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Colonial Modernity and World Music Perspective in the 1930s Korean Urban Musical Culture

최유준 1

1전남대학교

Candidate

ABSTRACT

In this study, my concern is that how the colonial situation of the 1930s Korea caused an unbalanced consciousness regarding the ‘imagined geography’ of Korean music. Korean urbanities in this early age of transnational mass media came to have what I call 'World music perspective'. However, they lacked a proper subjective perspective on their local point, in the condition of expanding their global imagination, due to the vulnerability of fundamental structure in recording industry and the lack of controlling power in recording studios. 1930s’ Yuhaengga song, which used various exotic musical styles, arousing Americanized desires, being modulated by Japanese styles, could not be a ‘Korean music’ to modern Koreans. That was the reason why Shinminyo was conceived and projected as a new record genre about 1934, in search of an alternative to Yuhaengga. However, a Shinminyo experiment also could not succeed, not only because of its fundamental connotation of otherness rooted in creating the term Minyo, but also of the weak structure of recording system in colonized Korea. In short, ‘World Music perspective’ articulated in the 1930s in Korea reveals its ‘colonial modernity’ as politics of subject which keeps on being controlled and dominated by otherness.

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* References for papers published after 2024 are currently being built.

This paper was written with support from the National Research Foundation of Korea.
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