일제 강점기 민요 창작론과 창작민요의 특성

최은숙 한국민요학회 2008 한국민요학 Vol.24 No.-

‘Folk songs’ during the Japanese occupation was newly discovered. Folk songs, which was actively called for as means of national enlightenment, has been the subject of full-scale search and meaning since 1920s, baptized with racial and popular discourses. In these processes, folk songs are recorded in a book as they are, but sometimes adapted or newly created for a special purpose. In relation to that, this article is intended to identify the phase of the folk song creation theory and characteristics of Creation long-sijo that were newly proposed especially in discourse related to folk songs in the 1920s. Folk songs in the 1920s should have been created not in the way that utilizes and adapts existing folk songs but in the way that positively indicates popular reality and demand, and these requirements became influential as important elements of determining the identity of folk songs. On the basis of this discussion, Creation folk songs, as a song of the populace, were performing a function of representing the joys and sorrows of the contemporary populace and criticizing the reality. Also, the argumental features represented in Creation folk songs are directly related to this. One thing is the pain as a colony of Japan and another is the wandering of city labor who, in the process of modernization, came to the city to look for job and money but whose value as a human being can not be acknowledged. The argumental features of Folk song creation theory and Creation folk song in the 1920s coincide with the previous tradition that stressed the power of folk songs in that they tried to diagnose and criticize the reality through folk songs. In addition, they can become an important logical basis in verifying the reason for succession of folk songs in actively under discussion. With regard to this point, Creation folk song theory and Creation folk songs that established the populace as one subject and attempted to represent their reality would provide a new potential prospect. ‘Folk songs’ during the Japanese occupation was newly discovered. Folk songs, which was actively called for as means of national enlightenment, has been the subject of full-scale search and meaning since 1920s, baptized with racial and popular discourses. In these processes, folk songs are recorded in a book as they are, but sometimes adapted or newly created for a special purpose. In relation to that, this article is intended to identify the phase of the folk song creation theory and characteristics of Creation long-sijo that were newly proposed especially in discourse related to folk songs in the 1920s. Folk songs in the 1920s should have been created not in the way that utilizes and adapts existing folk songs but in the way that positively indicates popular reality and demand, and these requirements became influential as important elements of determining the identity of folk songs. On the basis of this discussion, Creation folk songs, as a song of the populace, were performing a function of representing the joys and sorrows of the contemporary populace and criticizing the reality. Also, the argumental features represented in Creation folk songs are directly related to this. One thing is the pain as a colony of Japan and another is the wandering of city labor who, in the process of modernization, came to the city to look for job and money but whose value as a human being can not be acknowledged. The argumental features of Folk song creation theory and Creation folk song in the 1920s coincide with the previous tradition that stressed the power of folk songs in that they tried to diagnose and criticize the reality through folk songs. In addition, they can become an important logical basis in verifying the reason for succession of folk songs in actively under discussion. With regard to this point, Creation folk song theory and Creation folk songs that established the populace as one subject and attempted to represent their reality would provide a new potential prospect.

제7차 개정 중학교 국어교과서에 나타난 민요교육의 문제점 연구

박관수 한국민요학회 2010 한국민요학 Vol.30 No.-

과거 중학교 국어교과서에서도 민요에 대해 여러 측면에서 잘못 기술하고 있는데, 제7차 개정 중학교 1학년 국어 교과서 중 일부 교과서에서도 여러 오류가 발견된다. 우선 대다수 교과서들이 각 개체요들이 학년별, 교과별, 단원별로 적합하게 선정되었는지를 심도 있게 고려하지 않은 채 과거 교과서의 민요 선정을 그대로 답습하는 모습을 보인다. 중학교 1학년 아이들의 정서와 맞지 않는, 어른들이 주로 부르던 민요를 수록하거나, 1920년대 전후에 창작된 민요풍 유행가를 민요라고 소개하는 등의 오류를 보인다. 또한, 일부 교과서에서는 민요의 운율적 특성과 음악적 특성을 혼동하는 오류를 범하고 있다. 나아가 사설 자체에 대한 이해는 물론, 개체요 내지는 장르 자체에 대한 오류를 범하고 있다. 이처럼 여러 국어 교과서에서 오류가 발견되는데, 이는 무엇보다도 교과서 집필자들의 민요에 대한 무지 때문이라고 생각한다. In the seventh revised curriculum of Korea’s education, a number of middle school first grade language textbooks have a collection of Korean folk songs as studying material. However, there are quite a few problems with such a selection, starting with the folk songs themselves; many of the selected “folk songs” are not actually folk songs at all. Furthermore, the content of these folk songs pose a problem. Most of the selected folk songs are not appropriate for the middle school first grade curriculum. Not only that, but many textbooks portray folk songs inaccurately due to a lack of comprehension. Some textbooks confuse the rhythmical character and the musical character of each song. Many err in understanding the content of the lyrics and also the individual songs or the genre itself. Regrettably, there are a lot of obvious errors in the description and portrayal of folk songs in Korean language textbooks. Such problems fundamentally arise from the textbook editors and writers’ ignorance of folk songs.

