论流行音乐的文化特性

王韡 ( Wang Wei ) 지속가능경영학회 2019 지속가능경영연구학회지 Vol.3 No.1

Popular music has gone through more than one hundred years since it came into being, and has become the most popular form of music culture in the world. Popular music belongs to popular culture. Based on the perspective of popular culture, the author puts forward and summarizes the nine cultural characteristics of popular music. The epoch of popular music, the popularity of popular music, the diversity of popular music styles, the commerciality of popular music, the scientific and technological nature of popular music communication, the mainstream singing of popular music works, the urbanization characteristics of popular music, the directness and sincerity of emotional expression of popular music, and the openness of popular music creation.

클래식 음악의 대중화: 원심력과 구심력의 이해

손현경 한국비즈니스학회 2022 비즈니스융복합연구 Vol.7 No.3

The popularization of classical music is one of the core tasks that the Korean classical music industry has steadily implemented over the past 30 years. However, the fruits of popularizing classical music over the past 30 years have not been successful. Classical music has not become popular and the classical music industry is shrinking over time. The number of classical music performances has decreased significantly compared to the past and the number of audiences for classical music performances has decreased even more significantly. It shows that there is a problem with the method of popularizing classical music in Korea that has been implemented over the past 30 years. Until now, the popularization of classical music in Korea has been mainly implemented by performers. Classical music performers played popular songs and sought to popularize them by breathing with the audience. As a result, the performer became popular, but classical music itself was not popular. Now we have to change the way. Only when classical music-centered popularization proceeds, not performer-centered popularization, can the base of classical music expand. This study proved the direction of popularization of classical music through experiments. What can be confirmed through this study is that when approaching classical music with high familiarity to the public, the public can sing along and hum along, making it easy to accept classical music in daily life. Above all, in order to popularize classical music, centripetal force, not centrifugal force, should be used. It is not appropriate for classical music players to enter the realm of popular music. It is necessary to find a way for pop music performers to enter the realm of classical music. 클래식 음악의 대중화, 우리나라 클래식 음악계가 지난 30여 년 동안 꾸준히 실행해온 핵심 과제 중 하나이다. 그러나 지난 30여 년 간의 클래식 음악 대중화의 결실은 성공적이지 못했다. 클래식 음악은 대중화되지 못했고, 클래식 음악계는 시간이 갈수록 위축되고 있다. 클래식 음악 공연의 수는 이전에 비해 크게 줄었으며, 클래식 음악 공연의 관객 수는 더욱 현저히 감소하였다. 지난 30여 년 간 실행된 우리나라 클래식 음악 대중화의 방법에 문제가 있음을 보여준다. 그동안 우리나라 클래식 음악 대중화는 주로 연주자 중심으로 실행되었다. 클래식 음악 연주자가 대중성 높은 곡을 연주하며, 이들이 관객과 호흡하는 방법으로 대중화를 꾀하였다. 결과적으로 연주자는 대중화되었지만 클래식 음악 그 자체는 대중화되지 못했다. 이제 방법을 바꿔야 한다. 연주자 중심의 대중화가 아닌 클래식 음악 중심의 대중화가 진행되어야 클래식 음악에 대한 저변이 확대될 수 있을 것이다. 본 연구는 어떻게 해야 클래식 음악의 대중화가 가능한지에 대해서 실험을 통해 증명하였다. 본 연구를 통해 확인할 수 있는 내용은 대중에게 친숙도가 높은 클래식 음악으로 접근할 때, 대중은 따라 부를 수 있고, 흥얼거릴 수 있어, 일상에서 클래식 음악을 편하게 받아들일 수 있다. 무엇보다 클래식 음악의 대중화를 위해서는 원심력이 아닌 구심력을 활용해야 한다. 클래식 음악 연주자가 대중음악의 영역으로 들어가는 것은 적절치 않다. 대중음악 연주자가 클래식 음악의 영역으로 들어올 수 있는 방안을 모색해야 할 것이다.

