메이예르홀트 공연의 음악성 연구 - 3. 공연 구조와 구성의 음악화 -

백승무(Paik, Seung-Moo) 한국슬라브유라시아학회 2020 슬라브학보 Vol.35 No.3

This thesis is the third study to discuss the musicality of Meyerhold’s plays. While the previous two papers explored the cultural background and aesthetic principle of musicality, and the musical organization of speech and action, this paper examines how musical principles operate in the composition and structure of plays. His musical experiments were intensified by showing the aspects of evolution and development, and over a long period of time, the stage element of music contributed to the structuring and synthesis of the performance, and became an essential principle defining the ideological content of the play. The musicality that Meyerhold aims for is a methodology that reveals the essence of the play, independent of the linguistic text. His musicality is not only self-sufficient in itself, but has become a dramaturgical component called the subtext beyond the additional and modifying functions of the stage situation. “Teacher Bubus”, a ‘comedy made from music,’ shows how music dominates the various stage elements that determine the structure of a performance, and the ‘musical composition of action’ was applied in earnest. “The Government Inspector” is a work in which Meyerhold"s musicality gains the genre status of ‘musical realism’, and in “The Lady of the Camellias”, the musicality that shakes the psychology of the audience and raises the consciousness of the subject takes the position of the final instance of the play.

이효석 소설에 나타난 聽感覺의 에피파니 연구 - 제임스 조이스 문학과의 연관성을 중심으로-

이미나 바른역사학술원 2025 역사와 융합 Vol.- No.24

In the context of 1930s Korean literature, James Joyce was recognized as a pioneer of the "psychological novel" and a prominent figure in advancing "psychological realism." His works, introduced to Korean audiences in the late 1920s and extensively translated in the 1930s, were actively embraced by modernist writers. Within Korean literary discourse, psychological realism was viewed as a literary method of bourgeois literature, positioned in contrast to Kafka's socialist realism. This methodology, celebrated as a new creative approach for modernist literature, became a prominent framework for understanding modernist and realist works in Korean literary circles of the time. Lee Hyo-seok perceived psychological realism as a more modern literary trend compared to objective realism, arguing that realism had bifurcated into an objective realist school and a psychological anatomizing school. His positive reception of James Joyce and his literary techniques reflects the broader embrace of Joyce’s influence among Korean modernist writers. This paper examines the psychological tendencies in Lee Hyo-seok's novels in connection with Joyce's works, with particular attention to the psychological effects of "music" and Joyce's technique of "epiphany." In Joyce’s literature, music operates as an evocative and emotional force, serving as a metaphorical experience that transcends linguistic expression. Similarly, Lee Hyo-seok’s novels utilize music to intensify emotional depth, integrating it into the narrative to evoke powerful psychological responses. A distinctive feature of Lee’s works is the “epiphany of hearing and sensation,” moments of profound realization and awareness catalyzed by music. In the works of both Lee and Joyce, music emerges as a mechanism that heightens dramatic emotion, advances narrative development, and facilitates spiritual and emotional revelation. By exploring the role of music and its psychological resonance in Lee Hyo-seok's literature, this study highlights the interplay between auditory sensations and emotional expression, situating these elements within the framework of psychological realism. Furthermore, it underscores the shared literary mechanisms employed by Lee and Joyce, illuminating how music operates as a conduit for narrative and psychological transformation in their respective works

일제강점기 음악비평 논쟁 -음악과 이데올로기-

신설령 ( Seol Ryoung Shin ) 민족음악학회 2013 음악과 현실 Vol.45 No.-

The disputes over music and ideology in the newspaper do not seem easy to estimate just as simple arguments through a few articles of Shin Go-seong and Hong Nan-pa considering the profoundness of the subject. Through these arguments we could see the issues of the distance between music and public, reflection on the fact that music cannot bring comfort for people, hope for new music which people can enjoy, and endeavor to devise the new form of music that contains the hope. In addition, we should take note of the following fact that these issues were raised by the reference on proletarian art. Proletarian music movement by KAPF(Korean Artists Proletarian Federation) advocates the popularization of music and furthermore, makes use of music as tools for equipping public such as workers and farmers with Proletarian ideology. Shin Go-seong`s articles mention the direction of Japanese proletarian music movement and indicate the influence of Russian proletarian music. The disputes over music and class in the newspaper show that intellectuals at that time concern a lot about music of their time and public who appreciate music as well. Thus the significance of the disputes is that they make people face the reality of music by revealing the problems of music at that time.

