春雨直播app

“Music broadly consists of major keys and minor keys, with bright music being in a major key and gloomy music in a minor key.” This should be one of the most obvious things that everyone knows about music. Musical terms such as major and minor keys and perfect, major, minor, and augmented intervals were translated into Japanese Chinese-character words as Japan received Western music. In fact, these Sino-Japanese musical terms are used in South Korea today as they were incorporated into the Korean language. 
 
In South Korea, not only these musical terms, but also epithets associated with composers such as Bach (the father of music), Handel (the mother of music), Mozart (the musical wunderkind), Beethoven (the master musician), Haydn (the father of symphony), Schubert (the king of songs), and Chopin (the piano poet) are the same as those used in Japan. “Music” was also translated into Japanese and adopted in Korean without change. 
 
In this way, music theory translated from Japanese to Korean is in common use in South Korea today, and this has to do with how Japan was one of the first countries in East Asia to undergo modernization and pursue Westernization in music, resulting in the establishment of specialized music schools and the publication of specialized music theory books. The Japanese-style Western music theory itself was transmitted directly to colonial Korea by Korean students and Japanese music teachers living in Korea at the time. As a result of this deeply permeating influence, the musical terminology of that time came to be used to this day. Koreans, including myself, came to recognize this “Japanese-style Western music” as “Western music” without any resistance. 
 
Although it is clear that Korea was once colonized by Japan and although various views have been expressed regarding the current reception of Western music in South Korea, not much is known about the history of Western music in colonial Korea that was fostered through interactions with Japan(ese), meaning the influence of Japanese residents of Korea who were involved in music and Korean musicians who studied at music schools in Japan, so I think there may still be a tendency to refuse to acknowledge this. 
 
However, given the fact that Korea experienced modern social changes during Japanese colonial rule, it is necessary to think deeply about what the experience of modern music was like and its significance. This is because many of the music policies, music education, and music industry of the time were established under Japanese colonial rule, and Japanese musical elements, such as musical terminology, continue to have a strong influence today. 
 
This volume focuses on the fact that the Japanese musical culture brought into colonial Korea from Japan, to which too little attention has been paid until now, was spread by the Japanese in their position as rulers and attempts to elucidate this from the standpoints of modern Korean history, music history, and education history. Focusing on the activities of Japanese residents of Korea during the colonial period, I describe how they were partially responsible for the formation of Western music in Korea at the time, as the country adjusted to the changing times. In order to interpret the history of the reception of Western music from a more multifaceted perspective than has been done in South Korea so far, it is essential to look back to the past. 
 
In this volume, I clarify specific aspects of the activities of Japanese secondary music teachers and musicians in colonial Korea, hoping to shed light on the music of this period and provide clues to connect the histories of modern Japanese and Korean music into a single trend, as they have previously been discussed as disconnected.
 

(Written by: Kim Jiesun / July 01, 2024)