2020, Vol.28, No.2

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

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

Since 2000, the number of creation and performances of Korea operas has increased dramatically. From 1950 - when The first korea opera Hyun Je Myung’s Chunhyangjeon was premiered - to 1999, for 50 years, a total of 44 korean operas were premiered, whereas after 2000, 55 pieces (from 2000~2009), in the 2010s (2010~2019) 91 pieces, a total of 146 korea operas were premiered. This thesis aims to find out the cause of the dramatic invigoration in the korea opera field after 2000. Based on this research, the thesis focuses in understanding what the power to maintain the development of korea opera is and assist in the development of korean opera and globalization When comparing the aspect of premieres in korea operas before and after 2000s, first, in terms of composers, before 2000, opera composers were made up of older generation composers and the number of composers was insignificant. On the other hand, after 2000, there is a wide range of composers from the younger generation to older generation and shows a vast increase in the number of composers. Second, in terms of performance venues, before 2000, premiere of korea operas were mainly centered in Seoul but after 2000, many performances were held in regions other than Seoul. Third, in terms of opera companies hosting the premiere, before 2000, the Korea National Opera – a public institution – led the performances of korea operas but after 2000, private opera companies are leading the performances. Fourth, in terms of sources of script, before 2000, among other genres, script writers converted theoretical plays into opera scripts and traditional works made up a huge percentage of the subject matter. After 2000, in many cases, writers converted literature into opera scripts. Furthermore, the subject matter has been expanding. For instance, Many scripts focus on individual figures, and the number of pieces that deal with real issues and everyday life have increased. Meanwhile, the causes of invigoration in korea operas after 2000 include the inclusion of opera festivals in korea opera performances, changes in the paradigm of performing arts creation support projects, expansion of interest in korea operas from local governments and local opera companies, fostering of professionals in opera etc.

Written by Nah Sirin and Ko Yeon-ok, Independence Forces in front of the Theater is a large-scale musical drama that combines various genres of music, such as classical music, Korean traditional music, pop music, and jazz, as well as several choirs, orchestras, colorful stage equipment and dance. In particular, it should be noted that music and drama create a consistent dramatic flow throughout the work. The drama is intertwined with several episodes, including the story of Hong Beom-do, set in Russia in the 1940s and the story of General Hong Beom-do, set in Joseon in the 1900s, and another dramatic conflict is created around a character named Yeon Tae-yong. And these divergent episodes converge into a single stream, integrating under the theme of ‘The Theater.’ This dramatic organicity is effectively supported by music. The six leitmotifs, symbolizing certain situations, characters and emotions, serve as a medium for expressing emotions and relationships among characters along with the lines and lead the flow of the story, creating a musical and dramatic network within the entire structure of the work.

This thesis examines the narrative symbol of the Korean national anthem under the aspect of the colonial modernity and the song ritual of the Korean diaspora. The first two chapters serve as theoretical background. First, the relationship between colonialism and modernism that unfolded on the Korean peninsula along with Japanese colonial rule is outlined, and briefly introduced some Koreans who came to Germany via China or Japan during the colonial period. Secondly, the characteristics of the national anthems of the representativ nations in Europe are derived as follows. The lyrics of the hymn were started from the praise the absolute monarch based on the tonalily. The melodies of the national anthems of the main European nations flowed into the christian hymn melodies, which are also sung translated into Korean christian hymns. The national anthem of the Korean empire was arranged in 1902 by Franz Eckert (1852~1916), the Royal Prussian music director, based on the transcription of the Korean folk song by the American missionary Homer Hulbert (1863~1949). Thus the Korean folk song was reconstructed in a modern way. The current national anthem, which was composed in 1935 during the colonial period by Japan by Ahn Ik-tae in America with text from a christian hymn, was spread in the Korean Christian communities in America, representing the colonial modernity of the Korean peninsula. The National anthems of South Korea and North Korea which came into effect after liberation in 1945, symbolize the national narrative of colonization and division of the Korean peninsula. Research on the narrative symbol of the Korean national anthem should be deepened with regard to the American Protestant mission in the colonialized Korea and the Korean-German music exchange.