메타버스를 이용한 버추얼 가수의 유형 제시 및 현황 연구

이연경,김현지,박건우 한국엔터테인먼트산업학회 2022 한국엔터테인먼트산업학회논문지 Vol.16 No.6

With the advent of COVID-19, non-face-to-face culture is accelerating, and the use of metaverse in the entertainment industry such as virtual singer planning, production, and promotion is increasing. Virtual singers using the metaverse platform are attracting attention by combining various technologies, but research on the types, characteristics, and composition of virtual singers is insufficient. The purpose of this study is to present the type of virtual singer by investigating and analyzing the reality of these virtual singers. Accordingly, virtual singers are classified into three types: character format, human format, and sub-character format based on document search information. Furthermore, based on the analyzed and classified contents, it is further subdivided and classified according to the appearance, voice, and composition of the virtual singer, and the following code name is given. As a virtual character format singer, ISEGYE IDOL is CVG-A, APOKI is CVS, SAGONGEEHO is CVG-A, virtual human singer OH!_ROZY is HFS, SUPERKIND is HFG-P, ETERNITY is HVG-A, and Han YooA is code name is HPS. In addition, Aespa and K/DA of virtual subcharacter singers are given CVG-P and CVG-A. By classifying the types of virtual singers, it is possible to grasp various virtual singers who are currently active at a glance and visually distinguish the singer's components. It can be an index for systematic research in future comparative analysis studies of virtual singers, and can also be applied to strategic marketing and new rough content development through surveys of various tastes.

성대형태 및 음향발현에서 성악 발성 및 판소리 발성의 비교 연구

김선숙 한국음성과학회 2004 음성과학 Vol.11 No.2

Western singers voice have been studied in music science since the early 20th century. However, Korean traditional singers voice have not yet been studied scientifically. This study is to find the physiological and acoustic characteristics of Pansori singers voices. Western singers participated for comparative purposes. Ten western singers and ten Pansori singers participated in this study. The subjects spoke and sung seven simple vowels /a, e, i, o, u, ??, w/. An analysis of Glottal image was done by Scope View and acoustic characteristics of speech and singing voice were analyzed by CSL. The results are as follows: (1) Glottal gestures of Pansori singers showed asymmetric vocal folds. (2) Singing vowel formants of Pansori singers showed breathiness based on Spectrogram. (3) Music formant of western singers appeared in around 31㎑ area, however, Pansori singers formant appeared in low frequency area. Modulation of vibrato showed 6 frequency per see in case of western singers. Pansori singers showed no deep modulation of vibrato on spectrogram.