민요 현장의 국면 읽기와생태학적 문제의식

강등학 한국민요학회 2022 한국민요학 Vol.64 No.-

Folk songs secure space through individual distribution processes depending on the quality of the song and the functional relationship of the cultural topography. The distribution of living things is also determined by the functional relationship between their qualities and the environment. Therefore, it is similar for living things to secure living spaces based on the environment and to secure accommodation spaces based on the cultural landscape of folk songs and to distribute culture. Ecology produces knowledge and information about organisms and ecosystems by exploring how they live in certain environments and how they relate to them. On the other hand, knowing how folk songs exist in what environment and furthermore, how various individual songs form the folk song world is a basic object of inquiry in folk songs. Therefore, in order for folk songs to understand the status of existence of folk songs, it is necessary to cite the problem consciousness of ecology. Ecological problem consciousness allows the underlying phase of folk songs to be read realistically, dynamically, and practically. In the case of individual songs, reading the history of existence and the aspect of existence, such as regional differences in distribution density, variation according to the distribution location, acceptance and conflict of the distribution process, etc., is made to be read on-site. In addition, in the case of classification, it makes it possible to understand the competition and confrontation structure of the individual elements and to grasp the cultural topography and communication area. In the case of folk song ecosystem, the classification of folk songs goes beyond the level of data organization and becomes a tool as a standard for reading various aspects of folk songs. There are numerous individual songs in the folk song scene, and they exist as an ecosystem that has formed a network of relationships with each other in a certain order and system. Therefore, reading the phase of the folk song scene is reading the ecology of folk songs, and among them, the essence and principle of existence of folk songs can be grasped. In this respect, reading the folk song phase from an ecological point of view means producing field-based knowledge and information of Korean folk songs. 민요는 노래의 자질과 문화지형의 함수관계에 따라 개체요마다 개개의 유포과정을 겪으며 공간을 확보한다. 생물의 분포도 그 자질과 환경의 함수관계에 의해 결정된다. 그러므로 생물이 환경을 기반으로 생명공간을 확보하며 생존활동을 하는 일과 민요가 문화지형을 기반으로 수용공간을 확보하며 문화유통을 하는 일이 닮아있다. 생태학은 생물이 어떤 환경 위에서 어떻게 살아가는지, 또 생물들간의 관계는 어떠한지 따위를 탐구하여 생물 및 생태계에 관한 지식과 정보를 생산한다. 그런가하면 민요가 어떠한 환경 위에서 어떻게 존재하는지를 알고, 나아가 다양한 개체요들이 민요계를 어떻게 이루고 있는지는 민요학의 기본적인 탐구대상이다. 그러므로 민요학이 민요의 존재양태를 이해하기 위해서는 생태학의 문제의식을 원용할 필요가 있다. 생태학적 문제의식은 민요의 기반국면을 현장적으로, 동적으로, 실상대로 읽게 한다. 개체요의 경우 분포밀도의 지역차, 분포지에 따른 변이, 유포과정의 수용과 충돌, 대립 등 존재이력과 존재양태를 읽는 일, 부류요의 경우 해당 개체요들의 경쟁과 대립구도, 문화지형과 소통권역 등을 파악하는 일 등을 현장적으로 읽게 한다. 또한 민요계의 경우 민요분류가 자료 정리의 수준을 넘어서 민요 현장을 체계화하는 일이 되고, 또 민요현장의 여러 국면을 읽는 표준으로서 도구가 되게 한다. 민요 현장에는 수많은 개체요들이 존재하며 이것들은 서로 일정한 질서와 체계로 관계망을 형성한 하나의 생태계로 존재한다. 그러므로 민요 현장의 국면 읽기는 곧 민요의 생태를 읽는 일이며, 그 가운데 민요의 본질과 존재원리를 파악할 수 있다. 이러한 면에서 생태학적 관점의 민요국면 읽기가 민요의 현장기반 지식과 정보를 생산하는 일이라는 의미를 지니게 된다.

