이화여자전문학교 선교사 음악교사 연구: 연합감리회아카이브 소장자료를 중심으로
A Study on the Missionary Music Teachers at Ewha College: Based on Primary Sources of the United Methodist Archives
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본 논문은 20세기 전반, 이화여자전문학교 음악과(1925-1945)의 교육을주도하였던 미국인 독신 여성선교사들의 삶을 미국 연합감리회아카이브에 소장된 일차자료에 기초하여 추적함으로써 그들의 정체성을 탐구하는 것을 목적으로 한다. 이화여전 음악과에서 전임으로 재직한 선교사 음악교사는 매리 영(Mary Young, 1880- ? ), 캐서린 베이커(Catherine Baker, 1879-1972), 조세핀대머론(Josephine Dameron, 1885-1966), 그레이스 우드(Grace Wood,1904- ? )이다. 이들은 고등교육을 받았으며, 선교사의 소명을 받아들였고,결혼 대신 직업인의 길을 선택하여 독신 여성선교사 신분으로 한국에 왔다. 필자는 한국에서는 추적할 수 없는 이들에 대한 전기적 정보와 활동상을밝혀줄 일차자료를 수집하기 위해 미국 연합감리회아카이브센터를 방문, 조사하였다. 본고에서는 그곳에서 열람한 문서들을 토대로, 선교사들의 전기적 정보를 확인한다. 또한 그들을 파견한 미감리여선교회와 독신 여성선교사의 사역을 미국의 시민전쟁(남북전쟁) 및 산업혁명이 초래한 미국사회의 변화라는 논점에서 분석한다. 이러한 작업을 통해 지금까지의 근대음악사 논의에서 ‘선교사’라는 집합명사에 갇혀 있던 선교사 음악가들을 개인별로 조명하는 것이 이 논문의 일차적인목표이다. 더 나아가 음악과 선교사들의 한국 방문이 20세기 초 고등교육을받은 미국 여성들이 선택할 수 있는 자기실현의 장이었음을 확인한다.
Abstract
This Paper aims to explore the identities of American single women missionaries who were responsible for the education in the music department at Ewha College (1925-1945), based on the primary sources of the United Methodist Archives. The missionary music teachers of Ewha College were Mary Young,Catherine Baker, Josephine Dameron, Grace Wood. They received higher education and came to Korea as single women missionaries, choosing to pursue their careers as single women instead of accepting marriage and motherhood. Since it was impossible to find information on these missionaries in KoreaI visited the United Methodist Archive Center, Madison, NJ in the United States to collect primary sources to reveal the biographical information and activities of the missionaries. In this paper, I summarize the biographical information of the missionaries, based on the primary sources. I also analyze the works of the Woman’s Foreign Missionary Society of the MEC and single women missionaries in the context of the changes of American society after the Civil War and the Industrial Revolution. This paper aims to shed light on the missionary musicians ‘personally’, since they have been called missionaries ‘collectively’ in Korean modern music history. Furthermore I insist the coming of the missionary music teachers to Korea indicated the opportunities for well-educated American women in the first half of the 20th century to pursue their professional careers.
참고문헌 (23)
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