- 영문명
- The formation of “Sijoeumyul(時調音律)” and Gagok(歌曲)"s characteristics
- 발행기관
- 한국언어문학회
- 저자명
- 權純會(Kwon soonhoi)
- 간행물 정보
- 『한국언어문학』韓國言語文學 第66輯, 111~125쪽, 전체 15쪽
- 주제분류
- 어문학 > 한국어와문학
- 파일형태
- 발행일자
- 2008.09.30
국문 초록
영문 초록
In this thesis, I introduced Sijoeumyul, the anthology of gagok-chang(歌曲唱) and researched the characteristics of gagok in this anthology. Sijoeumyul is a relatively small because it collects just 99 poems. However the hanbatang(篇歌) of Sijoeumyul shows various aspects of gagok’s performances in the early 20th century.
The hanbatang of Sijoeumyul excluded Jungdaeyeop(中大葉) and possessed the formation of man’s song, woman’s song and Ujo(羽調) and Gyemyeonjo(界面調) which are well organized. Especially it prominently shows form-oriented traits because it tried to balance Ujo and Gyemyeonjo. This is very important aspect of gagok hanbatnag in the early 20th century. We grasped the concrete condition through the existence of ‘Gyesoyong(계소용)’ which is located between man’s song, ‘Yuldangsakdaeyeop(율당삭대엽)’, ugyemyeon(羽界面) and sogagok(小歌曲). Man’s song, ‘Gyesoyong’ had not been used in most of anthologies like “Gagokwonryu(歌曲源流)”. It is related to gagok’s form-oriented traits that ‘Gyesoyong’ appeared in hanbatang since the 20th century. ‘Yuldangsakdaeyeop’ was arranged between ugyemyeon and sogagok is for such
reasons as I mentioned.
Therefore we need to pay attention to the location of ‘Joeunjajeunhanip (조은？즌한입)-duggeo(두거)’ in Sijoeumyul. In hanbatang of Sijoeumyul, ‘Joeunjajeunhanip(duggeo)’ is arranged after ‘Samsakdaeyeop(三數大葉)’. And alos ‘Jungeo(中擧)’ and ‘Pyeonggeo(平擧)’ are omitted in the appendix. It is impled that the original text of Sijoeumyul hanbatang might be existed before ‘Pyeongeo’ and ‘Junggeo’ were derived. After all, I assumed that it could be recompiled the anthology which showed the musical characteristics prior to “Gagokwonryu”. And it was reflected that the characteristics of gagok"s performance like "Whangyerak(環界樂" in the early 20th century.
As above, it is certain that Sijoeumyul was compiled for textbook or script of performance. It is reflected in this book that the actual condition in the early 20th century. We can confirm this through the collected saseol(lylic). It was collected in the hanbatang of Sijoeumyul that 64 pieces of man’s song, 24 pieces of woman’s song, for a total 88 pieces of saseol. Sijoeumyul recorded the representative saseol about 1~4 pieces unlike the collection of saseol which arranged dozens of saseols. These have been recognized as the representative saseol of those tunes since then.
The hanbatang of Sijoeumyul excluded Jungdaeyeop(中大葉) and possessed the formation of man’s song, woman’s song and Ujo(羽調) and Gyemyeonjo(界面調) which are well organized. Especially it prominently shows form-oriented traits because it tried to balance Ujo and Gyemyeonjo. This is very important aspect of gagok hanbatnag in the early 20th century. We grasped the concrete condition through the existence of ‘Gyesoyong(계소용)’ which is located between man’s song, ‘Yuldangsakdaeyeop(율당삭대엽)’, ugyemyeon(羽界面) and sogagok(小歌曲). Man’s song, ‘Gyesoyong’ had not been used in most of anthologies like “Gagokwonryu(歌曲源流)”. It is related to gagok’s form-oriented traits that ‘Gyesoyong’ appeared in hanbatang since the 20th century. ‘Yuldangsakdaeyeop’ was arranged between ugyemyeon and sogagok is for such
reasons as I mentioned.
Therefore we need to pay attention to the location of ‘Joeunjajeunhanip (조은？즌한입)-duggeo(두거)’ in Sijoeumyul. In hanbatang of Sijoeumyul, ‘Joeunjajeunhanip(duggeo)’ is arranged after ‘Samsakdaeyeop(三數大葉)’. And alos ‘Jungeo(中擧)’ and ‘Pyeonggeo(平擧)’ are omitted in the appendix. It is impled that the original text of Sijoeumyul hanbatang might be existed before ‘Pyeongeo’ and ‘Junggeo’ were derived. After all, I assumed that it could be recompiled the anthology which showed the musical characteristics prior to “Gagokwonryu”. And it was reflected that the characteristics of gagok"s performance like "Whangyerak(環界樂" in the early 20th century.
As above, it is certain that Sijoeumyul was compiled for textbook or script of performance. It is reflected in this book that the actual condition in the early 20th century. We can confirm this through the collected saseol(lylic). It was collected in the hanbatang of Sijoeumyul that 64 pieces of man’s song, 24 pieces of woman’s song, for a total 88 pieces of saseol. Sijoeumyul recorded the representative saseol about 1~4 pieces unlike the collection of saseol which arranged dozens of saseols. These have been recognized as the representative saseol of those tunes since then.
목차
1. 서론
2. 『時調音律』의 편제
3. 『時調音律』수록 가곡의 특성
4. 결론
〈참고문헌〉
[Abstract]
2. 『時調音律』의 편제
3. 『時調音律』수록 가곡의 특성
4. 결론
〈참고문헌〉
[Abstract]
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