01935nas a2200121   4500000000100000008004100001100001300042245006700055300001000122490000600132520166100138022001401799                                       d1 aKim jung00aGenre Change and Response Ways of Intangible Heritage in Music  a27-500 v83 aThe purpose of this paper is to compare Korean music studies, Korean intangible culturalheritage, and UNESCO intangible heritage s genre classification methods and criteria fordetermining value, and to discuss how to respond to the gap and change.First of all, I was able to look at the changing paradigm of each era while organizing thehistory of genre classification in Korean music studies. And now I know that there is a need tounderstand and approach cross-boundary liquidity more flexibly than to boundary throughclassification.Next, through the recognition of the genre of Korean music and the comparison of culturalheritage protection laws and intangible cultural property designated, we can see that the artshave been used as a basis for important value judgments and have been operating culturalheritage events centered on performing arts and music. Now, I believe that living music, whichhas been marginalized, should be approached based on a different value judgment thanartistry. Meanwhile, the criteria for determining the value of UNESCO s intangible heritage focusmore on human problems and value how the community and its heritage are related and howthe heritage currently exists.Finally, I talked about the fact that we are undergoing a drastic change and that we shouldtake a flexible stance in response and revise our policies accordingly. Changes we should acceptinclude the disappearance and weakening of living music, weakening existing communities andforming new forms of community. Despite these changes, it will not be able to fulfill the role ofthe system if it fails to change existing value judgments and conservation policies.  a2508-5905