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A Study on the Melodic Characteristics of Prohibited Songs during the Military Regime

  • Journal of the Korean Society for Musicology
  • Abbr : JKSM
  • 2021, 29(1), pp.43~70
  • DOI : 10.34303/mscol.2021.29.1.002
  • Publisher : The Korean Society for Musicology
  • Research Area : Arts and Kinesiology > Musicology > Other Musicology
  • Received : April 14, 2021
  • Accepted : June 22, 2021
  • Published : June 30, 2021

PARK GISUN 1

1동아대학교

Accredited

ABSTRACT

This article analyzed songs that correspond to Japanese songs among the ban imposed during the Park Chung-hee military regime. This paper starts from the possibility that the Yonanuki (or Miyakobushi) scale, which some claim, functioned as a stigma symbolizing Japanese style distortion. The banned songs of the period were analyzed to see if the so-called Japanese style songs were made up of the Yonanuki scale, and if there were any parts that were mistaken for similarities to traditional scales even though they were not the Yonanuki scale. Park Jung-hee has a strong aspect of using banned songs to secure his political legitimacy in the coup and soothe the anti-Japanese sentiment that occurred since Korea-Japan diplomatic relations. In other words, the policy on popular songs during this period was used as an important medium for propaganda, and he encouraged sound songs to maintain the regime and excluded banned songs. Such activities have relation with Park Chung-hee's pro-Japanese history, and the banned songs have been used as tools to secure the legitimacy of the Park Chung-hee administration. This article assumes that the Park Chung-hee administration's ban on distortion is related to ideology or political situations examined the role of the review organization and the meaning of changes in prohibited items and analyzed the melody structure of 33 Japanese styled songs with traditional melody. As a result, it was revealed that the fact that banned songs were branded as Japanese style was an excessive act for political purposes and understanding of the melody structure. Nevertheless, it is revealed that it was an excessive political act to label as Japanese style because of partial similarities.

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