大衆音樂의 敎育的 責任과 役割

지봉환 한국사상문화학회 2009 한국사상과 문화 Vol.48 No.-

Popular music isn't a tool about amusement that carries out only one function for us to listen and enjoy. It is also education to juvenile and symbol of moral life. This study recognizes that popular music is not only a education toward the mass of people, but culture forming virtue, and pays attention to the educational duty and role of popular music. Considering the passion to popular song from juvenile, the capacity and role of popular song, like this, is problem that cannot be never overlooked. But it is difficult for us to neglect that popular song of present days go on following up pleasures, losing the moral, educational capacity and role. In not any security, most of teenagers are exposed to the situation like that violent or sexual words, expressions and gestures are rampant. And even anyone can't stand that things. At first the popular music appears with 'masses' as the slogan. But nowadays the popular music of this kinds are looking away from masses and even bad for them even. And such a popular music makes us feel that popular music is the changed artistic activities tarnished by commercialism and only chasing their profits even if they made masses slogan of them. But ,unfortunately, we have to focus on this situation is not in connection only with musical problem. Because this musical problem will lead the problems to confusion of community and corruption of masses. So, this study proposes the cognition about educational duty and role of popular music and necessity of effort about recovery from educational, moral ability, also tries to find alternative on musical problems. 대중음악은 듣고 즐기는 단 한가지의 기능만 수행하는 단순한 유희의 도구가 아니다. 그것은 청소년을 상대로 이루어지는 교육활동이고 윤리적 삶의 표상이기도 하다. 본 연구는 대중음악을 대중을 상대로 이루어지는 교육활동이고 도덕성을 형성하는 문화임을 인식하고 대중음악의 교육적 역할과 책임에 대해 주목하였다. 특히 청소년들의 대중음악에 대한 열정적 관심을 고려할 때 대중음악의 이러한 기능과 역할은 결코 간과할 수 없는 중요한 문제이다. 그러나 요즘 대중음악은 교육적․윤리적 기능과 역할을 상실한 채 쾌락만을 추구한다는 느낌을 지우기 어렵다. 견디기 힘들만큼 폭력적이고 선정적인 말과 표현 그리고 몸짓들이 난무하고 이러한 상황에 청소년들은 무방비로 노출되어 있다. 이것은 ‘대중’을 기치로 내걸고 등장한 대중음악으로서 대중을 외면하는 처사이며 나아가 대중에 대한 예가 아니다. 마치 대중이라는 간판만 걸고 속으로는 자신들의 이익만을 쫓는 상업주의에 찌든 변질된 예술 활동이라는 느낌마저 들게 한다. 그러나 문제는 이러한 현상이 단지 음악만의 문제로 그치지 않고 사회의 혼란과 대중의 타락으로 이어진다는데 있다. 따라서 본 연구에서는 대중음악이 지니는 교육적 책임과 역할에 대한 인식과 교육적․윤리적 기능 회복을 위한 노력의 필요성을 제기하고 이에 대한 대안을 모색한다.

중고등학교 대중음악교육 실태 및 교사 인식

노혜정 인천대학교 사회과학연구원 2016 사회과학연구 Vol.9 No.-

From 2009 the importance of popular music in school music education started to increase. It was because '2007 Revised Music Curriculum' included 'the Area of Music as a Way of Life' and the educational value of popular music was recognized as students' daily life music. It's the time to investigate the circumstances of popular music education and try to make a plan for development of it. The aim of this study is checking teachers’ awareness on popular music, investigating the circumstances of popular music education and also finding a way for development of popular music education. The main method of this research is on-line survey. 143 middle and high school music teachers were asked to respond to the survey from October 11st to 30th in 2015. The analysis result of this research is as follows. First, it was found that most music teachers recognized the need of popular music education in school. And many music teachers already used popular music for their class. It means the quantity of popular music education in school is enough so now systematic teaching method and qualitative development of popular music education is required. Second, the age of teachers influenced students' interest in popular music lesson. It is because younger teachers tend to prefer popular music and understand it well. Therefore popular music courses are needed for music teachers training program as well as classical music or Korean tradition music courses. Especially the course is also needed for current music teachers urgently. Third, it was found that the educational effect of popular music class was very influenced by teachers' understanding of popular music, the equipment and space condition of classrooms and students' interest in the class. Popular music has a positive effect on students' emotional well-being, creativity, communication skills, personality development, and attitudes and skills for cooperation. Therefore systematic teaching-learning method and retraining program for current teachers on popular music should be developed. According to the analysis results above, schools need more systematic popular music education program and it can be used for student activity programs such as inter-subject projects or school festivals. In this step, as for popular music education, the qualitative development is more needed through supporting teachers' training programs or voluntary teachers' researches than quantitative expanding of it.