현전 민요를 통해 본 기록시가의 민요 수용 및 변용 양상: 고려 속요를 중심으로

서영숙 한국구비문학회 2022 口碑文學硏究 Vol.- No.66

Folk songs, which have been orally handed down over time, were accepted/transformed into written poetry when the upper classes with the knowledge and ability to use characters recognized the value of folk songs and accepted/transformed them into their own poems. By comparing them with current folk songs, this study examines the aspects of acceptance/transformation of folk songs in Goryeo folk poetry, which are highly related to folk songs among written poems. Analysis of current folk songs that have similar words to the folk music lyrics “Sangjeoga,” “Jeongeupsa,” and “Cheongsanbyeolgok” among Goryeo folk music lyrics revealed that the lamentation of suffering that appears in the folk songs has been transformed into the lyrics of Goryeo folk poetry. Furthermore, they have been transformed into a reality-affirming consciousness of accepting reality and implementing the Confucian ideology. In other words, it is highly probable that folk music lyrics were synthesized by accommodating/transforming various folk songs, and some were newly created and reorganized to fit the royal folk poems. In addition, examining folk songs related to Ikjae Lee Je-hyeon's poetry “Sarihwa,” “Jangam,” “Sujeongsa,” and “Tamrayo (Bugpungseon),” indicates they are all songs about the real state of ordinary people. Ikjae's acceptance/transformation of these folk songs into the soakbu poetry is thought to be a warning to the upper classes by, as he stated, “knowing the changes in reality by looking at the customs of the people.” In this way Goryeo folk songs were converted into folk poetry that affirm reality or guide ideology as the songs lamenting the reality sung by ordinary people were accepted/transformed into folk poetry. As the songs depicting the real world were translated and adapted into the soakbu poetry, it is thought that they were converted into songs of caution against politics by upper-class intellectuals.

무가 <당금애기>와 민요 ‘중노래ㆍ맏딸애기’류의 교섭양상과 변이

류경자 한국민요학회 2008 한국민요학 Vol.23 No.-

This study is to examine the interaction between the shamanistic song Danggeumaeggi and folk songs like ‘JoongnoraeㆍMaddalaeggi’ The inter-influence between the two genres is based on the narrative or made in the form of inserted lyrics. One of interaction based on the narrative is Joongnorae(Songs about Monk), a folk song from the narrative of the Shamanistic Song Danggeumaeggi. Absorption of the shamanistic songs into the folk songs occurs in the fun-centered contents and somewhat ludicrous scenes, rather than in the parts related to ceremonies or the sacred and complicated narrative explaining the history of a god. The balladation develops a lot in the shamanistic songs of south areas of the Han River, where is in the progress of secularization, especially in those of Jeolla-do areas. And there happen some re-alterations in folk songs based on the altered narrative, which are the mixture phenomena with songs for a married life under the parents-in-law and with legendary narrations. In addition, these narrative folk songs give birth to a variation focusing more on the love affair of the main men and women characters and having the more weakened narrative of the shamanistic songs while spreading over the other different area. Furthermore, this variation, when facing the folk songs based on no shamanistic songs or weakened ones, turns into an exception(rule-breaking form), which settles down in the realistic world of the folk songs with the mythical world dying out. Throughout the these changes, some parts of them are merged into other narrative folk songs and also used as motifs to make a song having different styles. To examine the ways of the interaction in the form of inserted lyrics, the study goes through Joongtaryeung(A Ballad with Certain Kind of Tune about Monk) andMaddalaeggi(The Eldest Daughter). These songs are not in the shamanistic songs of north areas of the Han River, which means that the interaction is made in the course of seculization of the shamanistic songs. These songs has no function both indicative and narrative of an event, preferably used to stand out the character's characteristics. It is showed that these songs are lengthened or mixed with other songs within the folk songs. Joontaryeung, one of these songs, pursues to be lengthened and gets transformed into a narrative folk song. Meanwhile, even though the songs of Maddalaeggi can speak for the desire for beauty of the women enjoying the folk songs, run among many women’s songs(sung by women), and get inserted as a part of other narrative folk songs, it is noticed that they have little influence on the development of the narrative, just used as a device to make prominent the beauty of a character in the narrative. This study is to examine the interaction between the shamanistic song Danggeumaeggi and folk songs like ‘JoongnoraeㆍMaddalaeggi’ The inter-influence between the two genres is based on the narrative or made in the form of inserted lyrics. One of interaction based on the narrative is Joongnorae(Songs about Monk), a folk song from the narrative of the Shamanistic Song Danggeumaeggi. Absorption of the shamanistic songs into the folk songs occurs in the fun-centered contents and somewhat ludicrous scenes, rather than in the parts related to ceremonies or the sacred and complicated narrative explaining the history of a god. The balladation develops a lot in the shamanistic songs of south areas of the Han River, where is in the progress of secularization, especially in those of Jeolla-do areas. And there happen some re-alterations in folk songs based on the altered narrative, which are the mixture phenomena with songs for a married life under the parents-in-law and with legendary narrations. In addition, these narrative folk songs give birth to a variation focusing more on the love affair of the main men and women characters and having the more weakened narrative of the shamanistic songs while spreading over the other different area. Furthermore, this variation, when facing the folk songs based on no shamanistic songs or weakened ones, turns into an exception(rule-breaking form), which settles down in the realistic world of the folk songs with the mythical world dying out. Throughout the these changes, some parts of them are merged into other narrative folk songs and also used as motifs to make a song having different styles. To examine the ways of the interaction in the form of inserted lyrics, the study goes through Joongtaryeung(A Ballad with Certain Kind of Tune about Monk) andMaddalaeggi(The Eldest Daughter). These songs are not in the shamanistic songs of north areas of the Han River, which means that the interaction is made in the course of seculization of the shamanistic songs. These songs has no function both indicative and narrative of an event, preferably used to stand out the character's characteristics. It is showed that these songs are lengthened or mixed with other songs within the folk songs. Joontaryeung, one of these songs, pursues to be lengthened and gets transformed into a narrative folk song. Meanwhile, even though the songs of Maddalaeggi can speak for the desire for beauty of the women enjoying the folk songs, run among many women’s songs(sung by women), and get inserted as a part of other narrative folk songs, it is noticed that they have little influence on the development of the narrative, just used as a device to make prominent the beauty of a character in the narrative.

