‘소국민’의 ‘음악’, ‘소학생’의 총력전 －1940년 전후 『初等唱歌』·『初等音樂』의 문화정치학－

Abstract

The purpose of this study is to examine the characteristics and features of music textbooks compiled by the Japanese Government General of Korea for elementary school music education in colonized Chosun during the Japanese colonial era. This author intends to understand what songs were added or deleted according to the ‘educational ordinance’ in different periods and also what colonial ideology or educational methods were employed to lead this work. All kinds of music in colonized Chosun were produced with the Japanese Empire’s as a model and were taught faithfully to the educational guidelines of Japan’s Munbuseong(文部省). On account of that, there were children’s songs that fitted their aesthetics or sentiments, but the textbooks included much more songs that were military songs or songs like them dealing with worshiping the Japanese Emperor or Japan’s mind, admiring war heroes or great men who practiced loyalty to their sovereign and patriotism, presenting the history and future of all kinds of battles that the Japanese Empire had waged since the modern times, and showing children’s intention for war play, labor and patriotism, or participation in war afterwards. Of course, up to the 1920’s, they mostly sang first, songs about duties or ethics children should be equipped with and second, songs containing knowledge and information about ‘what is like Chosun’s. Particularly, the latter were the byproducts of cultural politics enforced as a result of the 3.1 Movement. But because of that, ‘what is like Chosun’ failed to acquire its unique originality or value but just adhered to the colonial cultural politics suggested and distributed in the perspective of influence and convergence regarding ‘what is like Japan’. Meanwhile, due to the Asia－Pacific War (1930~1945) that occurred in the 1930’s, the goal of arts and physical education was to ‘cultivate sentiments that can go with hwangguksinmin(皇國臣民)’. As the invasive war grounded on the ideology of militarism got severer gradually, arts and physical education in colonized Chosun did gradually work as a military mechanism of Gukchemyeongjing (國體明徵), Naeseon-Ilche(內鮮一體), Ingodanryun(忍苦鍛鍊) to dedicated ‘young citizens’, in other words, ‘young soldiers’ devoting themselves to endurance and cultivation. As a result, it became a generalized phenomenon that military songs and people’s songs widely sung in the barracks or society then occupied most part of the government-designated ‘music textbooks’ or they insisted the future of children just for being laborers endeavoring for Hwanggun(皇軍) and the people. To reinforce this even further, they utilized ‘radio gymnastics’ and ‘athletic meets’ strategically. This part clearly tells us that children’s individual body was mobilized and consumed as a social body sacrificed for the Japanese Emperor and also loyalty to their sovereign and patriotism about the Japanese Empire. Here, we can see that music intended to cultivate children’s aesthetics and sentiments got captured by militaristic fascism and spoiled into being rhythms(音) and sounds(聲) which alienate and exclude both the ego and others violently and decadently.