화전가류 가사의 창작 및 소통 맥락에 대한 재검토

권순회 ( Soon Hoi Kwon ) 민족어문학회 2006 어문논집 Vol.- No.53

근대계몽기 시조의 율격적 변주 양상 -『대한매일신보』, 『대한민보』 소재 시조의 종장을 대상으로-

권순회 ( Soon Hoi Kwon ) 청람어문교육학회 2012 청람어문교육 Vol.46 No.-

I studied the aspects of sijo`s metrical variation in the period of enlightenment focusing on the last line of sijo in Daehanmaeilsinbo or Daehanminbo. The sijos in Daehanmaeilsinbo or Daehanminbo tried to transform the last line because those were not supposed to sing but to read. I especially paid attention to the expansion of second segmental volume in the last line of sijo. In this thesis, I compared 565 poems in Daehanmaeilsinbo or Daehanminbo with Namhuntaepyeongga. I verified the expansion of the last line`s second segment by comparing the syllables of second segmental volume.``8 syllable`s type accounts for 41.42%(234 poems) of the total poems in Daehanmaeilsinbo or Daehanminbo. On the other hand, Namhuntaepyeongga has just 4 poems(2.78%). It is keeping the sijo`s versification and also loosening the cohesion of the last line`s second segment that the second segmental volume was expanded. It is also to read in four segmental Meter. Furthermore, the second segment was split into 4 syllable 4 segmental meter type like Gasa. The last line`s metrical variation is from the weakened metrical control. The omitting of the last line`s the last segment, brings about the morphological instability and the meaning blankness. Especially the second segmental cohesion became loosen because the lyrics condensed theme or the poetic closure with a decisive tone. As a result, two segments divided into the independent segment respectively. Therefore the last line of sijo`s aesthetic closure became weaker. However the function of appealing or arousing about the present question or enlightenment became stronger.

1920-30년대 기행시조의 창작 맥락과 시적 지향

권순회 ( Kwon Soon-hoi ) 청람어문교육학회 2016 청람어문교육 Vol.60 No.-

In this paper, I noticed convergent writing of travel Sijo and desired to reveal its context of writing and poetic orientation in the 1920s and 1930s. I evolved an argument about series of Sijo just from newspapers. This situation, convergent writing of travel Sijo, arises from new understanding of Sijo genre and cultural factors of the time. After revivals of Sijo, poetic function as text for reading strengthened and Sijo expanded to full-length series style. Because of this aspect, formal space that can describes inspection of travel along the order of itinerary, such as Gasa or prose, was emerged. Visiting places of natural beauty and historic interests is frequent in 1920s and 1930s because new understanding of the origin of the race and our territory rose in the Japanese colonial period. It was a pilgrimage in order to identify our beautiful territory and ethnic identity, not just travel for fun or sightseeing. This stream is a second cultural context of convergent writing of travel Sijo. There was a travel Sijo at the point where the two axes, which are new understanding of our territory and rediscovery of formality of Sijo, meet. These Sijo show poetic orientation of inspiration for ethnic sense of identity. Among them, Sijo about travel around Mt. Geumgang is noticed. At that time, for writers, travel around Mt. Geumgang meant not only sightseeing but also a pilgrimage to identify our beautiful territory and ethnic identity. Mt. Geumgang in travel Sijo was recreated as numinous one which treasures ethnic emotion and culture. Lee Eun-sang`s Geumganghaeng showing this perception is a representative sample of travel Sijo. This perception is revealed by Sijo about travel around Mt. Baekdu equally, such as Byeon Young-ro`s Baekdusangatdeungire. Works about travel around specific places as well as places of natural beauty and historic interests were created. Gwon Deok-gyu`s Sijogihaeng out of them described places of natural beauty, historic interests, tradition legend, and a specialty of Gyeongsang-do in minute detail. Especially, this reminds us of a geography book. We can say it as report of pilgrimage to our territory. This consciousness was confirmed again by Lee Byeong-gi`s Jejugire. His Bongcheonhaeng rouse importance of our territory and ethnic sense of identity by identifying our debris of history at territory of the past. Another feature of travel Sijo is that retrospect of history was written by travelling the past or the ancient capital. The retrospect emotions were described by two ways. Its first way is to reconfirm our rich history and culture. This is revealed by Sijo about travel around Gyeongju. Bulguksa, Seokguram, and Cheomseongdae are the place of retrospect about our glorious history. The second things are the futility and transience between the past glory and today`s ruins. This is shown by Sijo of the past or the ancient capital, however there is more stronger emotion in Sijo of travel around Songdo, ruined capital of Goryeo Dynasty. Image of ruined capital has been in the core of collective memory about Songdo. Manwoldae has been recalled frequently as the place of ventilation of the collective memory. Manwoldae`s image that ventilates emotion of ruined country might come up to writers exceptively.

