2014, Vol.22, No.1

Journal of the Korean Society for Musicology 2024 KCI Impact Factor : 0.64

eISSN : 3092-2410
https://journal.kci.go.kr/musicology

This research takes a critical view of Riemann’s music aestheticspublished in the late 19 century. He used the term “music-aesthetics” firstwhile his contemporary scholars took advantage of another term called“aesthetics of tone arts.” He seemed to combine the natural scientifictheories and metaphysical approaches for understanding musical beauty. Although he followed Hanslick’s formalism, associative characteristics ofmusical expressions were also accepted in order to propose an alternative. However, his presentation arriving at Hegel’s aesthetics produced someaesthetical contradictions due to insufficient fusion of those sides.

This thesis considers the intellectual and cultural background that madeBaroque composers exploit realistic imitation as an inspiration for creation,based on the increasing interest in imitation, nature as the model ofmimesis, the original versus copy, and in naturalness versus artificialitysince the Renaissance. The Baroque period, ranging from the ScientificRevolution to the Enlightenment, admired the art's capability to employnature as an expressive resource and cultivated the ability to recognize andenjoy a work of art as artificial and false. By examining examples ofBaroque solo instrumental music, this thesis investigates how realisticimitation provided the contemporary composers with significant materialsand ideas for creation. Composers were not satisfied with a mere imitationof natural sound through musical onomatopoeia, but they always tried tomake the sound fit in a certain structure, style, genre, and emotive contents.

Korean pop music was shaped during the period of Japanese occupationin Korea, and it was greatly influenced by the medium called the recordingindustry. As the renowned Korean pop composer of over 3,000 songs, ParkShi-Choon is referred to as a major songwriter in the history of Korean popmusic. In honor of Park, Shi-Choon who passed away 4 years ago, ParkShi-Choon’s Masterpieces: The Serenade of Sorrow was created with thegreat support and interest of many pop musicians, which could be consideredas his sole collection initiated by Kim Jeom-Do. Any incomplete musictranscription was modified indeed in this paper. Park Shi-Choon isremembered as a great songwriter with a copious number of hits and hismusic is still being played in KBS 1TV - Gayo Stage on almost every week. According to MBC’s survey in 1981, 10 songs of his were listed in Koreans’top 100 favorite songs, and this represents that he greatly influenced on ahistory of Korean songs and ballads. Although every check on his 3,000songs in total was not made, the 300 songs listed on Park Shi-Choon’sSelection of Masterpieces could be recognized as his representative works. This paper intends to analyze the 122 songs out of his 300 ones, whichwere composed before 1950. Facing the derogation on Korean pop musicwith the indiscriminate acceptance of yonanuki minor scale and thegroundless subjective approach to the identity of Korean pop music, this102paper also attempts to find the link between Korean music and Korean popmusic by thoroughly examining the melodic structure which is an essentialelement of Korean pop music through the comparative analysis with pansoriscale. The period of Pre-1950 was set as starting point for this analysis becauseKorean pop music was greatly influenced since the Korean War due to theinflow of the Western melody from the 8th US Army. Park Shi-Choon’s works can hardly be called representative of all Koreanpop music, but no one can deny the fact that they had a profound effecton it. In this regard, it is considered that an approach to the identity ofKorean pop music through the analysis of his musical works has a greatsignificance.