민요의 전승과 교육을 위한 사설 표준화 방안

이성훈 한국민요학회 2011 한국민요학 Vol.32 No.-

Work songs have long been disappeared at workplace. The transmission of folk songs now depends on education. Given that the transmission of work songs cannot be done naturally, standardization of lyric words is essential to teaching general people folk songs. There were some efforts to unify a classified of song types but none to standardize lyric words. As we already know, lyric words of folk songs, which are oral literature, not documentary literature, created by a group of people rather than an individual. This explains why it is difficult to select or decide specific lyric words as representative works. This study explores how to standardize lyric words for the transmission and education of folk songs based on <Woman Divers’ Rowing Songs>. The act of rowing, which is the chance to sing <Woman Divers’ Rowing Songs>, has long been disappeared at the workplace, and the transmission of the song has failed as well. Under these circumstances the standardization of <Woman Divers’ Rowing Songs> provides standard data for the education of lyrics words as well as basic data for the education of singing the songs. <Woman Divers’ Rowing Songs> recorded in the previous data has errors in writing and translating the lyric words. This is why we need to select general lyric words from those recorded in Jeju Island and the mainland, correct the errors in writing and translating the words, and classify/standardize the words based on the chance to sing (the act of rowing). 노동 현장에서 노동요의 전승이 단절된 지는 오래다. 노동요의 전승이 교육을 통해서 이루어질 수밖에 없는 이유다. 노동요의 전승이 자연적인 조건에서 이루어지지 않는 현실을 감안한다면 일반인을 상대로 민요의 전승을 위한 교육을 하려면 사설의 표준화는 절대적으로 필요하다. 민요의 요종명을 통일하자는 주장은 있었지만 사설을 표준화하자는 논의는 거의 전무하다. 주지하듯이 구비문학인 민요의 사설은 기록문학과는 달리 요종별 사설이 특정인이 창작한 게 아닌 공동작이다. 특정한 사설만을 대표적인 사설로 선정하거나 확정하기가 쉽지 않은 이유다. 이 글은 민요의 전승과 교육을 위해 사설을 표준화하는 방안을 <해녀노젓는소리> 사설을 중심으로 모색해 보았다. <해녀노젓는소리>의 가창기연인 노(櫓) 젓는 노동은 동력선의 등장으로 소멸되었고 현장에서의 전승도 단절되었다. 이러한 현실에서 <해녀노젓는소리> 사설의 표준화는 가창 교육을 위한 기본 자료뿐만 아니라 사설 교육을 위한 표준 자료로 활용하기 위해서도 필요한 작업이다. 기존 자료집에 수록된 <해녀노젓는소리> 사설 중에는 사설을 오기하거나 어석의 오류를 범한 경우가 있다. 제주도와 본토에서 채록된 사설 가운데 보편적이고 일반적인 사설들을 선택하고 사설의 오기와 어석의 오류를 바로잡은 다음에 가창기연(歌唱機緣)을 중심으로 사설을 분류하고 표준화해야 하는 이유가 여기에 있다.

