식민지 경성의 일본인 음악가 '임상희' 연구

Abstract

Research of the history of Western music in Korea during the Japanese colonial era was developed from numerous perspectives in many different fields. However, these studies do not simply shed light on a specific period of time known as the Japanese colonial era. They can be said to have played an important catalyst in raising interest during the history of Western music in Korea. Despite these achievements, many people question the possibility of finding a balanced view of the history of Western music in Korea in existing research. Existing research has not focused much on the musical culture of Japanese musicians and Japanese people, which was certainly a part of the history of Western music in Korea during the Japanese colonial era. This paper will use this point of view to examine Japanese musician Mimura Shoko (三村祥子), known in Korea as Lim Sang-Hee. Lim was a Japanese colonist who lived in Korea in the late 1930s and early 1940s. She has a unique history as she had a Korean name and was the center of the music profession in Korea. She actively participated in performance activities with many different Korean musicians. She also had an interest in education, and was a professor of vocal music at Ewha College. She trained a number of disciples, and organized a private student group called the Ssang-yeop Gathering. Lim’s activities centered on the music profession of Korea were quite distinguished in contrast to the other Japanese musicians also working in Seoul. An important reason for this may have been the existence of her husband, composer Lim Dong-Hyuk(任東爀). Lim Sang-Hee was required to play the role that many so-called “Japanese wives in Korea” had to before she was known as a “Japanese musician.” This paper confirms that Lim, like many Japanese wives in Korea, embraced the lifestyle and culture of Korea, her husband's homeland.