유성기 음반을 통해 본 경서도 명창들의 남도음악 수용 양상 - <성주풀이>를 중심으로

이윤정 단국대학교(천안캠퍼스) 한국문화기술연구소 2017 한국문화기술 Vol.22 No.-

Gyeongseo-do master singers among the gramophone records, which were mainly released between 1910 and late 1960, was identified and the aspect of acceptance and musical characteristics of the music were reviewed. To that end, first, those singers that recorded Gyeonggi songs and those singers that recorded Seo-do songs were identified centering on the gramophone record list and then, based on the results, those singers that recorded the songs of both regions were selected. Thereafter, the data on the participation of Gyeongseo-do master singers selected from the gramophone record list in the Nam-do music recording work were examined to review the genres of music accepted by them. Finally, the musical characteristics of <Seongjupuri>, which accounts for a large amount of data recorded by Gyeongseo-do master singers, were examined and based on the results, the aspect of acceptance of Nam-do music by the Gyeongseo-do master singers. The results are summarized In the gramophone record list, there are 370 Gyeonggi vulgar songs and 496 Seo-do vulgar songs. In these records, the Gyeonggi vulgar songs were recorded by approximately 70 singers and the Seo-do vulgar songs were recorded by 58 singers. Among them, the number of singers who recorded both Gyeonggi and Seo-do songs was approximately 30. Among these singers, nine singers-Park Wol-Jeong, Park Chun-Jae, Baek-Wun-Seon, Shin Ok-Do, Lee Geum-Ok, Lim Myeong-Ok, Lim Myeong-Wol, Jang Geum-Hwa, and Jae Hak-Seon-participated in Nam-do music record work. Among these singers, Park Wol-Jeong recorded the largest number of pieces of Nam-do music followed by Park Chun-Jae. In particular, the reason why Park Wol-Jeong could record more Nam-do music compared to other Gyeongseo-do master singers seems to be the effects of her father from Nam-do and her husband who was a record planner. The genres of the Nam-do music, recorded by Gyeongseo-do master singers, were folk songs, vulgar songs, and pansori. In addition, such Nam-do music could be found in other genres such as the pansori-based singing in chorus or Changgeuk and creative pansori that changed existing pansori. Except for Changgeuk and the creative pansori, Gyeongseo-do master singers left the largest number of gramophone records for vulgar songs in relation to Nam-do music and among those songs <Seongjupuri> is the most prevalent one. The <Seongjupuri> of Park Chun-Jae and Park Wol-Jeong is of Gutgury rhythms with four beats of three small beats consisting of five tones, ‘Sol-La-do-re-mi’ and the melodies are in conjunct motions. In addition, both singers did not thickly and widely vibrate ‘Sol’, which is the lowest note of the scale, unlike Nam-do master singers, did not vibrate at all in many cases, and when they vibrated this tone, they did so narrowly. Such a form of vibration appears in parts with long beats. The aspect of acceptance can be identified in pansori and Namdo vulgar songs among those pieces of Nam-do music that were recorded by Gyeongseo-do master singers in gramophone records. In the case of pansori, interfacial tones like those in Nam-do pansori were used instead of Gyeonggi type tones or even Gyeongdeurm were changed into interfacial sounds thereby accepting Nam-do pansori as it is. On the contrary, in the case of vulgar songs, Gyeongseo-do master singers reflected the musical characteristics of their regions. Although there are many gramophone records, in which Gyeongseo-do master singers recorded Nam-do music, no such record has been found yet so that the sound sources can be identified in very few cases. Therefore, to concretize the results of this study, the results of analysis of those records should be supplemented after those records are found.

판소리 가수와 전문 성악가의 발성 평가를 위한 성문의 특성 및 음향학적 분석

홍기환(Ki-Hwan Hong),김현기(Hyun-Gi Kim),김선숙(Sun-Sook Kim) 한국언어청각임상학회 2006 Communication Sciences and Disorders Vol.11 No.3

