초록

AI-Helper

  한국교회에서 여성의 절대적인 수적우세에도 불구하고 교회음악에서 여성의 역할은 젠더화된 구조아래 리더십의 부재라는 현상으로 특징 지워진다. 한국교회음악에서 일어나는 젠더역학은 음악을 여성의 영역으로, 말씀을 남성의 영역으로 이분화 된 음악의 사회적 의미와도 연관되어 있다. 이글에서는 이러한 사회적, 문화적 맥락 속에서 초기한국교회시기에 여성들이 어떻게 자신의 목소리를 내어 정체성을 이루어 갔는지를, 노래하는 여성, 찬송가사 작사자, 그리고 반주자로서의 영역으로 나누어 알아본다. 초기한국교회에서 여성들은 찬송을 노래하면서 강요된 침묵의 안방으로부터 공적인 공간으로 나올 수 있었으며, 찬송가사 작사를 통해 창작능력을 표출하였으며 풍금과 피아노 반주자로서 전문음악가로서의 가능성을 찾고자 하였다.

Abstract ▼ AI-Helper

In spite of outnumbered presence of women in Korean church, their role in music is seen as a gendered-construction with absence of directorship. Gender relations in Korean church music are conditioned by various factors involving the social meaning of music shown in "dual organization": "word" as ...

In spite of outnumbered presence of women in Korean church, their role in music is seen as a gendered-construction with absence of directorship. Gender relations in Korean church music are conditioned by various factors involving the social meaning of music shown in "dual organization": "word" as men"s realm and "music" as women"s domain. This study attempts to reveal the presence of women in the early Korean church as collective singers, hymn text writers, and keyboard accompanists. Korean women took singing hymns as an exit from enforced silence at their inner rooms. They soon participated into a creative process as hymn text writers. During the rapid growth of early Korean church, women became active keyboard accompanists. But social restrictions were imposed on their musical leadership by enforcing them to remain "silent but singing" under men"s directorship.

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