장사익 음악의 특징적 양상과 자기규정으로서의 ‘현대민요’

조보윤 한국민요학회 2017 한국민요학 Vol.51 No.-

Jang Sa-ik referred to his songs that are ambiguous in defining a genre as ‘modern folk songs’. This paper intends to analyze the meaning of ‘modern folk songs’ defined by Jang Sa-ik himself and prove how such definition and his creative song-writing activities show close relations each other to identify the current status of music of Jang Sa-ik. For the purpose, firstly, this study identified the characteristic patterns of Jang Sa-ik’s music. As a result, it revealed the mixed-form of genres and unique voice, and the theme of “wiping out tears with tears” to relieve one’s torment, in terms of content. Secondly, it analyzed the meaning of so-called ‘modern folk songs’. Between the music of Jang Sa-ik and traditional folk music, there are common things in the process of writing songs, the class that enjoy the music, and themes of the songs. Herein, the similarity in the process of writing songs and the class that enjoys the songs are the ground that Jang Sa-ik defines his songs as folk songs. The themes of his songs are the inherent aspects of folk songs that he wants to represent in the modern society. Lastly, this study identified the close relation between ‘modern folk songs’ defined by Jang Sa-ik and actual song writing activities. Since his songs do not show the characteristics of traditional folk music at all in term of the form, the his mixed music aspects of do not contradict his self-definition of ‘modern folk songs’. In terms of contents, the main theme of his songs accept the inherent characteristics of folk song which are “telling the hardships of life and getting the hope”. However, as time goes by, the lyrics telling the reality of life have gradually gone, and replaced with observation and appreciation on life. This can be said as natural change of the songwriter as he ages, but it is hard to say that such songs represent the sentiments of ordinary people in hardship. Jang Sa-ik tries not to consider characteristics of folk song in term of the form. Because of their genre dynamics. Folk songs have traditional values and they have wide span in genre. Folk songs have survived by changing and extending their forms ceaselessly from the ancient times to the modern times. Jang Sa-ik in our times has tested his songs to extend and change the forms of folk songs again. 장사익은 장르 규정이 모호한 자신의 음악을 두고 ‘현대민요’라고 부르고자 했다. 본고는 장사익이 자기 음악에서 규정하는 민요성의 근거를 살펴, 장사익이 내세운 현대민요라는 말의 의미가 무엇인지 해석하고, 현대민요라는 자기규정과 실제 자신의 창작 활동이 얼마나 긴밀한 양상을 보이는지를 따져 장사익 음악의 현주소를 파악하고자 했다. 과제를 수행하기 위해 먼저 장사익 음악의 특징적 양상을 파악해 보았다. 그 결과 형식적인 면에서는 개성적인 목소리와 장르의 혼합이, 내용적인 면에서는 ‘눈물로 눈물 닦기’라는 한풀이의 주제의식이 특징적으로 드러났다. 다음으로 ‘현대민요’라는 지칭에 담긴 의미를 해석하였다. 장사익은 창작 과정, 노래를 향유하는 계층, 노래의 주제 의식이라는 세 가지 측면에서 전통민요에 기대어 자기 음악의 민요성을 규정했다. 여기서 노래의 창작 과정과 향유 계층 간의 유사성은 장사익이 자신의 노래를 민요라고 규정하는 기본적인 근거가 되었고, 노래가 전달하고자 하는 주제 의식은 그가 현대에 재현하고자 하는 민요성의 본질적 측면임을 확인할 수 있었다. 마지막으로 장사익의 자기규정으로서의 ‘현대민요’와 실제 창작 활동 사이의 긴밀성을 확인해 보았다. 가장 중요한 주제의식 면에서 그가 스스로 규정한 ‘힘든 인생 토로와 희망 건지기’라는 주제의식이 자기규정에 부합하는 방향으로 실현되고 있었다. 그러나 시간이 지날수록 삶의 리얼리티를 담보했던 가사들은 점점 탈락하고, 그 자리에 삶에 대한 관조와 감사가 대신하고 있었다. 이런 부분이 민요적이지 않다고 할 수는 없지만, 그 자신이 본래 설정했던 민요의 본질에서 조금씩 이동하고 있는 것만은 사실이다. 즉, 삶에 대한 관조가 주를 이루는 후기의 곡들은 ‘보통 사람들의 힘든 세상살이’를 대변해주는 민요를 하고 싶다고 하는 자기규정과는 멀어진 면이 있다. 장사익은 자신이 선택한 장르적 역동성 때문인지 형식적인 측면에서는 민요성을 고려하지 않으려고 했다. 하지만 그런 장르적 역동성은 민요성을 배반하는 것, 혹은 민요적인 측면에 부합되지 않는 요소가 아니라, 오히려 민요가 가진 형식적 본질에 부합하는 행위일 수 있다. 민요는 고대에서부터 지금까지 형식적 외연을 끊임없이 변화시켜오면서 오늘에 이르렀기 때문이다. 우리 시대의 장사익은 민요의 외연을 다시금 변화시키는 실험을 하고 있다.