전문 성악가의 음성관리는 음성언어학적인 연구 방법으로 가창시 성대의 형태와 음향발현을 정량적으로 측정하여 음성 평가의 표준화와 후두 관리법 개발을 위한 기초 자료 수집을 목적으로 하였다. 연구 대상으로 성악가 29명과 소리꾼 16명을 선정하여 후두 내시경과 CSL을 사용하여 성대 길이와 너비 그리고 음악 포먼트와 비브라토를 중심으로 측정하였다. 생리학적인 측면에서 성악가와 소리꾼의 성대 구조의 차이는 소리꾼의 성대는 비대칭적이면서 막성 성대를 기점으로 중간 2/3지점을 또는 막성 성대 중간 2/3지점 후에 형성된 성대 비후증으로 기식성 음의 음원적인 차이가 발견되었다. 또한, 소리꾼은 고음부 및 저음부 발성시 성악가보다 성대 길이 및 성대 너비 차이가 더 크게 나타나 성악 발성시 후두 조정이 더 긴장적이라 해석되었다. 소리꾼의 비브라토는 내시경 투시에서 피열연골의 진동이 특징적으로 관찰되었으며 이때 성문 상부 폭도 줄어들었다. 음향학적인 측면에서 성악가의 발성 훈련을 가늠하는 음악 포먼트의 발현에 대해 성악가는 2,600Hz~3,500Hz 대에서 음악 포먼트를 형성하였으나 소리꾼은 유사한 음악 포먼트가 대부분 나타나지 않았다. 비브라토 진동 회수는 성악가의 경우 1초 당 5.5~6회이었으나 소리꾼은 4~5.5회이었으며 남창은 저주파수대에, 여창은 고주파수대에 비브라토 진동이 선명하게 나타났다. 비브라토 주파수 변동 폭 및 음성 강도 크기의 변화는 소리꾼이 성악가보다 크게 나타나 후두 조정시 긴장도가 큰 것으로 해석되었다. 성악가와 소리꾼의 가창시 성대 구조 및 음향 발현의 차이는 전문 성악가의 음성장애를 평가하는 기준으로 활용할 수 있다. The essential characteristics of a well trained singing voice and laryngeal mechanism has interested scientist since the early 19th century. The purpose of this study was to find the acoustic and physiological characteristics of the voice of Korean traditional song ‘Pansori’ singers determine. Sixteen Pansori singers and twenty-five western singers participated in this study. Speech samples were composed in glissando standard high pitch tone and standard low pitch tone for stroboscopic study of the simple vowels /a, i, u, e, o/. The vocal folds of Pansori singers were asymmetrical in comparison to the symmetrical vocal folds of western singers. Pansori singers’ music formant has higher peaks of intensity for low and high frequency. A Spectrographic characteristic of vibrato showed contrasts between Western singers and Pansori singers: dull and small for Pansori singers and clear and big for western singers. The vibrato rates between Western singers and Pansori singers were 5.5~6/sec and 4~5.5/sec, respectively. The vibrato rate of pitch range was 3.8Hz~11.0Hz for western singers compared to 7.2Hz~46.0Hz for Pansori singers. The vibrato rate of intensity range was 0.3dB~3.3dB for western singers and 0.2dB~11.0dB for Pansori singers.

