The purpose of this study is to draw a comprehensive map of the modern music culture of Korea in 1920s by focusing on music publications of the time, especially private sector ones. Modern music culture of the time took an entirely unprecedented cours... The purpose of this study is to draw a comprehensive map of the modern music culture of Korea in 1920s by focusing on music publications of the time, especially private sector ones. Modern music culture of the time took an entirely unprecedented course. The modernization process of the Korean peninsular has rapidly changed the society and the daily lives of people in the colonial context and, the newly introduced western music along with the civilization was contrasted with the traditional ones, resulting in such a complex and volatile modern music culture. Music publication in the first half of the 20th century vividly reflects those unprecedented geopolitical as well as sociocultural changes of the time. Thus this study explores diverse aspects of music printing, advancement of technology, changes in notation system including changes in genres, musical styles, themes and contents of lyrics. Furthermore, important figures, such as publishers, authors and consumers, who were involved with publications, were closely examined in a sociocultural context as they deeply influenced the very nature of those publications. There were three major sectors involved in the modern music publishing in the 1920s. They are the colonial government[朝鮮總督府], the religious institutions[基督敎, 主日學校], and the private sector[民營出版社]. Among them, private publishing activities flourished the most, because publications in the private sphere had a wider range of paying consumers. Compared to the 1910s, the amount of music publications increased sharply, though it was politically a time of tightened censorship in publication, following the 3·1 independence movement in 1919. On the surface, though the colonial government practiced a policy of cultural appeasement, and many literary figures and independence activists as well as composers took highly active parts in music publications, undertaking diverse roles. Detailed analysis of the music publications in the 1920s reveal several significant changes in the early part of modern music culture of the time, especially 1920s. I have found 6 pronounced changes in this research. Firstly, genres that previously orally transmitted ones were now notated in written forms, often only the lyrics indicated, revealing the changes in the ways to learn and practice traditional music genres. Some of the earlier scores carry both music notation and the lyrics, yet earlier scores include only the lyrics, though sometimes with number notation. There were gradual shifts in notation system from number to staff notation during this ten year time span. Secondly, the concept of composition and copyright, which were highly new to the traditional Korean music scene, has emerged in the 1920s as the printing process then started to include identity of composers and lyricists, the melodic types, and other important facts related to music printing. Even in 1910s, many songs with the same melodies, though different lyrics, were freely printed in various publications without revealing the names of composers and lyricists. However with the popularization of children’s songs[童謠] since 1923 promoted by Children’s movement in the early 1920s, individual composers of those songs were recognized in the scores, encouraging them to and publish their own personal collection. Thirdly, the modern music publications demonstrates the importance of music in enlightening and educating people, especially emphasizing the effect of singing and collective singing on changing peoples mind. Under the colonial regime, many social leaders, such as independence movement activists, social activists, teachers, and writers strongly believed in utilizing music to change the society, so they undertook important roles in publishing music books. Many of them participated in editing[校閱], writing preface and lyrics in music publications. Fourthly, the modern music publications with many ‘catch’ titles were published. Some publication took an important role to accept and spread newer types of music in Korean cultures. They were mostly hymns, songs of the western origin and Japanese Changga[日本唱歌], often with Korean translated lyrics. Those songs were published with the titles of “new style[新式]” or “popular style songs[流行唱歌]”. Furthermore, both older and newer songs were published together under the title of “The New and The Old[新舊]”to stimulate the buyers. They are actually the traditional Korean music with the western style ones. The collections with many well-known songs[名曲] can also be founded music publications issued by two representative private publishing companies, Youngchangseogwan[永昌書舘], Bahkmunseogwan[博文書舘] in the 1920s. In oder to meet the need of publics at that time, the genre of popular music[大衆音樂] was also beginning to be published by the private publishing companies as well. Fifthly, the modern music publications began to publish music for specific target such as minor groups or generations of the society, and the title pages clearly indicated the target groups. They are for the women, children, and youth, and the new genres occurred as a result. The group of music appreciators steadily and extensively grew, and Children’s song movement had a great influence on both music and literature of the time. Music dramas[歌劇] and songs for children promoted by religious institutions and the leading writers and composers participated in various venues, enhancing social movement and religious cause. Lastly, background of the owners and publishers of private publishing companies reveals that they were mostly well educated, recognizing importance of using music to affect the social changes. Thus they not only support the publication of the music books but also to patron various public concerts and schools, forming new music culture of the society. Until now people, such as owners, publishers, and editors, who undertook highly significant roles in participating and promoting the modern music culture of Korea has not been systematically studied due to lack of primary sources. The study of music publications in 1920s went far beyond the modernization of Korean music cultures itself or advancement of music printing technology. It not only reveal the musical phenomenon and changes at that time, but also how it has changed the daily lives of people through music, enforcing the modernization process much faster than any other cultures. Due to the innate characteristics of music, people experienced something that they had never met before and it had totally changed the value system and thinking process of people in Korea. Researching the network of events and people connected to publishing companies and music publications opens up a deeper understanding of the music culture in Korea’s modern era.
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