19세기 초반 농·낙·편의 분화와 『병와가곡집(甁窩歌曲集)』의 위상

권순회 ( Kwon Soon-hoi ) 청람어문교육학회 2024 청람어문교육 Vol.102 No.0

이글에서는 『병와가곡집』의 만횡, 낙희조, 편삭대엽의 수록 양상에 대한 고찰을 통해 『병와가곡집』의 가곡사적 위상을 파악하였다. 만횡에는 114수가 수록되었다. 농과 얼롱으로 분화되는 작품이 다수 포함되어 있지만 아직은 명목을 얻지 못한 상황이다. 만횡의 악곡 분화는 우조와 계면조의 체계와 밀접한 관련이 있는 바, 『병와가곡집』의 경우 아직은 이를 온전하게 갖추지 못했기 때문이다. 104수가 수록된 낙희조에는 만횡청류로 불리던 작품들이 다수 포함되어 있다. 이러한 현상은 18세기 중엽 무렵부터 시작되어 『병와가곡집』에 이르러 결절점을 이룬다. 또한 본가곡에 속해 있던 낙희조가 만횡 뒤로 이동해서 ‘만횡 → 낙희조 → 편삭대엽’ 순으로 배열되어 있다. 농·낙·편의 기본 체계가 처음으로 모습을 드러낸 것이다. 낙 계열의 파생곡이 등장하지 않은 이유는 『병와가곡집』이 아직 우·계면 체계를 온전하게 갖추지 못했기 때문이다. 편삭대엽편이라는 이름으로 노랫말이 수록된 경우는 『병와가곡집』이 처음이다. 수록 작품 40수 가운데 23수가 『청구영언』(김천택 편) 만횡청류에 수록되었던 것이다. 편삭대엽은 이러한 만횡청류와 삭대엽곡이 결합해서 파생된 것으로 추정되나 그 근거를 확보하기가 쉽지 않다. 『병와가곡집』은 19세기 초반 농·낙·편 분화의 분기점에 위치하는 가집이다. 본격적인 우·계면 체계로의 전환과 그에 따른 악곡의 분화를 예비하고 있다. 가곡 한바탕에서 우·계면 체계가 온전하게 정착하는 시기는 대략 1830년대 무렵이다. 그렇다면 『병와가곡집』은 그 직전인 1820년대에 편찬된 가집이 분명하다. 19세기 초반 가곡 연행의 중요한 전환기에 새로운 시대의 문을 연 가집이라고 평가할 수 있다. This article examines the historical status of 『Byeongwagagokjip』 through a detailed examination of the inclusion of Manhoeng, Nakhuijo, and Pyeonsakdaeyeop in 『Byeongwagagokjip』. 114 pieces are included in the Manhoeng of 『Byeongwagagokjip』. There are many works that are divided into Nong and Eollong, but they have not yet been given a name. The music division of Manhyeong is closely related to the system of Ujo and Gyemyeonjo, and this is because the 『Byeongwagagokjip』 has not yet been fully established. The Nakheejo, which contains 104 pieces, includes many works called Manhyeongcheongryu. This phenomenon began around the mid-18th century and reached its climax in the 『Byeongwagagokjip』. In addition, Nakheejo, which was part of Sakdaeyeop, was moved after Manhyeong, and is arranged in the order of ‘Manhyeong → Nakheejo → Pyeonsakdaeyeop’. The basic system of Nong, Nak, and Pyeon has been revealed for the first time. The reason why derivative songs of the Nak series have not appeared is because the 『Byeongwagagokjip』 has not yet fully established the U and Gyemyeon system. The first time lyrics were included under the name of Pyeonsakdaeyeop 『was in Byeongwagagokjip』. Of the 40 songs included, 23 were included in 『Cheongguyeongeon』(edited by Kim Cheontaek) Manhyeongcheongryu. It is presumed that Pyeonsakdaeyeop was derived from the combination of 『Manhyeongcheongryu and Sakdaeyeop, but it is not easy to secure the evidence. Byeongwagagokjip』 is a collection of songs that is located at the turning point of the division of Nong, Nak, and Pyeon in the early 19th century. It is preparing for the full-scale transition to the ujo and gyemyeonjo system and the subsequent differentiation of music. The period when the ujo and gyemyeonjo system was fully established in Gagok Hanbatang was around the 1830s. In that case, it is clear that the 『Byeongwagagokjip』 was a collection of songs compiled in the 1820s, just before that. It can be evaluated as a collection of songs that opened the door to a new era during an important turning point in the performance of songs in the early 19th century.