경기 향토민요의 교육적 활용 방안-논농사요를 중심으로-

김혜란 한국국악교육연구학회 2011 국악교육연구 Vol.5 No.1

The importance of music education with traditional folk songs results from the following two aspects. Firstly, through music education with traditional folk songs, students can deepen their understanding about Korean traditional cultures. Secondly, on the basis of the appreciation of the spirit of Korean folk songs, students can further develop their ability to rebuild new songs and cultures. Therefore, music education must begin with introducing when and why Korean folk songs have been sung and what people in that time would intend to incorporate in the songs. From this point of view, teaching local folk songs will be an important method to aid students to deepen their understanding of local Korean cultures because the local folk songs reflect not only intrinsic qualities of Korean traditional folk songs but also indigenous characteristics of those regions and of the musical expressions. Taking into account this background, this paper examines the main themes of learning and the activities of music instruction of local folk songs, and approaches to music instruction in grade 6, focusing on the songs relating to rice farming in Gyeonggi province. The learning themes of local folk songs are divided into five steps: learning about the songs for working and stages of rice farming, appreciating, creating, and singing them. In particular, this paper presents what kinds of the learning activities associated with appreciating and singing the farming songs in Gyeonggi Province are introduced in the textbooks in order to aid students to understand these songs. Furthermore, this paper aimed the musical characteristics and the functional and emotional aspects acquired by these activities to lead to create new songs. In this paper, it is eventually shown that students acquire deeper understanding of functional and emotional aspects as well as musical characteristics through the activities, which leads them to create activities. This paper shows that the primary purpose of educating folk songs is to deepen the understanding of local folk songs and lives in Korea and traditional Korean culture reflected in the songs, and preserve traditional Korean culture infused into folk songs in the contemporary society. Consequently, this paper emphasize the importance of teaching Korean folk songs in Korean music classes and its role in preserving the authentic Korean lives. 민요를 지도하는 것은 민요 속에 담긴 우리 민족의 생각과 정서를 현대를 살아가는 학생들이 공감하고, 민요가 지닌 생명력을 바탕으로 민요를 새롭게 재창조해나갈 수 있는 능력을 함양할 수 있다는 점에서 중요하다. 그러므로 민요 교육에 있어 ‘민요가 언제, 왜 불려졌는가? 민요에 무엇이 담겨져 있는가?’에 대한 이해가 우선적으로 이루어져야 한다. 이러한 측면에서 각 지역의 향토민요는민요의 본질적 모습이 잘 표현되어 있을 뿐만 아니라 지역적 특색 및 지역 음악의 어법이 잘 담겨있어 민요 교육에 중요한 제재가 된다. 본고에서는 경기 향토민요 중 분포가 가장 넓고 지역적 특색이 잘 드러나 있는 논농사요를 주요제재로 하여 초등학교 6학년을 대상으로 학습 주제 및 활동을 선정하고, 그것을 교육적으로 활용할수 있는 지도방안을 제시하였다. 논농사요와 관련된 학습 주제는 ‘노동요에 대해 알아보기’, ‘논농사의 절차 알아보기’, ‘논농사요 감상하기’, ‘논농사요 부르기’, ‘창작하여 부르기’의 5가지로 나누어 학습 활동을 구성하였다. 각 주제에서는 노동요에 대한 이해, 논농사에 대한 배경적인 이해를바탕으로 경기도에 분포되어 있는 대표적인 논농사요를 감상하고 불러보아 민요를 이해할 수 있도록 하였다. 또한 감상․가창 활동을 통해 습득한 음악적인 특징과 민요에 담긴 기능적․정서적인측면을 창작 활동으로 이끌어낼 수 있도록 하였다. 민요 교육에 있어 중요한 것은 우리 민족의 삶과 민요의 관계를 이해하고 민요가 지닌 생명력을계승해나가고자 하는 마음을 지닐 수 있도록 하는 것이다. 앞으로 우리 민족의 삶이 잘 드러나 있는향토민요가 교육 현장에서 잘 활용되어 민요 교육이 보다 본질적으로 이루어져야 할 것이다.