미국 대중음악의 발전사에 대한 연구

유금 인문사회 21 2023 인문사회 21 Vol.14 No.2

The purpose of this study is to confirm the history of American popular music and to contribute to the development of domestic popular music by confirming the current status, development history and status of popular music. The study used a literature review method. As for the contents of the study, a review of previous studies and characteristics of popular music flow and period, the current status of American popular music, and the development history and status of American popular music were presented. Research Results First, American popular music was able to develop into content with unique ethnicity, originality, and fusion thanks to the characteristics of the United States, where immigrants are predominant.Second, it was found that American popular music can maintain its position in the present world by constantly changing and creating through exchange and grafting. Third, it was found that the United States created a music-related museum to record and preserve everything, and protect the creator by protecting copyright and intellectual property rights. Through these research results, it is expected that an artistic environment will be created in which the rights of creators of popular music are protected so that Korean popular music can also have an impact on the next generation by recording and preserving popular music related matters.

아도르노와 대중음악

이수완(Suwan Lee) 낭만음악사 2006 낭만음악 Vol.18 No.3

이 글은 대중음악에 대한 비판론을 대표하는 T.아도르노 대중음악론을 간략히 소개하는 것을 목적으로 한다. 그의 대중음악론은 전체 음악미학 구도에서 제기되었다. 하지만 특별히 문화산업, 진지한 음악과 가벼운 음악, 음악사회학과 같은 주요한 개념은 대중음악에 대한 비판의 맥락과 의미 그리고 과제를 비교적 명료하게 보여준다. 한편 그의 대중음악비판의 내용을 이루고 있는 주요 개념들 즉 재료의 표준화와 사이비 개성화, 플러깅, 분산적 청취와 음악의 사회 심리적 기능, 청중의 반항은 대중음악의 내재적 특성들을 기초로 한 것으로, 그의 음악사회학의 비판적 특성을 잘 보여준다. 이러한 것들을 통해 그는 대중음악은 음악내적으로도 문화산업의 상품적 특성을 가지고 있으며, 이로 인해 청자들의 청취의 퇴행을 초래하고 비판의식을 마비시킴으로써 이데올로기에 가까운 기능을 담당한다고 비판한다. 문화연구 및 대중음악연구의 토대가 되어온 그의 이러한 비판적 주장은 이제 그 의미에 대한 적절한 평가를 요구하고 있다. This is the article which introduces Adorno’s theory of popular music, which stands for the critical and optimist view on popular music, focused on the contexts of his popular music aesthetics and his main concepts of popular music theory. To understand his view exactly, we have to know the context of his claim: the culture industry, the division of serious music and light music, the music sociological project. His ‘culture industry’ theory shows that all the cultural productions lost their critical and authentic qualities and ruled by the economical profit principle under monopoly capitalism. As one component of the culture industry, the popular music shares the same characteristics of that. The popular music is the product of musical modernity. In configuration of modern music, separation and confrontation between the serious music and the light music represents the condition of music as a whole. But, on the other hand, their mutual exclusiveness contains their independence. The popular music seems to be the repressed other of modernism. In order to inquire the popular music, Adorno linked the music sociological method to the musical aesthetics. Music sociological research on popular music depends on the key terms such as production, distribution and reception. But his research ultimately aims to reveal the ideological implication of the popular music. So his music sociology becomes the part of the theoretical critique on society. And his music sociology deals with the relationship between the music and society in relation to the musical materials such as musical form. On musical production of the popular music, he points that it is made according to the principle of the ‘standardization’- which means the stereotypical forms and schematic formulae of music- and the ‘pseudo-individualism’- which means distinctive features serving to give novelty to standardized things. The structure of popular music lacks relationship which construct the mutual totality of details and the whole. On musical reproduction of the popular music, he focuses especially on the distribution. The structure of the popular music requires a technique of its own for distribution and he calls it ‘plugging’. It leads listener to get accustomed to being musically ever-equal by the intra and extra musical means. Its ultimate aim is the marketing. On consumption of popular music, he deals with the form of listening, based on the recognition mechanism. The listening of serious music is characterized by an active and structural listening, and needs the concentration and absorption. But the form of listening relating to the popular music is the passive and regressive listening form. It is the culinary and atomic listening which response to the sensuous, partial aspect of music. This listening form corresponds to the two major socio-psychological types of mass behavior toward music such as the rhythmically obedient and emotional response type. It leads music to function as the social cement. In this respect, music functions as ideology: engendering a false consciousness. But he didn’t eliminate any possibility of resistance. Mass’s frenzy for a fashion contains within itself the possibility of fury. But he claims that despite its possibility, it is suppressed by a spite that is directed inward. In the history of the popular music studies, his theory has been the target of attack or critique. Despite of many problems of his theory, his view must be read in the context of history of popular music and modernism. And until now it has important meanings in many debates about popular music’s value which never ends.