근대 찬송가 창작가사의 음악찾기

조용연 ( Yong Yeon Cho ) 한국음악학학회 2014 음악학 Vol.22 No.2

선교 초기 한국교회 창작가사는 창작음악 작곡가가 없었던 까닭에 대부분이 영, 미 찬송가 미터(운율)에 붙여졌다. 이들 창작가사는 교회에서 즐겨 불려지는 이른바 ``유명한 찬송가``들이었다. 그리고 더 많은 창작가사들은 찬송가책 바깥의 신문이나 잡지에 실리고 잊혀졌다. 그러므로 창작가사들이 어떤 찬송가에 붙여졌는지 알 수 없는 경우도 적지 않다. 음악을 모르는 이 창작가사들은 특정 찬송가에 맞추어 불려졌을 것으로 추정된다. 왜냐하면 이들 창작가사는 노래를 목적으로 만들어졌기 때문이다. 또한 비록 소수에 불과하지만, 당시 널리 불렸던 유행가나 전통민요의 선율에 붙여져 불리기도 했다. 이 역시 가사만 전해 오기 때문에, 많은 경우 어떤 음악에 붙여졌는지도 알기 어렵게 한다. 그것은 창작가사가 어떤 음악에 붙여 졌는가 하는 물음을 갖게 한다. 이를 연구하기 위해서는 먼저 응용이 가능한 ``틀``(도구)을 찾아내야 했다. 즉 모태가사와 창작가사의 표현적, 언어적 관련성을 파악한 다음, 미터와 음절 구조의 유사성을 밝히고, 그것을 통해 해당 음악을 찾아내는 것이다. 음악을 알 수 없는 가사의 음악찾기는 창작가사가 모태가사와 공통된 표현이나 내용을 갖는 경우가 흔하기 때문에 가능한 일이다. 무엇보다 유사한 단어와 내용이 음악찾기의 중요한 단서가 될 수 있다. 따라서 이 연구는 앞서 제시한 틀을 근거로 창작가사의 음악찾기를 시도했다. 한편 이 작업은 향후 더 많은 창작가사들의 본래 음악을 찾는데 중요한 기초가 될 수 있을 것이며, 나아가 악보 없는 창작가사의 음악찾기 작업은 초기 한국 교회음악역사의 재구성을 위해서도 절실히 필요하다고 본다. So far, this researcher has examined creative words that were used as the lyrics of mission songs in the early period of evangelization by the Korea church. Some of those words were tuned to British or American hymns. Others were sung by using the melodies of popular or traditional songs that were in fashion at that time. Nevertheless, many creative words are still uncertain when it comes to music pieces to which those words were adapted to be sung. This is because the words are remained without any musical information. Therefore, this study aimed to identify songs to which the creative words were adapted to be sung. In the previous study, this researcher focused on correlations in terms of vocabulary, content and expression between creative and original words and similarities in meter and syllable structure between the two groups of words. Accordingly, the researcher identified hymns that have something to do with some creative words while informing other creative words whose related hymns were not found. This study discussed in the following how to more effectively identify songs based on which creative words were sung, which were not identified in the previous research. First, this study examined cases that original and creative words match with each other in terms of content and form. In terms of content, those original and creative words are same or similar to each other in implications and the composition, vocabulary and expression of the refrain. In terms of form, the two groups of words are exactly equal to each other in meter, syllable structure, the number of syllables and rhythm. In some of the cases, creative words have more syllables than original ones do. This is attributed to rhythmic division for communicating the meaning of Korean lyrics. It``s not a big problem musically. Second, this study examined cases that creative words are different in content or form from original words. More specifically, those cases include creative words that are similar in content to original words or have some traces of the originals, but different in the number of syllables and creative words that are same in meter, but different in lyrics from original words. In these cases, it``s possible to identify songs only if creative and original words are same in any of content and form. Third, this study dealt with cases that it``s difficult to determine a music piece to which creative words were adapted. Those cases include creative words which are presumed to have been adapted to a music piece when their meter, number of syllables and lyric structure and expression are considered, but that piece is uncertain, creative words that seem to have something to do with traditional music, but which piece of that music is related is uncertain(a long-text music piece like pansori) and creative words whose refrain is different from that of original words. In this study, the researcher could identify songs that were sung with creative words by determining the originals of those words. This provides basic information for helping identify songs based on which many other creative words for which music scores can``t be found were sung. The identification is necessary for clarifying this country``s history of earlier church music.

