경성후생실내악단에 관한 연구

Abstract

The Kyŏngsŏng Chamber Orchestra known as Kyŏngsŏng husaeng sillae aktan 京城厚生室內樂團 was established in May 1942 and was one of the most active music organizations until Korea regained independence. Eight influential figures in colonial Chosŏn's music circle were the founding members of the Kyŏngsŏng Chamber Orchestra, which was musically active in the later period of the Japanese colonial period. Hyŏn Che-myŏng 玄濟明 was appointed as the chairman of the Orchestra in May 1944, and the character of the organization changed with his appointment. The study divided the timeline into Stage 1 and Stage 2, respectively, pre- and post-Hyŏn Che-myŏng, looking into the members, musical activities and programs of the Orchestra. Around the time the Orchestra was established, there was a vibrant social movement called the Husaeng ŭmak undong 厚生音樂運動 (Welfare Music Movement). The proponents of this view believed musicians should detach themselves from predisposed assumptions and prejudice, and instead, proactively engage with the public and workers to rectify their distorted musical sensibility by presenting them with selected music that encapsulates soundness and leadership. The underlying purpose behind this was to ‘boost public morale and provide solace’ and ‘increase productivity’ in war time. The musical substance behind this was the Art Music of Germany, Italy and Japan. The Orchestra promoted the Husaeng ŭmak undong and aspired to establish a symphony orchestra in the Korean peninsula, but their efforts were unsuccessful in the end. Throughout Stage 1 and 2 of the Orchestra’s existence, it actively cooperated with Imperial Japanese colonial ruling and war of aggression through its musical activities. As a result, it was awarded the Chosŏn Artist Prize in the music category from Sint'aeyangsa 新太陽社 (Sint'aeyang Publishing Company) in 1945 for their contribution in creating music for decisive battles. The programs played by the Orchestra were not limited to chamber music, but included opera numbers as well to fully realize the organization’s potential as a tool for ‘Propaganda and Promotion of Music’. This is the reason why the Orchestra has by far the highest number of performances in factories, mines, and farming, fishing and mountain villages than any other organizations. Taking these facts into account, the significance of the Kyŏngsŏng Chamber Orchestra should be revaluated in Korean music history. It showed unparalleled musical activity to any other organization from 1942 to 1945. It was dedicated to the realization of a totalitarian ideology of ‘Music as Means’. It was in the forefront of spreading Art Music (Western classical music) to the wider public under the name of ‘soundness and clarity’. Lastly, it was the organization where key figures in creating Korea’s first symphony after its liberation were mainly active. In conclusion, the Kyŏngsŏng Chamber Orchestra should be revaluated and its status in Korean music history should be adjusted accordingly to its objective evaluation.