‘時調三章’의 새로운 이해

權純會(Kwon Soon-Hoi) 한국시조학회 2004 시조학논총 Vol.20 No.-

In this paper. I reexamined the word Sjlo-samjang(時調三章) and gave a new meaning of it. In addition. I proposed the new concept of Sio-ssmeng which meant the characteristic of a Pyon'ga (篇歌) in Sio-chang (時調唱). For a long time. Sijo-samjang was regarded as a word which indicated the three sections of a Silo. It was because of the fixed idea that a Silo was always composed of a form separated by three parts. Unlike the fixed idea. I found the fact that Sijo-samjang meant singing successively three different Silos which adapted three different music by reexamining the actual uses of the word in the texts of the days. Thus. I could come to a conclusion that Sijo-samjang was the word indicating a specific music system of a Silo-chang(singing a Sijo) corresponding to a Pyon'ga of a Gagok(歌曲). Silo-samjang seemed to be molded up while the music of Silo-chang developed. Usually. a successive singing of the three different Sijos, such as Pyong-sijo(평시조), Chirum-sijo(지름시조), and Sasol-sijo(사설시조), was called Sijo-samjang. However, some of the three could be omitted, and some of it could be substituted by a derived song. This kind of a usual and a derived form seemed to be settled as an important custom of singing a Sijo after the 19 century. The main point of the development of music in Sijo-chang was having the characteristic of compilation, which meant singing Pyong-sijo, Chirum-sijo and Sasol-sijo successively. Sijo-samjang was the concept which explained this kind of characteristic and was one of the key words to understand the development of Sijo-chang.

『海東歌譜』(전북대 소장)의 性格

權純會(Kwon Soon-Hoi) 한국시조학회 2008 시조학논총 Vol.28 No.-

The objects of this paper are introducing of the newly excavated collection of poems HaedongGabo to the academy and investigating of the character. The HaedongGabo possessed by Chonbuk University is the copy of collection of poems. It has 116pages and 163 Sijoe(時調) are recorded on. There are Gagokchang(歌曲唱) 93 poems. Taepyeongga(太平歌) 1 poems. Sijochang(時調唱) 69 poems. Excepting them, there are also Gasa(歌詞) 5 poems and 'Sosangpalkyong(소상팔경)' which was sing of Danga(短歌). The biggest special feature of the HaedongGabo is that there are recorded Gegok, Gasa. Sijochang at once. But the fairly certain thing is that the HaedongGabo embodied Gagok a round and Gasa at first. The Sijochang's handwriting is different from others, so it is concluded that it should be joined later with separate copying. Therefore the focus of the HaedongGabo's composition can be placed at the Gagok Hanbatang(one round). The Gagok theory or Pyunka(篇歌) system(one round) of the HaedongGabo had been succeeded from those of the Gagokwonryu(歌曲源流). In this point, the HaedongGabo is not a different version of the Gagokwonryu but it is certain that the HaedongGabo is the collection of poems which has some connection with the Gagokwonryu. But the exclusion of Jungdaeyop(中大葉) in Hanbatang(one round) and inclusion of Hawnkyerak(還界樂). the variation marks of woman's songs Yuldangsakdaeyop(栗糖數大葉). notating Yeoneumpyo(連音標) of every lyrics tell that the HaedongGabo is the singing score which was compiled for real singing purpose. Those character are identified in lyrics. too. The HaedongGabo embodied 1-5 lyrics per one musical piece. These are percieved as typical lyrics of familiar songs by those and later people. And musical information of pieces with Yeoneumpyo were notated in it. Through these facts. it is concluded that the HaedongGabo is not the hundreds of Sjjo poems catalogue of arrangement but the singing score focused on representative music. In brief. the HaedongGabo is the script of singing which is referred for small scale song meeting or inheriting of Gagok on occasion. The essential point of the singing score is not lyrics but the musical information like Yeoneumpyo etc. So. that's form was exactly different from the words of a song catalogue. That's the reason why the HaedongGabo was recorded the representative Gagok. We can find the reason why such the singing score appeared in end of 19C to early 20C was that musical form. Yeoneumpyo. which indicated variable melody in specific songs appeared in the period.