유성기 음반을 통해 본 경서도 명창들의 남도음악 수용 양상- <성주풀이>를 중심으로

이윤정 ( Lee Yunjung ) 단국대학교 한국문화기술연구소 2017 한국문화기술 Vol.23 No.-

In this study, the overall image of Nam-do music recorded by Gyeongseo-do master singers among the gramophone records, which were mainly released between 1910 and late 1960, was identified and the aspect of acceptance and musical characteristics of the music were reviewed. To that end, first, those singers that recorded Gyeonggi songs and those singers that recorded Seo-do songs were identified centering on the gramophone record list and then, based on the results, those singers that recorded the songs of both regions were selected. Thereafter, the data on the participation of Gyeongseo-do master singers selected from the gramophone record list in the Nam-do music recording work were examined to review the genres of music accepted by them. Finally, the musical characteristics of < Seongjupuri >, which accounts for a large amount of data recorded by Gyeongseo-do master singers, were examined and based on the results, the aspect of acceptance of Nam-do music by the Gyeongseo-do master singers. The results are summarized as follows. In the gramophone record list, there are 370 Gyeonggi vulgar songs and 496 Seo-do vulgar songs. In these records, the Gyeonggi vulgar songs were recorded by approximately 70 singers and the Seo-do vulgar songs were recorded by 58 singers. Among them, the number of singers who recorded both Gyeonggi and Seo-do songs was approximately 30. Among these singers, nine singers-Park Wol-Jeong, Park Chun-Jae, Baek-Wun-Seon, Shin Ok-Do, Lee Geum-Ok, Lim Myeong-Ok, Lim Myeong-Wol, Jang Geum-Hwa, and Jae Hak-Seon-participated in Nam-do music record work. Among these singers, Park Wol-Jeong recorded the largest number of pieces of Nam-do music followed by Park Chun-Jae. In particular, the reason why Park Wol-Jeong could record more Nam-do music compared to other Gyeongseo-do master singers seems to be the effects of her father from Nam-do and her husband who was a record planner. The genres of the Nam-do music, recorded by Gyeongseo-do master singers, were folk songs, vulgar songs, and pansori. In addition, such Nam-do music could be found in other genres such as the pansori-based singing in chorus or Changgeuk and creative pansori that changed existing pansori. Except for Changgeuk and the creative pansori, Gyeongseo-do master singers left the largest number of gramophone records for vulgar songs in relation to Nam-do music and among those songs < Seongjupuri > is the most prevalent one. The < Seongjupuri > of Park Chun-Jae and Park Wol-Jeong is of Gutgury rhythms with four beats of three small beats consisting of five tones, `Sol-La-do-re-mi` and the melodies are in conjunct motions. In addition, both singers did not thickly and widely vibrate `Sol`, which is the lowest note of the scale, unlike Nam-do master singers, did not vibrate at all in many cases, and when they vibrated this tone, they did so narrowly. Such a form of vibration appears in parts with long beats. The aspect of acceptance can be identified in pansori and Namdo vulgar songs among those pieces of Nam-do music that were recorded by Gyeongseo-do master singers in gramophone records. In the case of pansori, interfacial tones like those in Nam-do pansori were used instead of Gyeonggi type tones or even Gyeongdeurm were changed into interfacial sounds thereby accepting Nam-do pansori as it is. On the contrary, in the case of vulgar songs, Gyeongseo-do master singers reflected the musical characteristics of their regions. Although there are many gramophone records, in which Gyeongseo-do master singers recorded Nam-do music, no such record has been found yet so that the sound sources can be identified in very few cases. Therefore, to concretize the results of this study, the results of analysis of those records should be supplemented after those records are found.

영화 〈서편제〉에 투영된 판소리의 모습과 ‘우리 것’의 의미

송소라(Song, So-Ra) 우리문학회 2014 우리文學硏究 Vol.0 No.44

The purpose of this study is to investigate how a movie actualizes and fictionalizes pansori and how the process is formed by comparing the pansori environment of 1930~60’s as the background of Sopyeonje and the environment at the time. It thereby attempts to redefine the phase of Sopyonje as a pansori movie and to review the meaning of a ‘Korean thing’ that Sopyonje has pursued in the cultural environment of the early of the 1990’s. Sopyonje realistically describes the pansori culture of 1930~60’s as the background of the movie through pansori singer Yoobong. The universal self-portrait of the contemporary pansori singers includes not only the life of Yoobong wandering from place to place but also various activities [(Changgeuk, group activities of Gukgeuk, singing activities at the birthday party and the restaurant, singing activities at the then peddler’s medicine-selling site commonly called “nylon theater (temporary theater)” that pansori singers do to bring in income. The reality of the pansori pushed out by western sounds, which did not enthrall the public realistically, shows the aspect of the gloomy pansori history after KoreanWar. The harmony between the pansori and the drum, emphasized through Yoobong’s lines and movie scenes, and the background of pansaori are the aesthetic factors that are covered critically. Songhwa’s and Yoobong’s pansori learning processes and the poverty-stricken pansori singers’ life adversity do not reflect the reality of the movie made fictionally. They are the actual situation that every contemporary pansori singer may have experienced. Nevertheless, the movie Sopyonje excessively idealizes the aesthetics of pansori singers and pansori itself. Yoobong, newly born through the movie Sopyonje, is described as an artist pursuing only the pansori, not being swayed by reality and capital. Pansori is the world that such an artist as him pursues, and ‘teuk-eum’ through pansori is expressed as an ultimate value that one should obtain no matter how he/she sacrifices. It is only through the pansori as an art that Yoobong, Songhwa, and Dongho all understand each other centering around ‘han’ and that they overcome it. Yoobong’s behavior to blind Songhwa to cultivate her ‘han’ as the final stage for teuk-eum’ and the narrative between Songhwa and Donghwa finally breaking up without any words even though they missed each other to keep ‘han’ extremely consecrate pansori as an art. The reality and idea of Sopyonje are obtained through playwrighter KimMyung-gon and the cultural reality of pansori since 1970’s. Kim, Myung-gon is a professional pansori singer, who has himself learned the pansori for 10 years, and a scenario writer and a director. He is also a writer who has published Gandaeyeoljeon(1988) in his effort after meeting a number of pansori masters and well-known pansori singers. Yoobong that he created in the movie is an aggregator of the well-known pansori singers that he met and himself. Much of reality of Sopyonje has been obtained by him as a professional pansori singer. Meanwhile, the idealization of Sopyonje has been done in the process of accepting the end of the novel and defining it as an art as pansori became an intangible cultural heritage in 1964. Pansori ironically became the tradition to be kept and informed to be prevent from disappearing and at the same time an unique art that should not be damaged carelessly. Well-known pansori singers designated as a cultural heritage though their dark days and regarded a pansori singer focuses on the pansori’ alone as ideal and did not want the pansori to lightly get along with ‘pansori sound.’ KimMyung-gon, who wanted to faithfully express his experience as a pansori singer and the look of various pansori singers’ life, summoned the sound that goes beyond ‘han’ pursued by Lee Cheong-joon into ’pansori, an art pursuing absolute aesthetics. Interestingly, the cultural environment in the early of 1990’s was more explosively cheered

