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논문 기본 정보
- 자료유형
- 학술저널
- 저자정보
- 발행연도
- 2003.10
- 수록면
- 265 - 286 (22page)
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초록· 키워드
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The Gwangju Uprising was a watershed of Korean modern muisc history. It identified Korean music as national music after the division of Korea and developed it as a music-movement. After 1950, Korean modern music history turned to obscurity and introspection. The Gwangju Uprising helped us to regain the position of music and in the 1980's, with the creation of work and group activity of amateur song-groups and specialized musicians
Besides, song-groups of universities caused by the Gwangju Uprising, after 1984, new social song-groups were organized. These groups with specialized musician organized <National Music Conference>(1990) Additionally, they developed the discourse on national music to clear the identify of Korean music the organization of <the Third Generation>(1981), <Society for the Folk Music>(1984), <Popular Culture Movement Conference> (1984), <Society for Musicology>(1986), <Korea Music Institute>(1986), <National Music Society>(1988), and <National Music Conference>(I990) created essays on national music and national works.
With the Gwangju Uprising, the escape from unreality and un-nationalism, they differently created and sang. they expressed the tragedy minor keys, solidarity with comrades in the melody of march, democratization of Gwangju in slow tempo. <Society for Folk Music> and Jeong Se-hyeon were active
On the other hand, there are many artists, who described Gwangiu. They were composer Jeon Kyoung-sook and Kim Dae-sung from <Music Society for the Folk Music>, Korean traditional music singer Lim Jim-teak, choreographer Kim Wha-sook, the Opera company of Gwangju and Yun E-sang. Yun E-sang composed 「Exemplum, in memorian Gwangju」, "Kantate Mein Land, meim Volk」(1987) and "Engel 10 Flammen und Epilog」 Especially, "Engel 10 Flammen und Epilog」 was composed for orchestra, soprano solo, and female chorus. The content was victims of Gwangju and souls who led democratization. His spirit and form of art sublimated Gwangju to the international world. Furthermore, It was the most mature work.
Besides, song-groups of universities caused by the Gwangju Uprising, after 1984, new social song-groups were organized. These groups with specialized musician organized <National Music Conference>(1990) Additionally, they developed the discourse on national music to clear the identify of Korean music the organization of <the Third Generation>(1981), <Society for the Folk Music>(1984), <Popular Culture Movement Conference> (1984), <Society for Musicology>(1986), <Korea Music Institute>(1986), <National Music Society>(1988), and <National Music Conference>(I990) created essays on national music and national works.
With the Gwangju Uprising, the escape from unreality and un-nationalism, they differently created and sang. they expressed the tragedy minor keys, solidarity with comrades in the melody of march, democratization of Gwangju in slow tempo. <Society for Folk Music> and Jeong Se-hyeon were active
On the other hand, there are many artists, who described Gwangiu. They were composer Jeon Kyoung-sook and Kim Dae-sung from <Music Society for the Folk Music>, Korean traditional music singer Lim Jim-teak, choreographer Kim Wha-sook, the Opera company of Gwangju and Yun E-sang. Yun E-sang composed 「Exemplum, in memorian Gwangju」, "Kantate Mein Land, meim Volk」(1987) and "Engel 10 Flammen und Epilog」 Especially, "Engel 10 Flammen und Epilog」 was composed for orchestra, soprano solo, and female chorus. The content was victims of Gwangju and souls who led democratization. His spirit and form of art sublimated Gwangju to the international world. Furthermore, It was the most mature work.
목차
Ⅰ. 머리글
Ⅱ. 민주항쟁과 음악인들의 조직
Ⅲ. 광주항쟁의 작품
Ⅳ. 광주항쟁과 민족음악론
Ⅴ. 맺는글
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UCI(KEPA) : I410-ECN-0101-2009-340-013836253