行于地下:20世纪80年代新村和光化门的音乐制作

Going Underground:Making Music in the 1980s Sinchon and Gwanghwamun

长期以来,地点被认为是音乐叙事化的基本组成部分。然而,在韩国的流行音乐话语中,它却常常缺位。本文旨在探究其原因,并通过聚焦1980年代的地下音乐来建立地点与流行音乐的联系。本文认为,有两处地点对韩国地下音乐的兴起至关重要。一为新村,一个破落的大学城,因其廉价的房租而曾经广受艺术家和创意者欢迎。许多年轻的艺术家建立录音棚,聚会玩耍,并形成了独特的审美和艺术家个体。音乐是建立品位共同体的重要媒介。另一为光化门,是城市和国家的中心,在这里,年轻艺术家进入音乐行业,体现专业主义,并培养商业敏感度。1980年代的韩国地下流行音乐,就是不断流动的艺术家通过这两个地点而联结的产物。

Place has long been considered an essential part of narrativisation of music.However,it is usually absent in the discourse of Korean popular music.This paper set out to explore why and establish a way in which place and popular music interchange by focusing on 1980's underground music.This paper argues there was not one but two places that were responsible for the emergence of Korean underground music.Sinchon,a dilapidated university town,was a popular destination for artists and creative types thanks to cheap rent.Many young artists set up studios,hung out and forged unique aesthetics and artist self.Music was an important mediator for building a taste community.Gwanghwamun,on the other hand,was the center of the city and the center of the country where these young artists entered music business,embodied professionalism,and learned business acumen.1980's Korean underground pop music was a product of the linking of these two places through artists' incessant flows between them.