대중가요에 쓰인 영어 가사의 기능 연구

한성일 ( Sung Il Han ) 한국텍스트언어학회 2010 텍스트언어학 Vol.29 No.-

This study purposed to demonstrate that English words used in popular songs perform various functions through linguistic performance called code-switching. The excessive use of English words should be avoided because it may foster the tendency to disregard the Korean language among adolescents. On the other hand, however, we need to examine the background of the rapid increase in the use of English words. Without knowing the background encouraging the use of English words and in the current situation that adolescents are crazy about popular songs using English words, we cannot view the use of English words negatively altogether. For this study, we selected songs included in the top ten in the Internet Melon Monthly Chart (http://www.melon.com) for one year from August 2008 to July 2009. As redundant songs were removed from the 120 songs included in the top ten during the 12 months, 69 songs were left, and among them 49 songs that use English words were sampled for this study. The functions of English words used in popular songs are summarized as follows. First, English exclamatory words play the function of interjection that cheers up and changes the mood. Second, English address terms play the function of expressing intimacy among characters in the songs. Third, rhyme and the repetition of the same phrase play the function of meter. Fourth, the repetition of the same phrase plays the role of emphasizing meanings. Fifth, the repetition of synonyms plays the function of harmonizing text structure. Lastly, English words containing suggestive expressions play the function of expressing free sexual desire with passing censorship. Through these uses of English words, the new generation tries to expose their identity distinguished from the old generations and to feel the freedom of deviation as a reaction to daily things. Furthermore, they may satisfy their desire for newness through unfamiliar English words, and enjoy the freedom of expression by expressing suggestive contents in English.

클래식 음악을 활용한 유아동요 노랫말 분석 및 새로운 대안 모색

김혜숙(Kim Hye-Sook) 한국열린유아교육학회 2012 열린유아교육연구 Vol.17 No.3

유아의 음악적 능력을 계발하고 심미성 발달과 자아성장을 돕기 위해 클래식 음악을 도입할 수 있다. 이 논문은 클래식음악을 유아에게 친숙하게 만드는 한 가지 중요한 단서가 노랫말 붙이기에 있다고 착안하여, 클래식음악을 활용한 유아동요의 노랫말 붙이기 문제를 연구대상으로 삼았다. 기존의 관련 유아동요 교재들의 노랫말들을 구체적으로 분석해 노랫말의 특징과 문제점들을 밝혀냈다. 그리고 이런 문제점들을 보완해 유아에게 적절한 노랫말 붙이기의 대안들을 제시해보았다. 이런 실제적인 노랫말 분석을 통해, 또한 클래식 음악을 활용한 노랫말 붙이기의 기본원리들을 도출해내고, 이에 의거해 노랫말 구성기준을 귀납적으로 도출해낼 수 있었다. 이는 클래식 음악을 도입한 유아동요 노랫말 작사자가 준수해야 할 노랫말 붙이기의 원리 및 구성기준일 뿐만 아니라, 노랫말 평가를 위한 분석기준으로도 활용될 수 있다. Classical music may be incorporated to help children enhance their musical talent and attain mature personality. One of the most important factors that may lead children to feel familiar with classical music is to put appropriate song words to the songs. Thus, this paper attempts to analyze the problem of putting song words to children’s songs incorporating classical music. For the research, researchers analyzed children’s songs collected from published textbooks of children’s songs and tried to clarify the characteristics of the song words and their problems. Then, we proposed an alternative approach, which may solve the problems, for putting appropriate song words to children’s songs. An analysis of real song words as was done in this research made it possible to establish the basic principle of putting song words to the children’s songs based on classical music and further, inductively to form a standard schema for composing song words. It is hoped that this schema may be used not only as a principle and schema to follow for the writer of song words to children’s songs based on classical music but also as a schematic standard for an analysis of the evaluation of song words.