신발굴 가집 『가사(歌詞)』의 특성과 계보적 위상

권순회 ( Kwon Soon-hoi ) 고려대학교 민족문화연구원 2017 민족문화연구 Vol.74 No.-

In this paper, I investigate the hierarchical status by examining newly discovered anthology of songs Gasa(歌詞). Gasa is a small anthology that contains 168 Gagok Saseol and 2 Gasa. 90 Gagok Saseol were recorded according to the music system from 1 to 35 pages. Below page 36, there are < Samiingok >, < Songmiingok >, and 78 Gagok Saseol, which are supplemented. The compilation period was found in the late 18th century. After this, in the early 19th century, one more supplement was made. I could not find out who the compiler is. However an ownership stamp, Taeakseodangjang(泰岳書堂藏) and Gwieunjaejang(歸隱齋藏), shows this book was housed by Lee, Gyoyoung(李敎英, 1833-1895) in Gyeongbuk Bonghwa. He was also very bright in Siga because he had anthology and Geumbo(version of Korea Univ. A). Gasa is largely divided into the first half and the second half. The first half is the abbreviation of Cheongguyeongeon of the Kim, Cheontaek edition, and the second half is the supplement. Gasa consists of Isakdaeyeop(二數大葉), Samsakdaeyeop(三數大葉), Naksijo(樂時調), Mansakdaeyeopryu(蔓數大葉類), Jangjinjusa(將進酒辭), Maengsanggunga(孟嘗君歌). These are main lists of musics in the early and mid 18th century. This anthology of songs revolves around Isakdaeyeop. 81 out of 90 Sijo situate in Isakdaeyeop, whereas only one to four were allocated to the rest. Only 25 writers are marked, which are arranged in turn, such as `Yeolseongeoje,` `Yeomal,` `Bonjo,` `Gagaek,` `Ginyeo,` and `Mumyeongssi`. This arrangement style has appeared since the mid 18th century. However I found that general arrangement is based on Cheongguyeongeon in 1782 edited by Kim, Cheontaek. Added 78 Gagok Saseol are arranged by lyrics and have no marks of piece of music. These are works intensively recorded in the anthology from the late 18th century to the early 19th century. Unlike the first half, Isakdaeyeop is widely known as a piece of music other than the majority. It seems to have been supplemented to complement the missing part. This shows that there are many works that sing affection or pleasure. Among them, there are 16 new works. Their content is also focused on affection and pleasure. It shows where the interest of the person who posted it was. In the above discussion, it is clear that Gasa is a summary of Cheongguyeongeon(edited by Kim, Cheontaek). Contains the interest of Gagok performances and anthology compilations from the end of the 18th century to the early 19th century, while faithfully abridging the original. Through this, we confirmed that Cheongguyeongeon(edited by Kim, Cheontaek) was still influential in the late 18th century.

조롱 형태의 놀이로서의 규방가사

권순회 ( Soon Hoi Kwon ) 고려대학교 민족문화연구원 2005 민족문화연구 Vol.42 No.-

Cases of making a fool of others and conflicting in place where man and woman, or women gathered are often noticed in Gyubanggasa - lyric depicting women's life in feudal society. The current study began with a hypothesis that this kind of verbal characteristic can be an important clue to find out characteristic of its enjoyment. In chapter II, an aspect of mockery shown in Gyubanggasa was studied. mockery was performed in the form of exchanged respondent songs between man and woman or woman and woman, especially among married daughters and a daughter-in-law within the same family in the back ground of Hwajeonnori -a picnic that people cook and enjoy flower-shaped cakes. As results of the study, even though mockery and tension were being raised among men and women around Hwajeon-nori, it was confirmed that this was not directly connected with a basic problem about sex role of woman and man according to the growth of women's consciousness. Rather than that, it was because they wanted to maintain tension and taste in Hwajeonnori. In addition, it was also observed that the situation in which married daughters and a daughter-in-law within a family mocked at each other's behavior and family ultimately pursued the harmony among family members. In chapter III, communication method and function of mockery in Hwajeonnori were investigated. In a good many interrogatory Gyubanggasa that were sung in Hwajeonnori situation, disputes happened through the medium of verbal mockery. This means that verbal mockery creates tension and entertainment that are essential to maintain the playing space, and Gyubanggasa in Hwajeonnori was mainly communicated as a play in the form of mockery. Women seems to express their suppressed emotion in reality through taste and catharsis caused by mockery in a formal communication space, Hwajeonnori. This is why an aesthetic sense of Gyubanggasa in the form of mockery is greatly humorous.

