센세이션의 코드화: 1930년대 한국대중음악에서의 선정성 담론을 중심으로
Coding, Decoding of Sensation: Study on Sexuality-Discourse of Popular Music in 1930s
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From gramophone to MP3 the introduction of new media have played in the development and rapid dissemination of popular music a decisive roll. The possibility of reproduction based on the media technology is prerequisite for the production and appropriation of popular music. Most interesting site is that popular music has internalized and medialized those new production systems. In other words, popular music has made a new musical material and musicing method, it constructed constantly a new cultural formation of musical mediality. That is related to a sense of music, or sensation of music. For a long time the whole area of popular music and popular culture has been considered as mean thing in the public discourse. Especially at the time of the introduction of the new media such as record, radio, television, digital media etc. almost without exception becomes that acute. This phenomenon is in social opinion as well as in the discussion on the quality of the music (for example inventiveness of the music, skills of the performers, authenticity of musician, completeness of music) even in the same. In particular, this paper focussed on the 1930s, because in this time the popular area has established actively it’s categorization; Modernity, westernization, urbanization, the introduction of new media and on which based the formation of popularity. Especially is that process described focusing on sexuality discourse. Sexuality and the bodyness of popular music has history of oppression and exclusion in the dominant public discourse. And popular music and culture expressed that media sensational between the boundaries of taboo. By these analysis this paper tried to explain what makes popular music popular and what is our imagination and understanding about the popularity.
Abstract
From gramophone to MP3 the introduction of new media have played in the development and rapid dissemination of popular music a decisive roll. The possibility of reproduction based on the media technology is prerequisite for the production and appropriation of popular music. Most interesting site is that popular music has internalized and medialized those new production systems. In other words, popular music has made a new musical material and musicing method, it constructed constantly a new cultural formation of musical mediality. That is related to a sense of music, or sensation of music. For a long time the whole area of popular music and popular culture has been considered as mean thing in the public discourse. Especially at the time of the introduction of the new media such as record, radio, television, digital media etc. almost without exception becomes that acute. This phenomenon is in social opinion as well as in the discussion on the quality of the music (for example inventiveness of the music, skills of the performers, authenticity of musician, completeness of music) even in the same. In particular, this paper focussed on the 1930s, because in this time the popular area has established actively it’s categorization; Modernity, westernization, urbanization, the introduction of new media and on which based the formation of popularity. Especially is that process described focusing on sexuality discourse. Sexuality and the bodyness of popular music has history of oppression and exclusion in the dominant public discourse. And popular music and culture expressed that media sensational between the boundaries of taboo. By these analysis this paper tried to explain what makes popular music popular and what is our imagination and understanding about the popularity.
참고문헌 (31)
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