한국 가상 가수의 양상과 향방

장유정 세계음악학회 2023 음악과 문화 Vol.- No.49

. This paper provides a diachronic examination of the phenomenon and trajectory of virtual singers in South Korea. Chapter 2 chronologically traces the evolution of these virtual singers, beginning with ‘Adam’ in 1998, considered as the country's first virtual singer, to those actively performing in 2023. They are categorized into three phases based on the time and technological advancement: inception, transitional, and diversification. While the transitional phase, the second generation of virtual singers, can be deemed a failure, it wasn't entirely negative. Thanks to the various trials and experiments up to this phase, the virtual singer industry has seen subsequent growth. Presently, in the diversification phase, virtual singers exist in myriad forms—some increasingly resembling humans, while others distinctively diverging, coexisting with real-life singers. Chapter 3 proposes several reasons for the anticipated growth of the virtual singer industry and points out potential challenges. The advancement in science and technology, coupled with the growth of the gaming, character, and animation industries, heralds the rise of virtual singers. The current popularity of K-pop and the tech-savviness of the younger generation further brighten the prospects. The public's reception and preference will vary depending on how narratives intertwine with these virtual entities. Thus, it's crucial to bridge technological advancement with humanities sensitivity. Furthermore, potential issues stemming from the industry's growth were addressed. While this paper doesn't offer exhaustive solutions, it anticipates forthcoming challenges and explores legal, institutional, ethical, and educational resolutions. The advancements in digital technology and artificial intelligence are paving the way for virtual singers to offer a novel paradigm in the music and entertainment sector. Nevertheless, this progress brings its set of challenges and contemplations. As we mark the 25th anniversary of virtual singers, preparations are paramount for harmonious coexistence with the ever-expanding virtual realm. We may not halt the tides of change, but forecasting and preparing for them is indispensable. It's hoped that this paper of 25 years in the virtual singer history offers a glimpse into the industry's future trajectory.