농요에 나타난 자연표상과 농민의 자연관

김월덕 한국민요학회 2008 한국민요학 Vol.24 No.-

The purpose of this paper is to look into the representation of nature in farming songs and consider them an indication of the relationship between nature and human beings. First, the representation of nature in farming songs has been related to the growth rhythm of grain and to order in nature. In addition, agricultural life is represented as a cognitive basis for traditional values such as filial piety and brotherliness. Second, the expression of nature in farming songs represents a repetitive cycle of birth, growth, aging and rebirth, and it has allowed farmers an optimistic perspective. Third, nature in farming songs is represented with time and space indicators. Farmers have changed the formula of the songs into words based on their own experiences, and these show the unity and interconnectedness of nature and human beings. Farming songs have farmers’ simple and sincere thoughts of nature because farmers are very close to nature. All the things farmers have seen and experienced in nature are reflected in their farming songs. I could discover the representation of nature, with the background of all agricultural life as a principle that controls the world in farming songs. Even though the musical words of farming songs are not unique for farmers, they were able to express their own view of nature changing the idiomatic expression into words that are related to their own experience. The belief that humans can be pleased when nature and human beings correspond with each other is an essential element in farming songs. Farming songs are a way for nature and human beings to harmonize with each other. Modern urbanites armed with scientific knowledge about the sympathetic relations between nature and human beings cannot be as scientific and pantheistic as the farming songs already are instinctively. We need to pay attention to these songs as an expression of relations with nature before modern industrialization. The purpose of this paper is to look into the representation of nature in farming songs and consider them an indication of the relationship between nature and human beings. First, the representation of nature in farming songs has been related to the growth rhythm of grain and to order in nature. In addition, agricultural life is represented as a cognitive basis for traditional values such as filial piety and brotherliness. Second, the expression of nature in farming songs represents a repetitive cycle of birth, growth, aging and rebirth, and it has allowed farmers an optimistic perspective. Third, nature in farming songs is represented with time and space indicators. Farmers have changed the formula of the songs into words based on their own experiences, and these show the unity and interconnectedness of nature and human beings. Farming songs have farmers’ simple and sincere thoughts of nature because farmers are very close to nature. All the things farmers have seen and experienced in nature are reflected in their farming songs. I could discover the representation of nature, with the background of all agricultural life as a principle that controls the world in farming songs. Even though the musical words of farming songs are not unique for farmers, they were able to express their own view of nature changing the idiomatic expression into words that are related to their own experience. The belief that humans can be pleased when nature and human beings correspond with each other is an essential element in farming songs. Farming songs are a way for nature and human beings to harmonize with each other. Modern urbanites armed with scientific knowledge about the sympathetic relations between nature and human beings cannot be as scientific and pantheistic as the farming songs already are instinctively. We need to pay attention to these songs as an expression of relations with nature before modern industrialization.

어린이시노래 연구

이지호(Yi, Ji-ho) 한국아동청소년문학학회 2014 아동청소년문학연구 Vol.- No.15

Children’s poem-song is the song made of children’s poem. Some children’s poems are good for reading and some children’s poems are good for singing. The latter are appropriate for song’s words. There are some children’s poems which a songwriter wants to make songs. There are some children’s poems which a songwriter can make songs easily. It may be possible that the former and the latter have the same meaning. Because the literary codes of children’s poem are connected musical codes of children’s poem strongly. There are 5 methods of constructing song’s words with a children’s poem. The first is ‘Copying’, which means using a children’s poem without further amendment. The second is ‘Adjusting, which means using a children’s poem with repeating some words or phrases. The third is ‘Proofreading’, which means using a children’s poem with correcting words or phrases. The fourth is ‘Revising’, which means using a children’s poem with amendment in structure of meaning. The fifth is ‘Mixing’, which means using two or more children’s poems together. Copying-songs and Adjusting-songs can be said pure children’s poem-songs. Because the children’s poem in the children’s poem-song maintains its original state. But Proofreading-songs, Revising-songs and Mixing-songs can not be said pure children’s poem-songs. Because the children’s poem in the children’s poem-song is not same as what it was.