A Study on the Role of Music in Documentary Films

Wen Tao,고정훈 한국상품문화디자인학회 2022 상품문화디자인학연구 Vol.71 No.-

The art of film is a comprehensive art. With the lens as the basic unit, with the picture and sound as the main form of expression, through the means of picture editing and audio-visual montage, create a variety of screen images to reflect the material reality of the world and human spiritual life. Film art is made up of visual parts, auditory parts and associative parts. Documentary video art, known as documentary by the general audience, is the art form closest to the real life state in the film art. Music plays an important role in the expression of documentary image art. However, compared with people's attention to visual effects, ordinary people as audiences often ignore the role of music. This phenomenon will feed back to the creators and affect the creators' creation of music in the process of creation. In fact, music is one of the oldest and most abundant ideographic elements. In the primitive stage, the expression of all thoughts and opinions in human society is based on sound, and music plays a greater role in the expression of sound. In the process of documentary image art creation, the role of music goes far beyond the general sense of showing plot and rendering atmosphere. Through the analysis of music in the process of documentary image art creation, the paper studies the rich functional performance of music in documentary image art, in-depth analysis of the diversified role music can play in the process of documentary image art creation, so as to explore more possibilities of music creation and use in documentary image art creation. And summarize the role of music in the creation of documentary video art.

20세기의 역사적 사건들과 쇼스타코비치의 음악: 음악과 정치의 관계에 관한 소고(小考)

오경택 한양대학교 평화연구소 2019 문화와 정치 Vol.6 No.4

Music is important to politics. Likewise, politics is important to music. One of the most important political roles Shostakovich’s music played was the effect of the <Symphony no. 7(‘Leningrad’)> to enhance solidarity between American and Soviet Peoples during World War II. It also raised the pride, hope, and courage of the Soviet people, which were necessary to fight against Nazi Germany. It also reflects the universal spirit of resistance against all kinds of terrors. In the Soviet Union, music and musicians served as political and diplomatic tools. The Communist Party used <Lady Macbeth of the Mtsensk District> scandal to launch a purge on the entire community of intelligentsia. Diplomatically, <Symphony no. 7> played a critical role in the Soviet policy toward the United States. The composer also served as a cultural diplomat of the Soviet Union during the last several years of the Stalin era. Politics also greatly influenced his music. The German invasion was the direct motivation of composing <Symphony no. 7>. ‘The Great Purge’ and Zhdanov campaign forced him to separate private compositions from official ones. The <Lady Macbeth> scandal also forced him to stop writing another opera for good. His reputation also suffered roller coaster changes according to political situations: from a formalistic enemy of people to a hero musician. When the Cold War began, he became a target of cultural purge in the Soviet Union, but was considered a government-hired musician in the Western world. Politics of the times influence not only the creation of music but the reception of it. 음악은 정치에, 정치는 음악에 있어서 매우 중요한 요소이다. 쇼스타코비치의 음악이 시대와 정치 상황에 가장 큰 영향을 미친 사건은 <교향곡 7번(‘레닌그라드’)>의 역할이다. 이 곡은 2차 대전 중 소련과 미국의 연대감을 강화시키는 역할을 했고, 소련 국민들에게 자부심과 희망을 주어 전쟁의 사기를 크게 고양시켰으며, 모든 형태의 정치적 폭력을 거부하는 인류의 보편적 정신을 반영하고 있기도 하다. 그러나 소련에서 음악과 음악가는 정치와 외교의 도구 역할도 한다. 오페라 <므첸스크의 맥베스 부인> 사건은 전 지식인 사회에 대한 당의 통제를 알리는 본보기로 정치적으로 활용되었다. 외교적으로는 쇼스타코비치가 소련의 대미 전쟁외교에 결정적 도움이 되었으며, 스탈린 말기에 정치 선전을 위한 문화외교 사절의 역할을 했다. 그가 속한 시대와 정치권력도 그의 음악에 심대한 영향을 미쳤다. 우선 독일의 침략은 <교향곡 7번>을 창작하게 한 직접적 원인이었다. 그리고 대숙청과 즈다노프 비판은 그가 공적 영역과 사적 영역을 분리해서 이중적 작곡 활동을 하도록 했다. 또한 <맥베스 부인> 사건으로 인해 이후 오페라는 쓰지 않게 되었다. 그에 대한 음악적 평판도 정치의 변화에 따라 부침이 심했다. ‘형식주의자, 인민의 적’에서 ‘영웅적인 작곡가’를 오르락내리락 했다. 그의 곡들은 냉전이 시작되자 소련에서는 탄압을, 미국에서는 외면당했으며, 냉전이 끝나자 다시 인기를 회복했다. 음악의 창조도 시대의 영향을 받지만, 음악의 수용도 변화하는 시간과 공간의 맥락에서 이루어지는 것을 알 수 있다.