대중음악, 한국학적 접근의 궤적과 그 전망―1980-1990년대를 중심으로―

신정환 국제한국문학문화학회 2026 사이間SAI Vol.40 No.-

본 논문은 현대 한국에서 존재했던 대중음악 논의의 양상을 한국학적 궤적으로 파악한다. 대중음악은 전통적으로 한국학의 주요한 주제로 간주되지 않았다. 이는 (자)국학과 지역학의 모든 측면에서도 마찬가지였다. 해외의 한국학 논저들도 1980년대까지는 한국의 대중음악과 대중문화는 주된 표제어로 삼지 않았다. 하지만 민간과 관을 아우르는 다양한 간행물들은 항상 대중음악에 대한 담론적 구획을 구성해왔고, 광의적 측면에서의 한국학적 수행성을 발휘해왔다. 1960-1970년대에는 한국학적 대중음악 담론의 초기적 형태가 발견된다. 여기엔 대중음악 잡지, 정부 발행 간행물, 소수의 학술 자료들이 연합한다. 가요와 팝을 대비시키고 보편적 대중음악계를 상상하는 의식은 당대에 일반적이었다. 그 담론 구획이 본격적으로 두터워지는 것은 1980년대부터이다. 경제성장과 문화적 요구의 증대는 전문 잡지 시장의 성장과 맞닿았다. 월간팝송 과 음악세계 를 중심으로 하는 다양한 대중음악 잡지들이 등장하였다. 뿐만 아니라 마찬가지로 급증한 비대중음악지와 문화예술지들에 대중음악과 관련된 논의들이 지속적으로 게재되었다. 가요와 팝, 국내와 해외의 중첩감이 담론적 수준에서 공유되었고, 이때 ‘한국’은 보편적 세계성과 분명히 접속되는 것으로 간주되었다. 더불어서 노래운동을 위시로 하는 학술적․비판적 접근들은 민중비평의 관점을 투영하는 등 대중음악에 대한 이론적 정교화를 이루어내기도 했다. 이질적 간행물과 매체들의 연합은 그 어느 때보다 제고되어 대중음악 담론은 활기를 띠었다. 단순히 대중문화의 일환으로 환원되던 일반적 시각과 다르게 대중음악은 예술론의 주제로 지목되었다. 이때 주체적 ‘한국성’의 획득은 대중음악이 윤리성과 예술성을 확보하는 주요한 당위 요소였다. 이러한 1980년대의 기조는 1990년대로 연장된다. 1990년대에는 학술적 접근이 더욱 다원화된다. 이후 한류의 발생, 케이팝의 구체화, 한국 대중문화의 아시아 히트에서 글로벌 히트로의 전환 국면이 연속되면서 ‘한국성’은 더욱 중심적이고 중요한 문제로 부상하게 된다. 본고는 ‘방법으로서의 한국’과 같은 시각의 재고를 통해 선형적 계열화를 넘어서는 한국성 개념이 고찰되어야 한다고 제언한다. 다만 이러한 시각을 통해 대중음악을 논하는 접근은 분명 한국에서 그간 존재했다. 그렇기에 광의적인 한국학적 궤적의 흔적은 재고될 필요가 있다. This paper examines the discursive aspects of popular music in modern Korea as the Korean Studies trajectory. Traditionally, Korean Studies, including (one’s-own-) national studies and area studies, did not take popular music as a major subject. Likewise, overseas Korean studies publications until the 1980s have not covered popular music and popular culture. However, various publications encompassing the private and government sectors have continuously constructed discursive boundaries of popular music with performativity of Korean Studies in a broad sense. The early forms of the popular music discourse as comprehensive Korean studies emerged in the 1960s and 1970s, characterized by the combine of popular music magazines, government publications, and a small number of academic materials. It was common to contrast ‘gayo’ with ‘pop’ and to imagine the universal popular music world. In the 1980s, the discourse significantly grows in both quantity and quality. Economic growth and rising cultural demands aligned with the expansion of the specialized magazine market. Various popular music magazines, notably Monthly Pop Song and Music World, were established. Furthermore, discussions on popular music consistently appeared in the rapidly increasing number of non-music, arts, and culture journals. A sense of overlap between gayo and pop, as well as the domestic and the international, was shared at the discursive level. At this point, ‘Korea’ is clearly connected to universal worldness. Additionally, academic and critical approaches—most notably ‘Norae movement(Norae undong)’ having minjung perspective—achieved theoretical sophistication. The alliance of heterogeneous publications and media reached unprecedented levels, vitalizing the discourse on popular music. Moving beyond the conventional view that reduced it to mere popular culture, popular music became a legitimate subject of art theory. The acquisition of subjective ‘Koreanness’ is a crucial normative prerequisite for popular music to secure both ethicality and artistry. This tone of the 1980s continued similarly into the 1990s with further diversification in academic approaches. Subsequently, with the advent of Hallyu, the concretize of K-pop, and the transition of Korean popular culture from ‘Asia hits’ to ‘global hits’, “Koreanness” emerged as an increasingly central issue. I suggest that the concept of Koreanness based on non-linearity must be explored by considering perspectives such as ‘Korea as method’, so it is essential to reconsider the traces of trajectory of Korean Studies.