가수 집단 간 음성 특성 비교

유재연 한국언어치료학회 2010 言語治療硏究 Vol.19 No.2

The purpose of this study was to obtain acoustic measurements (F0, vF0, Jitter, Shimmer, and NHR) of 24 trot singers(14 males, 10 females) and 25 ballad singers (12 males, 13 females) and to compare acoustic measurements of the vowel /a/ produced by four singers' groups on three voice sampling conditions (prolongation, reading, and singing of /a/). Sound Forge 6.0 was used to record voices and MDVP was used to measure the acoustic parameters. A three-way MANOVA was used for statistical analyses. The results were as follows: first, there was an interaction between music genre and voice sampling condition in vF0. It was concluded that trot singers sing with more vibrato than ballad singers. Second, there was a significant difference between sex and among the three voice sampling conditions in jitter. Jitter was higher in male than female singers and it was highest in the singing voice. Third, there was a significant difference among the three voice sampling conditions in shimmer. Shimmer was significantly higher in singing voices than prolongation and reading. Finally, there was a significant difference among the three voice sampling conditions in NHR. NHR was significantly higher in singing voices than prolongation and reading. The female trot singers tend to sing in a less noisy voice than the remaining three groups. 이 연구는 트로트 가수와 발라드 가수를 대상으로 음향학적 파라미터 값을 측정하고 음악장르별, 성별 그리고 발성 조건(연장발성, 낭독, 가창)에 따라 음향학적 파라미터(F0, vF0, jitter, shimmer, NHR) 값에 차이가 있는가를 알아보았다. 10명의 여성 트로트 가수, 14명의 남성 트로트 가수, 13명의 여성 발라드 가수, 그리고 12명의 남성 발라드 가수들이 대상자로 참여하였다. 음성의 수집은 Sound Forge를 사용하여, 연장발성, 낭독, 가창 시의 가수들의 음성을 수집하였으며, MDVP를 사용하여 F0, vF0, jitter, shimmer, NHR을 측정하였고, 다변량분산분석을 통해 음악장르, 성별, 그리고 발성조건 간에 음성에 유의한 차가 있는 가를 살펴보았다. 연구 결과는 다음과 같다. 첫째, 평균기본주파수변동률은 음악장르와 발성조건 간에 상호작용이 있는 것으로 나타났다. 둘째, 주파수변동률은 여성가수보다 남성가수 집단에서 유의하게 더 높았으며, 가창 시 음성에서 가장 높게 나타났다. 셋째, 진폭변동률은 연장발성 시, 낭독 시의 음성보다 가창 시 음성에서 유의하게 높은 것으로 나타났다. 마지막으로 소음 대 배음비는 연장발성 시, 낭독 시의 음성보다 가창 시 음성에서 유의하게 높은 것으로 나타났다.