현대 중국 몽골족 전통가요의 가사 분석

과근,홍성규 한국문화융합학회 2022 문화와 융합 Vol.44 No.5

This study sorted out the trend and theme classification of the modernization of Mongolian traditional music in Inner Mongolia, China, and investigated the literary characteristics of the modernization of Mongolian traditional music through the analysis of the lyrics of the selected representative songs of each theme. For this reason, this study refers to the academic literature related to Mongolian music at home and abroad, as well as the works collection of in the modernization of Mongolian traditional music such as “Inner Mongolia folk songs and folk songs” and “grassland new songs”. Based on the classification theme, literature and popularity of songs, this study selects 12 representative songs from more than 400 songs included in the works collection, and analyzes their lyrics. The results can be summarized as follows: first, from the lyrics of modernization of Mongolian traditional music, we can see the distinctive “aesthetic characteristics of socialist realism”, namely “people’s nature”, “party spirit” and “class nature”. Second, In the songs of the modernization of Mongolian traditional music, it is found that the “beauty of artistic conception” of national aesthetics is the unity of emotion and scenery, content and form, subjective and objective, which injects emotion into things through metaphor and personification, and then turns into poetic images. Third, in the modern songs of Mongolian traditional music, we can see the “national religious consciousness” of “life and female worship” left over from the ancient national belief Shamanism. Fourth, in the songs of the modernization of Mongolian traditional music, we can feel the strong “symbolism of national culture” of national culture through the cultural symbols containing the inner world of poetic narrator and the connotation of national culture. On the other hand it can also be seen from the development process of the modernization of Mongolian traditional music for more than 70 years that the literary and artistic policies and economic policies in different periods have had a great impact on its development, which also proves the importance of a country’s social politics and economy to the development of culture and art. It is true that art in any country can not completely get rid of the influence of politics, but the Complex spiritual labor like art should not be defined and controlled by politics, and its pure spiritual world should always belong to the human individual itself.