가곡 연창 방식에서 중대엽(中大葉) 한바탕의 가능성

권순회 ( Soon Hoi Kwon ) 고려대학교 민족문화연구원 2006 민족문화연구 Vol.44 No.-

This study investigates the history of Sijo suggesting the potential of Joongdaeyeop (midium tempo) Hanbatang in the singsing method through examining the musical pieces of Joongdaeyeop and lyrics of those songs. The findings show evidences of the Joongdaeyeop forming it`s fundamental structures during 17-18th centuries, which is better established structure than today`s common understanding. In the early and middle of the 17th century, Joongdaeyeop was subdivided into four musical tones. However, it was yet to be subdivided into various musical pieces. The subdivided music pieces of Joongdaeyeop started to appear in the late 17th century. In the late 17 century, the structure of Joongdaeyeop which consisted of 4 tones × 3 pieces to make 12 pieces was established. In the early 18C, the words to represent each piece of Joongdaeyeop is fixed. After the division of pieces and fixation of the words, the Joongdaeyeop Hanbatang is established. In this line, the time between the late 17 century and the early 18C can be seen as the peak time for Joongdaeyeop. It has been believed through song books published in the middle of 18 century that Joongdaeyeop along with Mandaeyeop(slow tempo) were not sang during those times. However, reviewing resources of Sijo interpreted into Korean and of musical notes for traditional Korean stringed instruments in this study, it was found that Joongdaeyeop was sang in many occasion upto the middle of 18th century. This study found the existence of Joongdaeyeop Hanbatang through the song `Dae(臺)` which is closing song of the Hanbatang. It is also found that, given the musical tones and pieces in it, Joongdaeyeop Hanbatang can consist of 12 pieces of song at maximum depending on the situation and that there was Dae support song to close Hanbatang.

『고시조 대전』의 편찬 과정과 주요 특성 개관

권순회 ( Soon Hoi Kwon ) 고려대학교 민족문화연구원 2012 민족문화연구 Vol.57 No.-

This article surveyed the compilation process and the main characteristics of Gosijo Daejeon (Unabridged Dictionary of Classical Sijo). The compilation of Gosijo Daejeon have started from 1990 and finished in July 30, 2012 after 23 years of long time. Gosijo Daejeon is the collection of collated and corrected 46,431 sijos from 316 kinds of classical sijo literatures, and it categorized collected sijos into 5,563 types and 6,845 groups. In the second chapter, the compilation process of Gosijo Daejeon was described in three stages. Establishment and applied research of the primary database (1990-2006) Compilation and genealogical study of the texts (2007-2010) Publication of the secondary database (2010-2012) The first stage was the period that the database of classical sijos were planned, and 5,180 numbers of classical sijos were electronic-textualized so that classical sijo searching system became possible. Also, the concept of thematic elements were introduced to the applied researches utilizing classical sijo database. The second stage was the period that “the compilation and genealogical study of classical sijo, the period of enlightenment sijo, modern sijo texts” were conducted with the fund from National Research Founation of Korea in 2007. In this chapter, the collecting of classical sijo literatures and its electonic-textualization process were introduced in detail. The last stage was the period that databased classical sijos were categorized into types and groups after the collating and correcting, the information of author and music were regularized, and finally Gosijo Daejeon were completed. In the third chapter of this article, main characteristics of Gosijo Daejeon were depicted. In this chapter, including range and scale of Gosijo Daejeon was presented, the notions of types and group which were the most important features of Gosijo Daejeon, arranged order of texts within the types and groups, and the issue regarding normalization of the title piece were discussed. Also, the way collateral information of the texts such as author, melody, title were presented in Gosijo Daejeon was narrated. Besides, subsidiary information on the group of texts (proximate groups of texts, translation) and the details in the appendix (Chinese poems translated into Korean, introductions, and information of authors) were presented.