미의식에 따른 판소리 명창관의 시대적 변화 고찰

성기련 한국국악학회 2005 한국음악연구 Vol.38 No.-

지금까지 판소리 형성기부터 19세기까지 판소리사의 흐름 속에서 미의식과 명창관의 상관관계를 살펴본 결과, 시대에 따라 창자와 청중의 미의식이 변화했고 그에 따라 명창관도 변화되어 왔음을 알았다. 미의식 의 변화에 따라 ‘훌륭한 소리를 구사하는 명창’과 ‘이상적인 소리를 구사하는 바람직한 명창’에 대한 기준도 바뀌어 왔는데, 명창으로서의 자질을 어떻게 보는가 하는 관점 내지 기준을 본고에서는 ‘명창관’이라 규정 하였다. 18세기 중엽 이전 광대들은 그때그때 상황에 맞게 연극적 상황을 설정하고 기지와 재치를 발휘하여 청중( 혹은 관중)들을 웃기고 울리면 능력 있는 광대로 인정을 받았다. 그러다가 18세기 중엽 음악성과 공연능력 을 한 차원 높이고 기승전결의 구조가 있는 이야기를 소리하는 판소리 창자들이 등장하면서 이들은 예술성 측면에서 보다 많은 고민과 수련을 하기 시작한다. 19세기 전반기에는 장단에 딱 들어맞게 정확한 발음과 독특하고 매력적인 성음으로 특정 대목을 잘 불러야 명창으로 인정받았는데. 이 시대의 판소리 수준이 사 람을 웃기고 울리는 재담 실력이 뛰어나면 이름을 얻었던 18세기 중엽 이전의 수준을 넘어섰고, 또 성음과 동작형용만 훌륭해도 명창으로 행세할 수 있었던 18세기 후반기의 수준도 넘어섰다. 그러나 19세기 후반기 에는 선율이 단조롭고 다양하지 않아 음악적으로 완성도가 떨어지며 선율의 짜임새와 사절 내용간의 상관 관계가 떨어지는 19세기 전반기까지의 명창관을 극복하고 보다 사설 내용과 유기적 관계를 갖는 곡조를 추 구하려는 경향이 나타난다. 이처럼 한 시대의 명창관은 그 시대의 창자와 청중들의 미적 가치 판단에 의해 좌우되어 왔다. 그리고 이러 한 현상은 20세기 이후 지금까지도 계속된다. 판소리 명창들은 서로의 소릿조에 대해 극히 상반되는 평가 를 내놓기도 하며, 판소리 향유층들도 각기 선호하는 소리 경향과 명창에 대한 기준이 다르다. 이는 판소리 라고 하는 장르에서 추구하는 ‘음악미’ 즉 ‘이상적으로 생각하는 소릿조에 대한 미의식의 차이’에 기인한 것 이다. 바꾸어 말하면 서로의 미의식이 다르므로 서로 다른 소릿조를 추구하게 되고 따라서 서로 대비되는 명창관을 갖는 것이다. 결론적으로 특정 예술에 대한 궁극적인 이해는 그 이변에 내재된 미의식까지 논의 했을 때 가능하다고 생각한다. Having examined so far the relationship between aesthetic concepts and pansori in the evolution of pansori beginning from its inceptive period through the nineteenth century, the author found that the aesthetic concepts of singers and audiences have changed over time, and thus, the music of pansori has changed as well. Reflecting the changes of aesthetic concepts, the criteria of a master singer who produces an excellent sound and a desirable master singer who produces an ideal sound, transformed. In this article, the author has defined such capacities of master singers as myeongchangseong(quality of a master singer). Entertainers(gwangdae) before the mid-eighteenth century were recognized of their talents if they could create a dramatic scene and make the audience laugh and cry through their wit and humor. Then, as pansori singer who expanded their musical performance capacities and sang with the structure of giseungjeongyeol(introduction, development, turn, conclusion) began to appear in the mid-eighteenth century, the entertainers started to ponder on and practice the songs from an artistic perspective. In the first half of the nineteenth century, a performer was considered as a master singer only if he or she sang a specific part well with accurate pronunciation and unique and attractive sounds that exactly fit into a rhymic cycle(jangdan). The pansori level of this period surpassed that of the period before the mid-eighteenth century when entertainers were recognized for their excellent story- telling talents to make people laugh and cry; the level also went beyond that of the second half of the eighteenth century when entertainers were recognized for their sound and acting. However, in the second half of the nineteenth century, a movement emerged to overcome the characteristics of pansori music that lacked musical completion because of the simple melodic lines and the deficiency of close relationship between the musical structure and the lyrics that continued up to the first half of the nineteenth century. This movement tended to pursue songs that had organic relations with the lyrics. As such, the idea of a master singer(myeongchanggwan) of a certain period has been depended on the aesthetic value judgement of the singers and the audiences. Furthermore, this phenomenon has continued until today since the twentieth century. Different pansori singers evaluate differently on one another's songs and pansori audiences have various tastes on singing styles and criteria of what makes a master singer. These disagreements are due to the distinctions of musical aesthetics, or the differences in aesthetic concepts which define an ideal pansori song, pursued in this genre. In other words, because of the various aesthetic concepts, various audience members pursue different sounds, and thus, have contrasting views of master singers. In conclusion, the author thinks that an ultimate understanding of a particular art is possible when the intrinsic aesthetic concept of the art has been discussed.

