1920년대 한국 근대음악문화 지형그리기

Abstract

본 연구는 전통적인 우리의 것과 유입된 서구의 것이 혼재되어 있는 1920년대에 발행되었던 음악출판물들을 통해 음악의 장르의 변화, 주제, 가사내용 양식의 변화, 저작자, 수용자, 그리고 출판물의 발행 계획, 과정, 연관사건, 금지처분까지 관련된 내용들을 추적하고, 발행인과 편집자들을 관계 안에서 분석하여 당시의 근대음악문화의 지형도를 그려보고 일상의 음악문화를 이해하는 것이 목적이다, 역사적으로 인쇄와 출판은 기술의 발전과 인간의 근대적 사고로의 변화가 결합되어 이루어진 종합적 산물로서 사회 전반에 걸쳐 다양한 변화를 이끌어냈다. 한국의 근대는 서구에 비해 현저히 늦게 시작되었고, 그 과정도 식민지 시기와 겹치면서 정치사회적으로 매우 복잡한 상황에서 진행되었다. 한국 근대시기의 출판은 관(官)주도 영역, 종교주도 영역, 민간주도 영역으로 그 목적과 발행 주체에 따라 세 부분으로 나누어지는데, 이 중에서도 민간주도 영역은 타 영역에 비해 발행 의도와 대상에 있어 가장 폭넓게 출판이 이루어졌다. 또한 1919년 3·1 운동 직후인 1920년대는 일제의 식민정책에 따라 언론과 출판이 통제되었지만, 표면적으로나마 이루어진 자유로운 출판활동 속에서 음악도 본래 가지고 있던 우리 고유의 음악과 서구에서 유입된 음악들이 서로 상충하면서 활발하게 출판되었다. 특히 이 시기에 민영 출판사에서 발행된 음악출판물에는 당시의 우리의 삶과 의식이 투영되어있으며, 음악문화의 다양한 모습들을 반영하고 있기 때문에 어떠한 음악출판물이 발행되고 수용되었는지를 사회 문화적인 맥락 안에서 살펴보는 것은 매우 중요하다. 1920년대는 그 이전에 비해 음악출판물의 양적 증대와 유형의 변화가 이루어졌으며 음악출판물 발행도 늘어난다. 이는 당시의 정치적 사회적 변화에서 기인하는데, 1919년 3·1운동 직후인 1920년대에는 이전까지 한국 사회의 비주류 계층이었던 여성, 어린이, 아동과 또 이들을 대상으로 하는 교육에 대한 관심이 이전보다 커졌기 때문이다. 특히 어린이 운동과 함께 시작된 동요에 대한 관심은 문학과 음악이 결합하면서 많은 동요를 쏟아내었고, 동요작곡가들의 동요작품집 출판을 시작으로 작곡가들의 개인 작품집이 등장하기 시작했다. 1920년대 초기에는 동서양의 위인들에 관한 교훈적인 내용이나 계몽적인 가사들을 담은 노래들이 등장했다면, 중반으로 갈수록 서구 가곡이나 민요 등 세계를 인식할 수 있는 다양한 주제로 확대되었고 또 다양한 계층을 위한 음악출판물이 나오면서 대중음악이 향유될 수 있는 바탕을 만들어주었다. 이렇게 음악출판물은 양적 증대뿐만 아니라 내용에서도 크게 변화했으며 이는 우리가 가지고 있는 것에 대한 관심과 더불어 다른 세계에 대한 인식의 변화와 관심으로부터 출발한 근대의 모습을 여실히 보여준다. 음악출판물 자체가 보여주는 다양한 모습들 외에도 음악출판물을 통해 다양한 음악문화의 변화를 읽어낼 수 있다. 광문서시의 경우 사회의 의식 있고 선도적인 인물들이 교열(校閱)에 참여하였으며, 발행의도를 짐작할 수 있는 출판물의 서문을 그들이 직접 쓰면서 음악출판물을 통한 근대와 계몽을 전파했다. 또한 출판사 소유주들은 출판업에만 연관되어 있었던 것이 아니라 학교설립, 교회, 음악회 등을 후원하면서 음악 문화의 중심에 있었다. 음악이 갖고 있는 특수성으로 음악출판물은 근대 초기 우리의 음악문화 형성과정은 물론 우리 근대화 과정의 초기 단계를 총체적으로 이해할 수 있는 계기를 제공한다. 장르의 변화, 수용 대상의 변화, 또 이를 이끌어내기 위해 힘쓴 사회 각층위의 인물들과 출판사와 음악출판물이라는 결과물에 깊게 관여한 인물들에 대한 심도 있는 접근을 통해 이제껏 알려지지 않은 단서들을 발견함으로써 가능하리라 생각된다.;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.