일반논문 : 2차 세계대전 후에 나타난 폴란드 음악의 사회적 상황들과 작곡가들의 활동에 관한 소고

이승선 ( Seungsun Lee ) 한국공연문화학회(구 한국고전희곡학회) 2015 공연문화연구 Vol.0 No.31

제 2차 세계대전 이후 나타난 폴란드의 음악 상황은 이전부터 활동한 원로 작곡가 그룹부터 총 5세대로 구분되어지고, 또한 전후에도 새롭게 3세대가 추가로 등장한다. 그들은 전후 새롭게 등장한 공산정부주도 하에서 구소련으로 부터 도입된 ‘사회주의 리얼리즘’이라는 새로운 예술정책에 각기 다른 반응을 보이면서 활동을 하게 된다. 특히 작곡가들은 사이에서는 정부 예술정책을 옹호하는 측과, 비판하는 측의 두부류로 나누어지면서 각기 활동을 하게 되는데, 이에 따른 다양한 예술 사조를 낳게 되는 결과를 가져 다 준다. 하지만 1956년을 기점으로 창작활동의 제약은 사라지게 되고, 폴란드는 새롭게 도약할 수 있는 발판을 마련하는 기회를 가짐으로써 서방국기가 선점한 예술분야를 따라잡을 수 있도록 많은 노력을 하게 된다. 전후 그들이 겪었던 ‘사회주의 리얼리즘’과 ‘형식주의’는 창작활동에 있어서 음악사조적으로 분분한 의견으로 나타났지만 그들의 순수 창작으로의 열의를 꺾지는 못하였다. 새로운 예술정책을 위한 와구프(Łagow)의회 수많은 토론과 의견들은 창작의 자유가 보장된 우리들에게 시사 하는바가 많음을 일깨워주고 있다. Several generations of Polish composers were active in Poland during the first post-war years.Whilst these interests generally correspond to the particular generations, the latter may be symbolically broken down into ten-year period. The brief characterization of the particular generations presented intended solely as a guide to the reader, and discusses only the most outstanding and most familiar representatives of the five generations of composers. In addition, new generations of composers entered the musical arena. In the years leading up to the congress at Łagow, i.e. prior to 1949 a discussion took place on the subject of formalism in music. On the basis of statements made by composers, musicologists and politicians, to fine definitions of realistic and formalistic music. The first signs of crisis in the normative aesthetic, visible mainly in the weakening of the pressure exerted on composers by the administrative powers, appeared prior to 1956. The most crucial of the consequences which followed the political upheaval of October 1956 was the change in the conception of musical culture: instead of the conception of a unified culture, a conception was accepted of a multi-layered culture, differentiated in respect to style, content and social function. Polish composers assimilated virtually all the developments of the Western European avant-garde, in order to rediscover its place in European music. The effect was to produce an extremely rapid advancement of Polish music in the international arena. A substantial role in this process was played by changes in Polish musical life

대중음악과 CCM의 윤리성에 대한 문화신학적 고찰 -제임스 스미스의 문화 예전적 관점을 중심으로-

김봉근(Kim, Bongkeun) 삼육대학교 신학연구소 2019 신학과 학문 Vol.26 No.-

이 연구는 기독교계에서 제기되는 대중음악의 영향을 받은 CCM을 둘러싼 윤리성 논쟁을 문화신학적 관점에서 분석한 것이다. 우선, 음악이 인간의 도덕성에 끼치는 영향력을 동서양의 철학적 관점을 통해 확인하였다. 반대론자들이 문제 삼는 것은 CCM의 대중적 음악 형식이다. 그러나 본 연구는 이 문제를 해결하기 위해서 힐러리 퍼트남의 비판적 실재론의 입장에 서는것이 필요하며, 최선의 형식적 완성을 찾아가기 위해서는 열린 마음과 지속적인 탐구가 필요하다는 것을 주장하였다. 결론적으로 본 연구는 CCM 찬성론자들은 반대론자들의 경고에 귀 기울 필요가 있고, CCM 반대론자들은 열린 자세와 유연한 인식론적 입장을 취할 필요가 있다는 것을 권한다. This study explores the ethical debate concerning contemporary Christian music (CCM) influenced by popular music from cultural and theological perspectives. First, the influence of music on human morality is examined from both Eastern and Western philosophical viewpoints. Some opponents of CCM reject its popular music format. This study, however, argues that a stance similar to Hillary Putnam s critical realism and a mind open to continual inquiry are necessary to discover the best formal completion. In conclusion, CCM adherents must listen to the warnings of opponents of CCM, and CCM opponents must take a more open and flexible epistemic position.