일제강점기 정책의 변화에 따른 서양대중가요 유입 형태 분석 -1910년부터 1945년까지의 번안가요를 중심으로

박소현 ( So Hyun Park ) (사)음악사연구회 2021 음악사연구 Vol.10 No.-

The purpose of the research is to analyze Korean Popular Music-Translation that is released in Japanese Colonial Era (1910-1945) based on political changes made by government. Definition of Popular Music-Translations(PMT) is a popular music that is already released in some country, changing lyrics into its own language in order to re-release it in other country. PMT played significant role in Korean Popular music history as the first industrial popular music, the indicator of inflow of other countries’ popular music into Korean society and also consisting a large body of Korean popular music history. Based on its significance, this paper analyzed PMT by using political background to figure out what kind of foreign especially Western popular music had arrived in Korean society from 1910 to 1945. The reason for using political atmosphere as analysis background is that PMT is not the original but derivative works which needs a institutional devices created by government. Divided by governments educational policy, statistical analysis of PMT and PMT’s original popular music genre had been done in this research. Both analysis had verified the connection between political background and inflow of Western popular music. Specifically, analysis of annual changes of PMT release had shown correlation between government’s policy and PMT, while analysis of PMT’s original work genre had revealed how policy worked during release of PMT in Korean popular music market. As PMT consisted large body of Korean popular music at that time, this research had found that government’s policy had made changes to not only PMT but also Korean popular music in Japanese colonial era. In other words, political power had been influential to Korean industrial music market. By the result of this analysis, this paper argues that popular music history could and should be analyzed by political background.

