를 강화하고 있 다. 단순한 축제의 홍보뿐만 아니라 관광, 특산물, 브랜드상품 등을 홍보하고 있다. 다섯째, 축제 전반에 걸쳐 축제개최목표에 부합하는 일관성을 유지하고 있다. 축제의 근본취지인 전통문화계 승 및 지역화합 관광객 유치 등 축제전반에 걸친 차별성과 독창성을 일관되게 유지하고 있다. 지역브랜드의 가치를 높이는 것은 지방자치단체의 성장과 관련이 있다. 현재 개최되고 있는 지역축제에 대한 문제점과 과제를 해결하기 위해서는 지역과 지역축제를 브랜드의 시각에서 새 롭게 계획하고 평가하는 작업이 이루어져야 할 것이다. 이를 바탕으로 지역축제가 성공적으로 개최된다면 지역 이미지 제고 및 지역의 경제 활성화에도 도움을 주는 ‘축제브랜드’가 정착 될 수 있을 것이다.

The purpose of this study is to find the strategies of festival branding applicable to the festival management of local governments by investigating factors contributing to the success of two representative local festivals, 'Boryeong Mud Festival' and 'Andong International Mask Dance Festival'. For their successful operation and management, both of the festivals, respectively held in Boryeong and Andong, were all designated as Korea's most honorable festive events in 2011. This study found that the following factors contributed to the success of the two local festivals. First, it is to use native subjects that can reveal local uniqueness. 'Boryeong Mud Festival' utilizes 'mud' that is the most representative natural resource of Boryeong in order to show how the festive event is differential. In a similar vein, 'Andong International Mask Dance Festival' focuses on 'mask dance', a cultural resource that best represents Andong. Second, it is to establish local festivals as programs that are based only on the unique characteristics of their region's own. To be recognized as truly unique programs, local festivals should reflect characteristics native to regions where they are held. Third, it is to develop local products that have something to do with local festivals. In connection with the mud festival, Boryeong mud cosmetics and other tourist goods were developed, contributing to regional economic growth. In Andong, the cultural tours of that region were devised as products that can be connected with the international mask dance event. Fourth, it is to strengthen cultural marketing and sales promotion activities in connection with local festivals. Boryeong and Andong are not only making public relations about their festivals, but also working on the marketing and sales promotion of tourist, special and brand products in relation to the events. And fifth, it is to keep local festivals consistent with their basic goals. The two local festivals have been seeking to achieve basic objectives that local festivals usually have such as the succession of traditional culture, regional coherence and the attraction of tourists, while keeping even more different and even more unique in all aspects than any other local festive events, while Raising the value of local brands is positively related with the growth and development of local governments. Currently, there are lots of local festivals in Korea. Many of them have problems and challenges. To resolve these, those local festive events need to be evaluated and reorganized from the perspective of branding. If this move can lead to successful local festivals, it would help improve the image and economic growth of regions where the festivals are held, firmly establishing the events as local brands.

본 연구의 목적은 다문화 가정 학생들을 대상으로 사회정서학습 이론에 의한 음악 지도방안 을 설계하는 데 있다. 이를 위해 본 연구에서는 첫째, 다문화 음악교육의 내용 요소에 대해 고찰 하였다. 다문화 음악교육 내용 요소는 문화, 협력, 반편견, 정체성, 평등성, 다양성의 6가지이다. 둘째, 사회정서학습 이론의 요소에 대해 고찰하였다. 사회정서학습 이론의 요소는 자기인식, 자 기관리, 사회적 인식, 관계관리, 책임 있는 의사결정의 5가지이다. 본 연구에서는 이를 바탕으로 다문화 가정 학생들을 대상으로 사회정서학습 이론에 의한 음악 지도방안을 설계하였다. 이를 통하여 다문화 가정 학생들이 학교생활에서의 적응은 물론 다양한 문화를 가진 사람들과의 사회 생활에서 겪을 수 있는 갈등과 편견의 상황에서 자신과 타인의 감정을 명확히 인식하고 갈등을 해결할 수 있을 것이다.

