서양음악사를 넘어 세계음악사를 향해: 그 구현을 위한 모색과 실천의 양상 = From Western Music History to World Music History: Aspects of Search and Practice for Its Implementation

다국어 초록 (Multilingual Abstract)

The system of Adler, a German scholar in the late 19th century who iniciated the scholarship of musicology, remains firmly established as the basis of our perception of musicology to this day. The framework of the system appeared to be a plausible logical entity encompassing the time and space through the distinction between historical musicology and systematic musicology.
However, the system reflected the musicological reality of the time, with Western musicology at the center and other non-Western musicology at the periphery. Western musicology was a history of music that developed around works based on visible tools, called sheet music. Different from it, Non-Western music was not a culture that relied on visual tools such as scores or works but was an art of oral tradition that being never expected to be repeated due to its impermanency and improvisation. The History cannot be built up without visual results that reveal the flow of past musical culture. Thus, the study of non-Western music grew as researchers field work relied on what they saw, heard, and recorded.
In Adler's system, these two disciplines appeared to correspond and balance each other, but they did not mix like water and oil. The academic value and status, research tools and methods, capabilities, and research infrastructure of each have changed significantly in different direction each other over a century.
Nevertheless, such a reflective perspective on reality has consistently occupied a corner of musicologists' academic activities, and surprisingly, the pursuit of changes and innovation that have occurred as we enter the 21st century global society are even showing dynamism.
Ultimately, we must innovate to face the essential challenge of writing the world music history when it will be not too late. Is world music history ultimately possible? At what point does the writing of world music history stand from drafting to implementation? Can East Asian music, and Korean music, studies truly contribute to this?