북한의 세계청년학생축전 예술경연 참가에 관한 고찰 -1950년대 후반-60년대 북한 문예정책과 관련하여-

주자영 연세대학교 통일연구원 2024 통일연구 Vol.28 No.1

This paper examines North Korea’s participation in the World Festival of Youth and Students in the field of artistic competitions. The World Festival of Youth and Students, an international event born out of the World Federation of Democratic Youth, a youth organization sponsored by the Soviet Union, began with the 1st Prague Festival in 1947. While serving as a meeting place within the socialist bloc amidst the deepening Cold War order, the festival advocated for peace and friendship, presenting itself as a venue for cultural exchange among young people worldwide. The artistic competition, one of the key programs of the Festival, became a ‘cultural Olympics’ where youth from various countries competed in artistic abilities. North Korea has participated since the first Festival in 1947, consistently sending delegations to the artistic competitions. In the early years, the participation itself held significant meaning under the conditions shortly after liberation. However, starting from the 6th Festival held in 1957, North Korea made remarkable achievements in the competitions, and these outstanding results continued until North Korea’s last participation in the 1973 Berlin Festival. This paper provides a historical overview of North Korea’s achievements in the Festival’s artistic competitions and examines the significance attributed to them. Meanwhile, the achievements in the Festival’s artistic competitions shed light on specific aspects of North Korea’s literary and artistic development after liberation, particularly revealing various issues in the music sector. These issues were closely related to North Korea’s literary and artistic policy, which centered around socialist realism principles from the late 1950s to the 1960s. The development of North Korean music during this period unfolded as a quest for solutions to establishing the Juche as demanded by Kim Il Sung, within the framework of socialist realism, in both traditional and contemporary music. The issues raised during this process were reflected in the artistic competitions from the 6th Festival in 1957 to the 8th Festival in 1962.

쇼스타코비치를 증언하는 음악 다큐멘터리 연구

이주리 한국인문사회과학회 2023 현상과 인식 Vol.47 No.4

다큐멘터리는 역사 속의 인물과 사건에 관한 실체를 드러내는 증언 기록물 중에서 사실성과 객관성을 구현하는 데 초점을 맞춘 장르이다. 다큐멘터리는 역사적 고증과 인터뷰 등을 통해서 객관적 사실을 보여주고 왜곡되었던 진실을 밝히는 증언의 매체라고 말할 수 있다. 하지만 여타의 장르와 마찬가지로 다큐멘터리 또한 ‘순전한 사실’을 전할 수 없다. 제작진이 사실성에 초점을 맞추어서 다큐멘터리를 만들었다고 하더라도, 텍스트 제작에 관여하는 여러 가지 요소들, 예를 들면 이미지의 선택과 배치나 서사의 구성 방식은 특정한 의미와 메시지를 발생시키는 효과가 있기 때문이다. 따라서 증언 기록물을 접하는 수용자는 텍스트가 보여주는 객관적 사실을 파악하는 동시에, 텍스트를 통해서 전달되는 주관적인 메시지가 무엇인지를 이해할 필요가 있다. 이 논문에서는 소비에트 연방 출신 음악가인 쇼스타코비치를 재현하는 여러 기록물 중에서 사실성과 중립성을 확보하는 데 성공했다고 볼 수 있는 음악 중심의 다큐멘터리, 「클로즈 업 쇼스타코비치: 러시아 작곡가의 초상」(Close up Shostakovich: A Portrait of the Russian Composer)을 자세히 분석할 것이다. 2006년에 발표된 이 다큐멘터리는 냉전 시기 동안 ‘헌신된 공산주의자’ 또는 스탈린의 옹호자로 여겨졌던 쇼스타코비치가 실제로 누구인지를 밝히려는 목적으로 제작되었다. 이 글에서는 이 다큐멘터리가 보여주는 사실적 재현법의 특징을 살펴보는 것과 아울러, 텍스트를 통해서 암묵적으로 전달되는 메시지가 무엇인지를 밝힌다. Documentary is a genre that focuses on achieving realistic and objective representation and objectivity among other testimonial records that reveal the truths about people and events in history. It can be a useful medium of testimony that shows objective facts and reveals distorted truths through historical research and interviews. However, like other genres, documentaries cannot convey pure facts. Even if the producer of a documentary takes the work with a focus on realism, various elements involved in text production, such as the selection and arrangement of images and the way the narrative is structured, have the effect of generating specific meanings and messages. Therefore, those who read testimonial records need to grasp the objective facts shown in the text and at the same time understand the implicit message delivered through the text. Emphasizing the importance of recognizing the factors contributing to the production of meanings and messages, this paper analyzes a music-oriented documentary, Close Up Shostakovich: A Portrait of a Russian Composer, which is aimed at expressing Dmitri Shostakovich, a musician from the Soviet Union, as realistic as it can from a neutral point of view. This documentary, released in 2006, was designed to uncover the truths about Shostakovich, who was largely considered a ‘committed communist’ and Stalin’s defender during the Cold War. This paper examines to what extent the documentary achieves its objective by looking at its ways of representation and assessing the effects of the representation.