대중음악이 여타의 다른 음악카테고리들과 경계를 설정하고 스스로를 하나의 독립적인 장 (sphere)으로써 구성하기 시작하면서 주도적으로 떠오른 문제는, 대중음악에 관한 가치평가에 관한 것이었다. 다양한 요인들에 의해 다층적이면서도 분산적으로 작동되는 대중음악에 대해, 어떤 통일적인 미적판단기준이 적용될 수 있는가라는 질문은 아직도 대중음악연구에서 미완의 과제로 남겨져 있지만, 그럼에도 불구하고 단편적 시각에 의거해 양적/질적으로 대중음악을 정의하거나 판단하는 기존의 방식들에 대한 비판적 검증이 필요한 것도 사실이다. 이러한 맥락 하에 이 글에서 중심적으로 다루어질 내용은 대중음악 내에서의 ‘진정성 개념’이다. 진정성 개념은 이론적, 일상적 범주에서 흔히 대중음악에 관한 일종의 질적/미적 가치 판단 기준으로 작동하는 것처럼 보이지만, 이를 자세히 고찰했을 때, 대중음악에서의 진정성 개념은 예술음악이나 민속음악에서처럼 “진정하고 정통한 ’근원‘ ’원전‘ ’작가‘ ’연주가‘”를 보증하는 방식과 다르게 움직이고 있다. 이에 대한 역사적 형성 방식을 관찰함으로써, 이 글은 결론적으로, 대중음악 내에서 진정성개념이란, “주도적인 매체화의 방식이 다른 것으로 전이될 때 등장하는 일종의 상징적 가치에 관한 것”임을 밝히고자 한다. 이고, 이 개념 역시 복합적인 역사적 과정을 통해 구성된 형성체이며, 이 개념의 상징적 가치들을 둘러싼 대립을 통해 실제로 작용되고 있는 것은, ‘진정성의 유무에 관한 차이’가 아니라 ‘대중음악의 매체화와 이를 통한 감각방식의 차이’임을 밝히고자 한다.

One of the main discussions in popular music, which constructs as a cultural sphere its own characteristic and function, is the problem of value judgement since popular music has differentiated from artificial or folklore music categories. The consideration of the question whether a united canon of aesthetic could be applicable to complex and diverse popmusical practice remains incomplete. However it is also necessary that the fragmentary approach and definition to popular music should be critically examined, such as quantitative or qualitative approximations to popular music. Based on this context this paper searches for the term "authenticity" in pop-discourse. The concept of authenticity usually used be in the theoretical and colloquial field, as if that were a 'qualitative and aesthetical criterion', but on closer inspection it operates differently from the "origin" "essence" "nature" of musical "author, player, work" in the use of artificial and folk musical ideas. This paper proves through the reflect on its historical configuration that the notion of authenticity in the popmusical discourse occurs from the change from the dominant way of medialization as some symbolic value, it is also constructed through a historical process. Conclusively it makes clear that the conflicts around the term of authenticity in the pop-discourse are not reference of the difference in real existence of authenticity but the difference in the way of medializations of popular music, and in its sensual perception and appropriation.

One of the main discussions in popular music, which constructs as a cultural sphere its own characteristic and function, is the problem of value judgement since popular music has differentiated from artificial or folklore music categories. The consideration of the question whether a united canon of aesthetic could be applicable to complex and diverse popmusical practice remains incomplete. However it is also necessary that the fragmentary approach and definition to popular music should be critically examined, such as quantitative or qualitative approximations to popular music. Based on this context this paper searches for the term "authenticity" in pop-discourse. The concept of authenticity usually used be in the theoretical and colloquial field, as if that were a 'qualitative and aesthetical criterion', but on closer inspection it operates differently from the "origin" "essence" "nature" of musical "author, player, work" in the use of artificial and folk musical ideas. This paper proves through the reflect on its historical configuration that the notion of authenticity in the popmusical discourse occurs from the change from the dominant way of medialization as some symbolic value, it is also constructed through a historical process. Conclusively it makes clear that the conflicts around the term of authenticity in the pop-discourse are not reference of the difference in real existence of authenticity but the difference in the way of medializations of popular music, and in its sensual perception and appropriation.

popular music, authenticity, musical medialization, sense, appropriation