한국 노래방의 성장을 둘러싼 사회문화사: 테크놀로지의 발전을 중심으로

Abstract

This research focuses on the growth of noraebang in accordance with the development of karaoke equipment and its socio-cultural meaning. Korean noraebang culture grew when it formed a close relationship with Karaoke technology. When the recording technology of eight-track tapes and 80s cassette tapes emerged in the 1970s, Korea was introduced to Japanese karaoke, which presented the idea of along to only musical accompaniment. The development of Karaoke enriched musical performances, which reproduced music scenes that transcended the limitations of time and space, providing amateur singers with the enjoyment of singing to the public. Compared to the spread and development speed of noraebang technology, change in social perception happened slowly. The word karaoke is described as meaning stranger, Japanese, unwholesome, and decadent pleasure and entertainment, while noraebang tends to be used while projecting cultural meanings such as we, ethnic, wholesome, and play. What contributed significantly to representing noraebang as part of an Korean pop culture was the technological prowess of noraebang equipment that a Korean company secured. In particular, the introduction of a MIDI composition method by a Korean company, and the application of a computer memory chip, provided the opportunity for Korean noraebang, which had depended on Japanese technology before, to form an independent music market. Consumption of noraebang images through mass media also contributed to a perceptional restructuring. The improvement of laws surrounding noraebang, and arguments for and against the permission of canned beers at noraebang, illustrate the perception of the system and public that expect to uphold the value of the “wholesome we.” In short, Korean noraebang is a unique space where one can enjoy the musical landscape that technology created and bear witness to the cultural conflict of Korean society.