A Tentative Study of Western Music Activities in Colonial Korea : Focusing on the Mutual Relationship between Korean Musicians and the Wives of Professors of Keijō Imperial University

• 영문명: 植民地朝鮮における西洋音楽活動に関する試論 : 京城帝国大学教授夫人らと朝鮮人音楽家たちの相互関係を中心に
• 발행기관: 고려대학교 글로벌일본연구원
• 저자명: 김지선(Jie-sun Kim)
• 간행물 정보: 『일본연구』第43輯, 179~212쪽, 전체 34쪽
• 주제분류: 인문학 > 문학
• 파일형태: PDF
• 발행일자: 2025.02.28

국문 초록

During This paper examines one aspect of the role of the musical activities of the professors' wives of Keijō Imperial University in the formation process of Western music in colonial Korea, and how the interrelationship between Japanese and Korean musicians in the Japanese colonial basement was conducted. The number of Japanese immigrants to Korea increased rapidly after Korea became a Japanese colony. This led to an increase in the number of various entertainment facilities and events that the Japanese could enjoy for cultural or recreational purposes. Among the Japanese musicians were a certain number of bureaucrats from the Office of the Governor-General of Korea and professors from Keijō Imperial University, as well as Japanese wives who had emigrated to Korea as a result of their husbands' postings and activities in Korea. In particular, Ueno Hisako and Takei Haruko, the wives of Keijō Imperial University professors, were active in musical activities in Korea as violinists and pianists, including performances, educational activities, and association activities. Since Korea was a Japanese colony at that time, there may have been conflicts and confrontations between Japanese musicians in Korea and Korean musicians, such as colonizer(Japanese) and colonized(Koreans), superiority and inferiority, superiority and inferiority, and master-slave relationship. There existed not only a class hierarchical order but also an ethnic hierarchy in the cultural enjoyment situation in Korea. However, if we focus only on the antagonistic or master-slave relationship between Korean and Japanese musicians in terms of musical cultural production, the various musical activities conducted independently by the colonized may be underestimated. This is because colonial Korea was not divided by a single ethnicity or language, but by the movement of people, goods, information, and capital, and by the contact between various people and various musical cultures, which led to interrelationships. This paper reveals that Japanese musicians including Ueno Hisako and Takei Haruko, Korean musicians, and university amateur orchestras were leading and diversifying the Western music world in Korea by establishing interrelationships with various music professionals from different standpoints.

영문 초록

本稿では､植民地朝鮮における西洋音楽の形成過程において京城帝国大学の教授夫人たちが行った音楽活動が､西洋音楽界においてどのような役割を果たしたのか､また日本植民地下において日本人､朝鮮人音楽家の相互関係がどのように行われていたのか､その一側面について考察した｡日本人の朝鮮移住は､朝鮮が日本の植民地になってからはその数が急増するようになった｡これにより､日本人が文化あるいは娯楽として楽しめるような様々な娯楽施設やその催しも増えていった｡日本人音楽家の中には､朝鮮総督府官僚や京城帝国大学教授など､夫の朝鮮赴任や朝鮮での活動により移住してきた日本人夫人が一定数おり､朝鮮の西洋音楽界において存在感を高めた｡特に､京城帝国大学教授の夫人である上野久子と竹井春子は､朝鮮でヴァイオリニスト､ピアニストとして演奏活動､教育活動､協会の活動など､音楽活動を行っていた｡当時は､日本の植民地であったため､在朝鮮日本人音楽家と朝鮮人音楽家との間に植民者(日本人)·被植民者(朝鮮人)､優越感·劣等感､上等·下等､主従関係などの葛藤や対立があったのかもしれない｡朝鮮の文化享受状況には階級的な位階秩序のみならず､民族的な位階度も存在していた｡しかし､音楽文化生産の側面から朝鮮人音楽家と日本人音楽家を対立関係､主従関係にのみ焦点を当ててしまうと､被植民者が自立的に行なった様々な音楽活動があまりにも過小評価されてしまう恐れがある｡植民地朝鮮は単一民族､単一言語で区切られる事なく､人々や物､情報､資本などが移動し､様々な人々により､様々な音楽文化が接触することにより､相互関係が結ばれたからである｡本稿では､上野久子と竹井春子をはじめとする日本人音楽家､朝鮮人音楽家､大学のアマチュア管弦楽団が､それぞれ異なる立場から様々な音楽関係者と相互関係を結び､朝鮮の西洋音楽界を牽引しており､多様化していたことを明らかにした｡

목차

Ⅰ. Introduction

Ⅱ. The Reception of Western Music in Colonial Korea

Ⅲ. Musical Activities of Japanese Women Musicians in Colonial Korea

Ⅳ. Conclusion

키워드

Western Music World in Colonial Korea Keijō Imperial University Orchestra Keijō Imperial University Professor’s Wife Korean Musicians Japanese Musicians Colonial Music Culture 植民地朝鮮の西洋音楽界 京城帝国大学管弦楽団 京城帝国大学大学教授夫人 朝鮮人音楽家 日本人音楽家 植民地音楽文化