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영어

This paper is a preliminary examination of the military music tradition in East Asia from the perspective of global music history. The long history of military music in East Asia can be understood in terms of four periods: (1) the age of bronze percussions and drums(before 3rd century B.C.), (2) the age of drums and horns(from 2nd century B.C. to 13th century A.D.), (3) the age of conical-shaped shawm (suona/ taepyeongso)(from 14th to 19th centuries), and (4) the age of Western-style military music(after second half of the 19th century). I also offer the following four perspectives as clues to understanding the East Asian military music tradition in an integrated and comparative manner. (1) The tradition of music performance by soldiers and military personnels. In East Asia, the tradition of playing music by military officers has long been maintained because the soldiers were expected as persons who exercise physical prowess just like other practitioners of performing arts such as music, dance, and drama. (2) Representing the sound of military music as “exotic” one. The custom of associating exotic or foreign ethnic images with the wind instruments of military music originated from Middle East and Central Asia, such as the jiao/gak/kaku (horn), hujia/hoga/koka (double-reed pipe), and suona (conical-shaped shawm), has been maintained for a long time. In Japan the suona was called charumera, whose name was derived from Portuguese, and it has always captured the imagination of foreign countries, China or Korea in particular. (3) Military music and musicians as mediators of urban music. The military musicians seaksu of the late Joseon period contributed to the development of urban music by providing musical accompaniment for several cultural activities developed in the urban socio-cultural circumstances. (4) Traditional military music as an invented tradition after the global spread of Western-style military music. After the 1960s Korea, a traditional piece of military band music Daechwita was revived through the intangible cultural heritage system and national events, and it functioned as a symbol of national unity. The revived Daechwita has now become a new source of imagination of Koreanness and power in Korean and global popular culture.