韓․日 <모심는소리>(田植歌)의 제의성(祭儀性) 비교 연구

권오경 한국민요학회 2008 한국민요학 Vol.24 No.-

The function of Korean and Japanese rice planting song is praying to the God of paddy for the well harvest and reducing the pain of labor related planting rice. But in the case of Korea, There is nothing paper especially for the ritual quality. So, the aim of this paper is to research the ritual quality of Korean rice planting song comparing with Japanese’s. The purpose of comparison with Japan’s rice planting song specially in the area of Joo-koku, near the Hirosima is that there are some equal qualities of singing and text composing methods. At first, I prepared the assumption related structure of rice planting song with the time of physical and ritual, and there two times are divided but not separated and are united in the texts of rice planting songs. In other words, the texts of these songs are basically composed with ritual time and real time-the labor time. This assumption was verified with the procedure of performance of songs in turn. Ritual quality is composed in the orders of reception, amusement, and sending off the God. But the last order is not appeared because for the good harvest always the God is needed in the paddy from spring to fall. In stead of last order, There is another order related sunset. Farmers feel the uncertainty of life with the sunset and sing about that. And at the same time, they think about dead and separated with their family and also feel the fear and they sing a song about sexual song to conquer fear and uncertainty. This performance means that human wants revival and also they symbolize that little rice which is planted in paddy grow up healthy so get a abundant grain. These orders and structure of texts are similar with Japanese rice planting song. But in the case of Japanese, The texts are composed closely by the ritual especially in the point of God of paddy. Korean paddy God is Dragon and Japanese God is ‘Sanbai’-this name is equal with leading singer’s-. So we have to recognize that Korean songs are symbolized with ritual. But on the surface of texts there are more sexual and amusable contents than ritual. In this paper, I only treated rice planting song in Yung-Nam province. But If we scale up the texts regarding rice songs, we could get more ritual quality. This ritual quality can give us informations about the contents of texts. So we can understand why these words are used and how these texts perform in the real time. These are very important things that how can Korean farming songs get a competitive power in the world and how can we develop and transmit our traditional farming songs. Ritual quality in traditional farming songs is not on the surface but live under the texts and performance. The function of Korean and Japanese rice planting song is praying to the God of paddy for the well harvest and reducing the pain of labor related planting rice. But in the case of Korea, There is nothing paper especially for the ritual quality. So, the aim of this paper is to research the ritual quality of Korean rice planting song comparing with Japanese’s. The purpose of comparison with Japan’s rice planting song specially in the area of Joo-koku, near the Hirosima is that there are some equal qualities of singing and text composing methods. At first, I prepared the assumption related structure of rice planting song with the time of physical and ritual, and there two times are divided but not separated and are united in the texts of rice planting songs. In other words, the texts of these songs are basically composed with ritual time and real time-the labor time. This assumption was verified with the procedure of performance of songs in turn. Ritual quality is composed in the orders of reception, amusement, and sending off the God. But the last order is not appeared because for the good harvest always the God is needed in the paddy from spring to fall. In stead of last order, There is another order related sunset. Farmers feel the uncertainty of life with the sunset and sing about that. And at the same time, they think about dead and separated with their family and also feel the fear and they sing a song about sexual song to conquer fear and uncertainty. This performance means that human wants revival and also they symbolize that little rice which is planted in paddy grow up healthy so get a abundant grain. These orders and structure of texts are similar with Japanese rice planting song. But in the case of Japanese, The texts are composed closely by the ritual especially in the point of God of paddy. Korean paddy God is Dragon and Japanese God is ‘Sanbai’-this name is equal with leading singer’s-. So we have to recognize that Korean songs are symbolized with ritual. But on the surface of texts there are more sexual and amusable contents than ritual. In this paper, I only treated rice planting song in Yung-Nam province. But If we scale up the texts regarding rice songs, we could get more ritual quality. This ritual quality can give us informations about the contents of texts. So we can understand why these words are used and how these texts perform in the real time. These are very important things that how can Korean farming songs get a competitive power in the world and how can we develop and transmit our traditional farming songs. Ritual quality in traditional farming songs is not on the surface but live under the texts and performance.