학교에서의 민요교육 현황과 개선 방안

임미선 한국민요학회 2014 한국민요학 Vol.42 No.-

The purpose of this study is to analyze the status of Korean folk song education based on the Revised Music Curriculum of 2009. In addition, the study suggests the direction of improvement for the education of Korean folk songs. First of all, this study analyzes the contents of Korean music chosen from the area of musical understanding within the Curriculum in order to investigate the changing aspects of folk song education included in the first National Curriculum through the current Curriculum. The Revised Musical Curriculum of 2007 and 2009 present in the contents the approach to teaching Korean folk songs, for example, ‘singing the songs, jangdan, mal-butchimsae, tori, sigimsae, changing the lyrics and melodies of the songs, working songs, and amusement songs.’ However, this study reveals that the curricula have not included enough active examples for learning folk songs in accordance with the system established by the contents within the appreciation section which subdivides Korean folk songs into the areas within the curricula of expression, appreciation, and practice. Additionally, as a result of analyzing the repertoires for the instruction of folk songs, this paper verifies that local working songs and ceremonial songs have been presented as the main and reference repertoires in school music textbooks since the 2009 Curriculum. Among local folk songs, the amusement or entertainment songs had the most focus while the working songs and lastly the ceremony songs follow in focus within the textbooks. Lastly, this study investigates the aspects of musical factors and the integration of folk songs into school subjects. The former describes the teaching contents of tori and sigimsae, jangdan and mal-butchimsae, and the performance format, while the latter emphasizes how folk songs can be applied to life through music and to seasonal customs through music. Furthermore, this study suggests the directions for improvement as a complement to the problems revealed by the analysis of Korean folk songs in school music textbooks as the following:1) The repertoire of Korean folk songs should take into consideration the contents of the Musical Curriculum and include the musical characteristics appropriate for individualized learnerlevels2) The development of standardized scores for Korean folk song education3) The development of anotation system appropriate for Korean folk songs4) The development of anevaluation tool taking into consideration the characteristics of the education of folk songs. 본 논문은 2009개정 음악과 교육과정을 중심으로 학교에서 이루어지는 민요교육의 현황을 분석하고, 그에 따른 문제점 지적과 더불어 그 해결 방안을 제시하는 데에 목적을 두었다. 먼저 제1차 교육과정 공포 이래 현재에 이르기까지 학교에서의 민요교육이 어떻게 진행되었는가에 대한 변화양상을 교육과정 중심으로 살피기 위하여 교육과정 중 이해 영역에 중점을 두고 국악 관련 내용을 추출하여 분석하였다. 2007 개정 음악과 교육과정에 이어 2009 개정 교육과정에 따른 음악과 교육과정에서는 민요 지도와 관련된 내용으로 ‘민요 부르기, 장단, 말붙임새, 토리(조), 시김새, 노랫말 바꾸기, 가락 바꾸기, 노동요, 놀이요’ 등을 제시하고 있는데, 표현, 감상, 생활화 영역 중 감상 영역 내 내용 체계에 대한 민요 관련 학습 활동 예시가 매우 빈약한 것으로 나타났다. 민요 교재곡 수록 현황을 분석한 결과, 2009 개정 교육과정 이후 향토민요에서 노동요와 의식요에 속한 민요가 제재곡 또는 참고곡으로 다루어진 것이 이전과 구별되는 특징으로 나타났다. 그러나 향토민요는 유희요, 노동요, 의식요 순으로 전반적으로 유희요에 편중되고 의식요는 극히 적게 다루어진 것으로 나타났다. 음악교과서에서 교재곡으로 다루고 있는 민요의 지도 내용에 대하여 국악 요소의 측면과 교과 간 통합 주제의 측면에서 살펴보았다. 국악 요소로 본 민요 지도 내용으로는 토리와 시김새, 장단과 말붙임새, 가창방식 등을 살폈고, 교과 간 통합 주제에 의한 지도 내용으로는 생활과 음악, 세시 풍속과 음악 등으로 활용될 수 있는 측면을 강조하였다. 본 논문에서는 현행 음악교과서에 수록된 민요 제재곡을 분석하는 과정에서 드러난 문제점을 보완하기 위한 민요교육의 개선 방안으로 1)민요 교재곡은 교육과정에 제시된 내용을 구현할 수 있고, 학습자 수준에 적합한 음악적 특성을 지니는 악곡을 선정해야할 것. 2)새로운 교육용 표준악보 개발의 필요성, 3)적합한 민요 기보법 개발의 필요성, 4)생활화 영역의 민요 활용 지도 내용 개발의 필요성, 5)민요교육의 특성에 적합한 평가도구 개발의 필요성 등을 제안하였다.