대중음악 확산 의미와 한류문화의 중요성

최태선 한국연기예술학회 2022 연기예술연구 Vol.27 No.3

The purpose of this study is to broaden the meaning and understanding of popular music by examining the effects of popular music on society in general and analyzing its effects. The research method was a qualitative study, and I would like to present the following conclusions. First, popular music as a cultural product should be able to form a consensus and feel proud through spontaneity rather than coercion through commerciality. Second, providing a link to maintain a sense of belonging and passionate fans through cultural products also serves as a medium to sustain popular music. Third, although it starts with popular music, sustainable Hallyu can be maintained only when it is connected with culture in individual life. Fourth, popular music is the largest socio-cultural factor that one individual or group influences the world through song, and it plays a leading role in the spread of culture. Fifth, the success of popular music is linked to industry, which has the effect of creating economy and jobs. Sixth, the establishment and practice of a systematic support system that can continuously spread Hallyu culture with popular music at the forefront should be supported. Popular music should not be viewed as a passing fashion like a shower, but as a cultural propagation and cultural industry. Popular music is the best means to fulfill the mission as a spearhead to spread the future Hallyu culture. Not only that, but by conveying our lifestyle, it will greatly contribute to understanding Koreans and Korean culture to the world. Therefore, this study aims to understand the meaning and diffusion process of popular music, to examine the importance of contributing to society as a whole, and to form future-oriented thinking about popular music. The path for the public to access music is mainly through the media. In this situation, it is necessary to have a basic understanding of how popular music is transmitted and spread. Popular music catches the public's attention 이 연구는 대중음악이 사회 전반에 미치는 영향을 살펴보고, 그 효과를 분석하여 봄으로써, 대중음악에 대한 의미와 이해의 폭을 넓히고자 하는 데 목적을 두었다. 연구방법은 질적연구로 이루어졌으며, 다음과 같은 결론을 제시하고자 한다. 첫째, 문화상품으로서의 대중음악은 상품성을 통한 강요보다는 자발성을 통한 공감대 형성과 긍지를 느낄 수 있도록 해야 한다. 둘째, 문화상품을 통해 소속감과 열성 팬을 유지할 수 있는 연결고리를 제공하는 것도 대중음악을 지속해서 유지하는 매개체 기능을 한다. 셋째, 대중음악으로 출발하지만, 개인의 생활 속에 문화로 연결되어야 지속 가능한 한류를 유지할 수 있다. 넷째, 대중음악은 한 명의 개인이나 하나의 그룹이 노래를 통해 세계에 영향을 미치는 가장 큰 사회문화적 요소로서 문화전파의 첨병 역할을 한다. 다섯째, 대중음악의 성공은 곧 산업으로 연결되어 경제와 일자리를 창출하는 효과가 있다. 여섯째, 대중음악을 선두로 하여 한류문화를 지속해서 전파할 수 있는 체계적인 지원 시스템 구축과 실천이 뒷받침되어야 한다. 대중음악은 소나기처럼 지나가는 유행으로 볼 것이 아니라 문화전파와 문화산업으로 바라보고, 그에 대한 철저한 준비와 체계적인 지원을 통해 지속해서 성장할 수 있는 토대를 만들어 주어야 한다. 대중음악은 미래 한류 문화를 확산시키는 첨병으로서의 임무를 수행하는데 가장 좋은 수단이 된다. 그뿐만 아니라 우리의 생활양식을 전달하게 됨으로써 세계에 한국인과 한국문화를 이해시키는데도 크게 이바지하게 될 것이다. 이에, 이 연구는 대중음악의 의미와 확산과정을 이해하고, 사회 전반에 이바지하는 중요성을 살펴보고, 대중음악에 대한 미래지향적 사고를 형성시키는 데 목적을 둔다. 대중들이 음악을 접하는 경로는 주로 대중매체를 통해서 이루어진다. 이러한 상황에서 대중음악이 어떤 경로를 통해 전달되고, 확산하는지에 대한 기본적인 이해가 필요하다. 대중음악은 대중의 관심을 먹고 성장하기 때문이다.

대학 교육을 위한 고전시가와 대중가요의 접목과 활용 - 대학에서의 고전시가 전공 수업 운영 수업 사례(2) -

강경호 ( Kang Kyungho ) 반교어문학회 2024 반교어문연구 Vol.- No.68

This article summarizes a case study of classical Korean poetry courses that the author taught in a university setting. Specifically, it builds on the previous discussion titled ‘Integrating and Utilizing K-Content in Classical Korean Poetry Education’, adding an exploration of integrating classical Korean poetry with popular music, including K-pop, into the curriculum. The article also reviews research on the continuity between classical Korean poetry and popular music and discusses the direction for classical poetry education in universities based on these findings. There has been ongoing academic discussion regarding the continuity and connection between classical Korean poetry and popular music. While scholars may differ on specific details, there is a general consensus that both classical Korean poetry and popular music can be viewed as part of an ongoing tradition, where their meanings and values are interconnected. Additionally, there has been continuous discussion about applying this integration of classical Korean poetry and popular music to university education. It is worth noting that discussions and critiques of classical Korean poetry and popular music are often reported even by those outside of academic circles, but such discussions sometimes stem from misconceptions or preconceived notions about classical Korean poetry, which can lead to problematic interpretations. This highlights the need for university education that helps foster a proper understanding of both classical Korean poetry and popular music. In the classical Korean poetry course taught by the author, the integration of classical poetry and popular music was incorporated into the curriculum. The theoretical portion of the course covered the evolution of classical Korean poetry, comparisons between classical poetry and modern popular music, and the development of K-pop. To ensure the course wasn’t overly focused on theoretical learning, students were also given practical assignments. These included: ①writing critical essays on modern popular music, and ②writing comparative analyses of classical Korean poetry and popular music. The first assignment served as a precursor to the second, helping students better prepare for the comparative analysis. Through analyzing popular music, students were better able to tackle the next step: comparing and analyzing classical Korean poetry and popular music. This process was deemed to effectively help students understand classical Korean poetry in new ways and deepen their learning experience.