한국 서사민요 디지털 아카이빙을 위한 시집살이 서사의 분석과 의미

서영숙(Suh, Young Sook) 한국구비문학회 2021 口碑文學硏究 Vol.- No.60

This study categorized the types by character, relationships, and core events targeting Korean narrative folk songs about women’s married lives, which account for the largest proportion of Korean narrative folk songs (435 out of 1,008 narrative folk songs, 43.2% of narrative folk songs extracted from The Comprehensive Collection of Korean Oral Literature). In addition, each version was analysed by type into 1,430 narrative paragraphs, and a total of 109 theme words were extracted from these paragraphs to construct basic data into a digital archive of narrative folk songs. Based on this, the characteristics and meaning of narrative folk songs about women’s married lives were examined by analysing the structural characteristics and distribution patterns of theme words appearing in sequential combinations of narrative paragraphs. The structural features found within the narrative folk songs about women’s married lives extracted through the analysis of sequential combinations of narrative paragraphs were as follows: 1. Almost all narrative folk songs about women’s married lives started with the idea of “hardship.” 2. Most narrative folk songs about women’s married lives presented a simple progression. 3. Most endings of these narrative folk songs about women’s married lives did not reach a “solution,” leading to “frustration.” The following results were found regarding the lives and consciousness of lower social class women through the analysis of the distribution patterns of theme words contained in each of the narrative paragraphs: 1. Although theme words were rarely found in the “expectation” section of narrative folk songs about women’s married lives, results revealed the hopes and desires that women had regarding marriage and in-law relationships. 2. The section related to the theme words “hardship” occupied the greatest proportion of the narratives, reappearing several times in a characteristic form. 3. In the section related to “trying a solution,” there were many theme words associated with negative behaviors such as “becoming a monk” or “protesting” rather than engaging in positive behaviors such as “hospitality” and “aid.” This indicates that even “trying a solution” was attempted as a method difficult to achieve. 4. The section related to “frustration” in narrative folk songs appeared more often after the “hardship” section in all narrative paragraphs. In this regard, the theme word “death·funeral” was found most frequently. 5. Finally, the “solution” section of these narrative folk songs contained a paradoxical solution difficult to achieve in real life, such as the “failure of women’s married lives” or “the couple’s unification in the underworld.” This is based on a strong sense of negativity about the reality of the lower social class women, which assumes that amicable union and love between married couples can never The narrative paragraph system found within narrative folk songs about women’s married lives needs to be expanded not only to the entire narrative folk songs but also to the overall Korean oral narrative literature. Additionally, research on the digital archiving of Korean oral literature is necessary. Collaboration with the IT industry is also required to develop a digital archive based on the actual search system, capable of managing research results through the Internet. This initiative is difficult to accomplish through the effort of a single researcher, and continuous cooperation and support with institutions related to oral literature and folk song archives are needed to further expand the research in this field. 이 글에서는 한국 서사민요 중 가장 큰 비중을 차지하고 있는 ‘시집살이’ 서사민요 435편을 대상으로 인물 관계와 핵심 사건에 의해 유형을 분류한 뒤, 각 유형에 속한 각편들에서 총 1,430개의 서사단락과 109개의 주제어를 추출해 서사민요의 디지털 아카이빙을 위한 기초 데이터를 구축하였다. 나아가 이를 바탕으로 서사단락의 순차적 결합 양상과 주제어 분포 양상에 대한 분석을 통해, 시집살이 서사민요의 특징과 의미를 고찰하였다. 우선, 서사단락의 순차적 결합 양상 분석을 바탕으로 시집살이 서사민요의 구조적 특징을 분석한 결과, 시집살이 서사민요는 거의 대부분 고난으로 시작하고, 해결의 시도와 좌절이 한번 정도 교체되거나 해결의 시도 없이 좌절만 거듭해 단순하게 진행되며, 결말이 해결에 이르지 못하고 좌절에 그치는, 고난시작형, 단순진행형, 좌절결말형의 구조로 이루어져 있음을 밝혔다. 이는 시집살이 서사민요가 유흥이나 여유가 아니라 노동과 긴장 속에서 불린 노래로서, 고난과 좌절로 점철되는 여성의 비극적 삶 자체를 사실적으로 그려내는 문학임을 드러내 준다. 다음, 각 서사단락에 나타나는 주제어의 분포 양상을 분석한 결과, 시집살이 서사민요는 다음과 같은 향유의식과 의미를 지니고 있음을 밝혔다. 첫째, ‘기대’ 단락의 주제어는 드물기는 하지만, ‘혼인’, ‘옷 만듦’, ‘음식 장만’ 등을 통해 시집 생활에 대한 소망을 보여준다. 둘째, ‘고난’ 단락의 주제어가 가장 큰 비중을 차지하고 있으며, ‘시집식구 구박’이 전형적 형태로 거듭 나타나는 것이 일반적이다. 셋째, ‘해결의 시도’ 단락에는 ‘대접’, ‘원조’와 같은 긍정적 행동보다는 ‘출가’, ‘항의’와 같은 부정적 행동이 많이 나타난다. 넷째, ‘좌절’ 단락은 ‘고난’ 단락 다음으로 많이 나타나며, 그중에서도 ‘죽음’ 관련 주제어가 가장 큰 비중을 차지한다. 다섯째, ‘해결’ 단락에서는 ‘시집 패망’이나 ‘저승 결합’과 같이 현실에서 이루어지기 어려운 역설적 해결이 큰 비중을 차지한다. 이처럼 시집살이 서사민요는 향유층의 현실에 대한 강한 부정 의식을 바탕으로 하고 있으면서도, 그 현실을 넘어서 시집살이의 고난을 극복하고자 했던 여성 창자들의 소망이 표출된 것이라 할 수 있다.