전남 화순 도장마을의 민요 전승과 밭노래마을 운영 실태

신은주 한국민요학회 2012 한국민요학 Vol.36 No.-

Dojang-ri in Doam-myeon, Hwasun-gun, Jeollanam-do is an area whose three sides are surrounded by mountains. As a result, dry-field farming has been the main industry from old days. Especially, cotton farming was popular and many people engaged in weaving. And there have been many work songs and songs of lamenting one’s life women sing while working in the field or weaving. Dojang village has made effort to pass down and preserve folk songs. The villagers started recording and documenting folk songs around 1985. They have also learned folk songs. And they make efforts to pass down and preserve folk songs, now. The folk songs the villagers documented are 90 songs in total, including 79 songs sung by women, 4 songs for rice farming, and 7 funeral songs. An analysis of 16 folk songs used for performance showed that most of the songs use repetition of similar melodies. Slow songs about women lamenting their life-especially their misfortune- have flexible beats based on five beats(One beat consists of 3 small beats) and Yukjabaegitori is used for the melody. Most of fast tempo songs have 4 beat structure(One beat consists of 3 small beats) and Gyeongtori or Yukjabaegi is used for the melody. And similar melodies and rhythms are used for these songs. In other words, the folk songs passed down in Dojang village in Hwasun have different lyrics but their melodies are similar. Dojang village has tried to develop the village through folk songs. It started village experience business under the title of "Field song village" in 2010. Folk song experience provided differs according to the characteristics of visitor and it is mostly provided when a group of students visits the village. Each experience session lasts only for about 30 minutes and the students listen to folk songs and repeat after them. Even though the experience is brief and simple, it has contributed to the expansion of the base of folk songs. The way people live today is very different from the way people lived in the past. As a result, folk songs have long lost their functions and they are disappearing. So, efforts have been made to preserve folk songs. Villages formed the societies to preserve folk song and the central and local governments designated folk songs as cultural assets. However, these efforts are not enough to pass down folk songs to our descendents. The way people live has changed and accordingly the function of folk songs should change. Various efforts made by the people in Dojang village in Hwasun could be a model of passing down folk songs. 화순군 도암면 도장리는 삼면이 산으로 둘러싸인 지역으로, 예로부터 밭농사를 중심으로 한 농경문화가 이루어져 왔다. 특히 무명밭이 많아 집집마다 베를 짜는 일이 매우 흔하였고, 이에 여성들이 밭을 매거나 베를 짜면서 부른 노동요 및 신세한탄요가 많이 존재하였다. 도장 마을은 민요의 전승과 보존에 큰 관심을 가져, 마을민들이 스스로 1985년 무렵부터 민요 채록 작업을 실시하였고, 후속 세대들에게 민요를 전승하였으며, 현재까지도 지속적으로 민요 전승 및 보존과 관련한 사업들을 진행해오고 있다. 마을 주민들이 자발적으로 채록한 민요 자료는 부녀요가 79곡, 논농사요가 4곡, 상여소리가 7곡으로 총 90곡에 이른다. 이 중 16곡은 목화밭농사 재연 형태의 공연물로 구성되어, 마을 축제 및 전남도 여러 행사에서 두루 공연하고 있다. 공연에 활용되고 있는 16곡을 중심으로 도장 마을 민요를 분석하면, 대부분의 곡들이 유사한 선율을 반복적으로 사용하고 있다. 신세한탄조의 느린 곡들은 3소박 5박자를 기본으로 한 유동적인 박자구조에, 육자백이토리로 선율이 구성된다. 빠른 템포의 곡들은 대부분 3소박 4박자의 박자구조를 갖고, 경토리 혹은 육자백이토리를 사용하는데, 동일 토리를 사용하는 곡들 간에 선율 및 리듬이 대체로 유사하다. 즉, 노랫말에 의하면 화순 도장마을에 전승되고 있는 민요 곡목은 매우 많지만, 음악적으로는 몇몇 곡조가 반복적으로 사용되고, 이와 같이 음악적으로 단순한 구조를 갖는 것은 향토민요로서 갖는 매우 자연스러운 현상이라고 하겠다. 도장마을은 민요의 채록과 전승뿐 아니라 민요를 매개로 하여 마을의 발전을 꾀하고 있다. 2010년부터 “밭노래마을”이라는 타이틀로 체험마을을 운영하고 있는 것이 바로 그것이다. 운영하고 있는 체험 프로그램은 “계절별 농촌체험 / 역사문화체험 / 전통농사체험 / 생태환경체험 / 전통음식체험”의 다섯 가지이고, 역사문화체험의 하나로 민요 체험이 전개된다. 체험에 활용되는 민요는 비교적 템포가 빠르고 경쾌하며, 선율이 단순하고, 흥미로운 사설을 가진 곡을 대상으로 한다. 약 30분 정도의 짧은 시간에 이루어지는 체험이고, 체험에 참여한 이들은 한번 듣고 불러보는 정도가 전부지만, 민요의 저변을 확대하는 데에 큰 역할을 감당하고 있는 것이라 하겠다. 민요 현장은 모두 사라진 지 오래고, 민요의 자연 전승은 불가능하다. 때문에 그간 사라지는 민요를 남기기 위한 채록 작업들이 꾸준히 진행되어 왔고, 민요를 전승하고 있는 일부 마을에서는 보존회가 꾸려졌으며, 정부와 지자체에서는 이를 무형문화재로 지정해 왔다. 그러나 이것만으로 민요의 지속적인 전승을 바라기는 어렵다. 삶의 모습이 변한 만큼 민요의 기능도 변화해야 할 것이고, 이에 따라 또 다른 대응이 필요하다. 화순 도장 마을 주민들에 의해 진행되어 온 민요의 다양한 전승 형태는 그 한 모델이 될 수 있다.