The purpose of this study was to design a music instruction plan for students from multicultural families based on the Social and Emotional Learning(SEL) Theory. For that purpose, the study first examined the elements of cultural music education, covering six content elements of multicultural music education, which are culture, cooperation, anti-bias, identity, equality, and diversity. The study then designed a music instruction plan for students from multicultural families based on the SEL theory, which has five elements that are self-perception, self-management, social perception, management of relationships, and responsible decision-making. The findings will help students from multicultural families perceive others' emotions as well as theirs clearly and resolve conflicts in situations of conflict and prejudice they may encounter in life with people from various cultures.

트로트음악을 음계와 리듬만을 기준으로 분석한다면, 일본과 서양의 대중음악 양식이 혼합된　퓨전장르라고 할 수 있다. 그러나 오랜 세월동안 대중이 수용한 트로트음악에는 음계와 리듬 외에, 꾸밈음이 부각되는 입체적 창법, 그리고 대중과 밀착된 내용의 단순 명료한 가사의 어법, 다시 말해서 한국적 정서가 내재되어 있다. 이러한 역사의 부침 속에서 태어난 트로트음악은 시대의 발전에 따라 회생의 몸부림을 치게 된다. 많은 사람들의 어두운 사랑을 한 몸에 받았으며 군부독재의 탄압 또한 피하지 못하게 된다. 그리고 70~80년대 청바지 문화와 함께 들이닥친 통기타 음악에 의해 위기를 맞이하고 90년대 전자 사운드로 무장한 댄스음악에 의해 또 한 번의 위기를 맞는다. 하지만 특유의 자생력에 힘입어 트로트음악의 그 특유의 질감을 유지한 채 외적인 면모를 탈바꿈하는 유연성을 보이며 대중문화의 한 부분으로 거듭나게 된다. 이처럼 트로트음악은 우리나라 사람들에 의해서 만들어지고 불리어졌다. 그리고 대중의 취향을 의식하며 끊임없이 변화와 발전을 해왔기 때문에 수용자가 거부감 없이 받아들일 수 있었다. 이것은 트로트음악의 자생력이며 대중적 음악장르로서 자리할 수 있는 가장 큰 이유라 생각된다.

In the field of a study on Korean Trot Music, quite a lots of scholar have studied of the transition. I would like to point out that some kinds of music genre was derived from a hymn which has began from the late period of the Choseon Dynasty and the spread of Chang-ga which is Japanese version of the Korean style singing. Thanks to an inflow of a score which is sort of musical notation after the cultural open, the learning of Western musical theory and advent of the foreign instrument. it was assimilated as a Trot music in Korean society. Of course, Pansorri and Korean　Traditional Song which had been consisted of mainstream began to be pushed out by Korean Lied or New Folk Song and a various genre which has include lots of song of special composer. A popular song in the early period was settled as an waltz rhythm which has similar figure with the Korean traditional music. But this popular song accommodated trot rhythm that of western in 1930s to keep a popularity from another music genre. As a production of trot rhythm based song, Korean Trot Music began to be gradually located in domestic. After 1950s, we could observe the great change of Trot music. It was　affected by not a western popular song like a hymn in the early period　but that which boosted splendid figure. Trot music was absolutely upheld by Korean people because it's heartstrings was tallied with particular situation of that time. As the inflow of advanced pop music of US, however, came to be at a crisis, composers tried to actively accommodate which of western rhythm fast speed and to possibly grow out from the five musical scale. Because of that, trot music developed as a very wide genre which has　a various rhythm. Until 1990s, however, a popularity of trot was threatened by rehabilitation of dance music as another policy of the cultural open, again, it came to up to people with high-end sound which could be equal to dance music. A distinctive future of this time was that trot singer had came to posses a　Just like a dance singer. This time, people experienced the great change which is that the huge stage became needless when these trot singer performed. As like these, with the effort of that trying to equip with good aspect of other popular music, trot that coming up to the mass of people. As a result of that, it is reach point that people accept it selectively. Through "A Study on Historical Transition of Korean Trot Music", I want to look for the identity of trot music which was sang by Korean people at present. And it is another effort of trot music related group who think that the historical issues and social one is closely connected with trot music. Trot music which has repeatedly experienced　the change and development with differentiation and integration over again, it has the style combination like other art genre. We need to grasp the essence of our own culture through understand trot music as a part of Korean music. This study is a one of these endeavor.