<해녀노젓는소리> 가창기연의 소멸 시기

이성훈 한국민요학회 2008 한국민요학 Vol.24 No.-

This study aims to verify the time of extinction of the chances to sing <Women Divers’ Rowing Songs> through the process of changes in the types of ships and diving suits used by women divers when leaving for mainland and working in the sea. In order to move out to working sites to catch marine products, women divers used the method of swimming and sailing in the ship. The chances to sing <Women Divers’ Rowing Songs> were when women divers swam or rowed a sailboat to the working sites. In this study, I estimated the time of extinction of chances to sing <Women Divers’ Rowing Songs>, which had not drawn attention in the past, through the process of changes in the types of ships and diving suits used by women divers. Details of discussion are summarized as of the following. The act of rowing, the chance to sing <Women Divers’ Rowing Songs>, in leaving for mainland had been common up until 1930s as women divers left for mainland by using only the sailing boats from around 1889 to the 1930s, the period in which leaving for mainland by women divers first started. From the 1940s to the 1950s, motor ships and steam-and-sail boats were used to leave for mainland. Therefore, the act of rowing rapidly decreased. Also, as regular passenger ships entered service between Jeju-do and Mokpo․Busan in 1963, women divers used mainly the passenger ships rather than motor ships and steam-and-sail boats to leave for mainland. With this, the act of rowing disappeared as well. It is considered that the act of rowing, the chance to sing <Women Divers’ Rowing Songs>, completely disappeared in the 1960s. In terms of the time of extinction of the chances to sing <Women Divers’ Rowing Songs> when rowing sailboats to working sites in the coast, the act of rowing a sailboat, the chance to sing <Women Divers’ Rowing Songs>, in Geoje-si and Sacheon-si among the western districts of Gyeongsangnam-do, continued on until the end of the 1960s and is thought to be extinct with introduction of powerboats. Also, the time of extinction of the chances to sing <Women Divers’ Rowing Songs> when swimming out to working sites in the coast is thought to be after the 1970s in which rubber diving suits and fins were introduced. This study aims to verify the time of extinction of the chances to sing <Women Divers’ Rowing Songs> through the process of changes in the types of ships and diving suits used by women divers when leaving for mainland and working in the sea. In order to move out to working sites to catch marine products, women divers used the method of swimming and sailing in the ship. The chances to sing <Women Divers’ Rowing Songs> were when women divers swam or rowed a sailboat to the working sites. In this study, I estimated the time of extinction of chances to sing <Women Divers’ Rowing Songs>, which had not drawn attention in the past, through the process of changes in the types of ships and diving suits used by women divers. Details of discussion are summarized as of the following. The act of rowing, the chance to sing <Women Divers’ Rowing Songs>, in leaving for mainland had been common up until 1930s as women divers left for mainland by using only the sailing boats from around 1889 to the 1930s, the period in which leaving for mainland by women divers first started. From the 1940s to the 1950s, motor ships and steam-and-sail boats were used to leave for mainland. Therefore, the act of rowing rapidly decreased. Also, as regular passenger ships entered service between Jeju-do and Mokpo․Busan in 1963, women divers used mainly the passenger ships rather than motor ships and steam-and-sail boats to leave for mainland. With this, the act of rowing disappeared as well. It is considered that the act of rowing, the chance to sing <Women Divers’ Rowing Songs>, completely disappeared in the 1960s. In terms of the time of extinction of the chances to sing <Women Divers’ Rowing Songs> when rowing sailboats to working sites in the coast, the act of rowing a sailboat, the chance to sing <Women Divers’ Rowing Songs>, in Geoje-si and Sacheon-si among the western districts of Gyeongsangnam-do, continued on until the end of the 1960s and is thought to be extinct with introduction of powerboats. Also, the time of extinction of the chances to sing <Women Divers’ Rowing Songs> when swimming out to working sites in the coast is thought to be after the 1970s in which rubber diving suits and fins were introduced.