일제강점기 손진태 채록 부산지역 민요의 성격과 의의

박경수 부산광역시사편찬위원회 2020 항도부산 Vol.39 No.-

I first searched for various folk songs collected by Sohn Jin-tai (1900-1960s) in the Busan area during the Japanese colonial period. Next, I examined the characteristics and significance of these folk songs. The folk song materials collected and surveyed by Sohn Jin-tai are as follows. ① 14 song materials sung by the pen name ‘Sohn Jung-ja’ in the literary magazine Keumsung, ② 83 song materials in Korean Oral Folk Songs(1933) edited by Kim So-un, ③ 50 song materials in unpublished note manuscript collecting folk songs, ④ 17 songs cited in folk songs theories. These folk songs are 164 pieces in total. Most of the folk songs in the Busan area surveyed and collected by Sohn Jin-tai ranged from August 1922 to before April 1931. These songs are very valuable materials for understanding the characteristics of folk songs in Busan, and most of them are meaningful because they were obtained by direct field survey. It is also worth noting that Sohn Jin-tai's folk song recoding method is quite advanced at the time. We can see folk songs as written in tongues, neatly divided by musical scores, annotated dialects or difficult vocabulary, and clearly identified folk song singers. The folk song materials collected and surveyed by Sohn Jin-tai were also collected mainly from 'Dongrae-gun Gupo'. Among these, <Arirang> is an interesting song that reflects the conditions of the Japanese colonial period and needs to be reexamined as 'Gupo Arirang'. <Jang-taryeong>(i. e. Song of Markets) and <Gakseoli-taryeong>(i. e. Song of Beggar) are also folk songs that show the placeness of the area surrounding Gupo. <Quejinachingchingnane> is one of Gyeongsang-do's representative folk songs, and it is noted as a song that shows the song sung in Busan. Sohn collected and discussed on Children's Oral Songs and Female Folk Songs with special interest. The folk songs surveyed and collected by Sohn Jin-tai are very important evidences for understanding the patterns and characteristics of Children's Oral Songs and the characteristics of narrative folk songs in the 1920s and early 1930s. 이 글은 일제강점기에 손진태(1900~1960년대 중반)가 조사, 채록한 부산지역 민요 자료들을 여러 문헌에서 찾는 작업을 한 후, 이들 부산지역 민요 자료가 갖는 성격과 의의를 고찰하는 목적에서 진행된 것이다. 손진태가 조사, 채록한 부산지역 민요 자료는 ① 문예지 『금성』(1924. 1~2)에 ‘손중자(孫重子)’란 필명으로 발표된 14편, ② 김소운이 편찬한 『언문조선구전민요집』(1933)에 수록된 83편, ③ 미발표 유고 원고 수록 민요 자료 50편, ④ 민요론에서 인용된 민요 자료 17편 등으로 전체 164편이 된다. 손진태가 조사, 채록한 부산지역 민요는 대부분 1922년 8월부터 1931년 4월 이전까지 걸쳐 있다. 이들 자료는 당시 부산지역 민요의 전승 국면과 특징을 이해하는 데 매우 소중한 자료이며, 대부분 손진태가 직접 현장조사를 통해 취득한 자료라는 점에서 의의를 가진다. 손진태의 민요 채록 방식이 당시로서는 상당히 앞선 방식을 보여준다는 점에서도 가치가 있다. 방언 그대로 채록한 점, 음보를 구분하여 정연하게 채록한 점, 방언이나 어려운 어휘에 주석을 붙인 점, 제보자를 명확하게 밝힌 점 등을 확인할 수 있다손진태가 조사, 채록한 부산지역 민요 자료는 또한 당시 ‘동래군 구포’에서 주로 채록한 것들이다. 이들 중에서 <모심기 노래>는 1920년대 초반 전승 상황을 잘 보여주는 자료이며, <아리랑>은 일제강점기의 세태를 흥미롭게 반영하고 있는 노래로, 일명 ‘구포아리랑’으로 재조명할 필요가 있다. <장타령>과 <각설이타령>도 구포를 둘러싼 지역의 장소성을 잘 드러내고 있는 민요로 역시 ‘구포 장타령’과 ‘구포 각설이타령’으로 부를 수 있다. ‘캐지랑이’로 채록된 <쾌지나칭칭나네>도 경상도의 대표적인 민요의 하나로 당시 부산지역에서 불린 노래의 모습을 보여주는 노래로 주목된다.