동요의 가사에 나타난 유아수학교육 내용분석

하연희,정지은,최은지 인문사회 21 2022 인문사회 21 Vol.13 No.6

동요의 가사에 나타난 유아수학교육 내용분석하 연 희**ㆍ정 지 은***ㆍ최 은 지**** 연구 목적: 본 연구는 일상생활 속에서 유아가 동요를 통해 습득할 수 있는 수학교육내용을 제시하고 유아수학교육적 의미를 찾아보고자 하였다. 연구 방법: 유아교육기관의 교사 6인과 영유아기 자녀를 둔 부모 10인에게 동요 목록을 받아 총 60곡을 선정하였다. 동요의 가사를 전사하고 그 안에 포함된 수학내용을 유형적 분석단계에 따라 분석하여 그 분석이 가지는 의미에 대해 해석하였다. 연구 내용: 동요의 유아수학교육 내용은 수와 연산 40곡, 공간 및 도형에 대해 알아보기 30곡, 기초적인 측정해보기 21곡, 규칙성 이해하기 35곡, 자료정리 및 결과 나타내기 9곡에 포함되어 있는 것으로 나타났다. 이는 생활 속 유아수학교육의 가능성, 정서적 안정감과 함께 유아수학교육의 내용 전달, 함께하는 어우러짐의 공동체적 관계 형성을 통한 유아수학내용의 습득의 의미를 지닌다. 결론 및 제언: 본 연구는 동요의 가사에 나타난 수학교육의 내용과 의미를 분석함으로써 다양한 동요를 통한 수학활동 모색, 동요를 통한 수 능력 향상, 수학과 음악의 통합교육을 위한 프로그램 개발 등에 대해 제안하였다. 핵심어: 유아수학, 유아수학교육, 수학내용, 동요, 수학동요 □ 접수일: 2022년 11월 9일, 수정일: 2022년 11월 22일, 게재확정일: 2022년 12월 20일* 이 논문은 2020년 고신대학교 교내 연구비 지원에 의한 것임. ** 주저자, 고신대학교 유아교육과 조교수(First Author, Professor, Kosin Univ., Email: fresh-525@kosin.ac.kr)*** 공동저자, 제일어린이집 교사(Co-author, Teacher, Jaeil Childcare Center, Email: 123wjdwl@naver.com)**** 교신저자, 고신대학교 유아교육과 강사(Corresponding Author, Lecturer, Kosin Univ., Email: miredofa@hanmail.net) An Analysis of Early Childhood Mathematics Educationin the Lyrics of Children’s SongYeonhee Ha, Jieun Jung, & Eunji Choi Abstract: The purpose of this study is to present the contents of mathematics education that infants can learn through children’s songs in their daily lives and to find the meaning of early childhood mathematics education. A total of 60 songs were selected by receiving a children’s song list from 6 teachers at an early childhood education institution and 10 parents with infants and children. The lyrics of the children’s song were transcribed and the types of mathematical content included in it were analyzed to interpret the meaning of the analysis. The contents of children’s education in early childhood mathematics were found to be included in 40 songs to raise incarceration angles, 35 songs to understand regularity, 30 songs to learn about space and shapes, 21 songs to measure basic things, and 9 songs to organize data and show results. This has the meaning of acquiring early childhood mathematics contents through the possibility of early childhood mathematics education in life, emotional stability, delivery of the contents of early childhood mathematics education, and formation of a community relationship of harmony. By analyzing the contents and meaning of mathematics education inherent in the lyrics of children’s songs, this study proposed seeking math activities through various children’s songs, improving math skills through children's songs, and developing programs for integrated mathematics and music education. Key Words: Early Childhood Math, Early Childhood Math Education, Math Content, Children’s Songs, Math Children’s Songs