한류시대에 본 신재효 판소리 교육의 선구성

김수미 판소리학회 2013 판소리연구 Vol.35 No.-

Pansori, literature and an oral transmitted vocal genre, has reached today through constant changes from its emergence. In the development of the genre, pansori is briefly divided into four distinctive periods in accordance with each century : formative years of the 18th century, the heyday of the 19th century, the 20th century decline, and the current 21st, which is considered as the crucial stage comparing to any other period in the history of pansori. At the turn of the 21st century, the performance of pansori have been declined, a continuation of the 20th century, or will be the heyday of the second. To achieve pasonri as the heyday of the second era desperately needs preparation and practice accordingly. In this regard, the achievements of Sin Jae-hyo (1812-1884), a patron, educator, theorist, commentator, and editorial creative author of pansori, present avaluable archetype to prepare the future pansori education today labeled as the era of the Korean Wave. Considering his roles and contributions on the development of pansori, the paper examines the followings. First, Sin Jae-hyo never treated pansori to stay in an individual's pleasurable way. Instead, he became an active supporter and leader for pansori singers. Pansori singers in the late period of Joseon Dynasty were untouchable in society. His attention to the singers is quite encouraging. The communication and exchange of pansori would have been fertilizer to the growth and development. Second, Sin's creative editorial and adaptations on pansori text are very significant. Since pansori is regarded as the music of "imyeon" (depicting every angles of the dramatic situations and the sensitivity of the characters and protagonists through singing and reciting), the editorial contributions of Sin play an important role in determining the music of pansori. From the perspectives of pansori singers, creating a sound through various editorials can be a means to enrich their own musical world. Sin must have played the roles of leader and commentator to describe imyeon for singers. At the same time, singers are also given an opportunity and experience to be a creative composer. Third, the pioneering educational work by Sin Jae-hyo on pansori was extended to female. Prior to Sin's attempt, pansori was a gender-specific genre reserved for male singers (known as gwangdae) only. However, Sin began to train female singers, especially the legendary singer, Jin Chae-seon,the first female singer to participate in Nakseong Festival at Gyeongbok Palace. She made a successful debut to earn the favor of the Daewonkoon(the father of King Gojong). Today female pansori singers outnumbered the male singers, and Jin’s emergence should not be overlooked just as a case of an individual. Since the time of Sin and Jin, a large number of female singers have emerged, and this would not have been possible without the valuable contributions and achievement of the pansori education by Sin Jae-hyo. With having the holistic perspectives, as well as the sense of balance between music and text of pansori, Sin is considered as the most influential figure and pioneer on the development of pansori. In his advance view and forward thinking, Sin had already prepared the changes and transformation of the genre, and broadened the scope of teaching and education in pansori. 적층문학이자 구전심수의 판소리는 시작부터 현재까지, 시대에 따라 다양한 변화를 거듭하면서 오늘날에 이르렀다. 판소리사를 18세기 형성기, 19세기 전성기, 20세기 쇠퇴기로 간략하게 보았을 때, 현재 21세기는 매우 중요한 시점에 와 있는 듯 하다. 21세기가 20세기 쇠퇴기의 연장선으로 갈것인가, 아니면 제2의 전성기가 될 것인가 하는 초두에 있기 때문이다. 당연히 제2의 전성기를 맞고자 한다면, 이에 따른 준비와 실천이 절실히 필요하다 하겠다. 이런 점에서 판소리 후원자, 지도자, 이론가, 논평가, 사설 창작 개작자 등의 역할을 했던 신재효(申在孝:1812~1884)의 행적은 한류시대로 일컫는 오늘날, 미래를 준비하는 판소리 교육의 귀중한 한 전형을 제시하고 있다. 첫째, 우선 신재효는 개인의 유희적 판소리에 머물지 않고 적극적으로 광대들의 후원자와 지도자가 되었다는 점이다. 조선 후기 신분 사회에서 천민인 광대들에게 신재효의 관심은 그 자체만으로도 상당히 고무적이며, 이러한 소통과 교류는 판소리의 지평이 더욱 성장 발전하는데 밑거름이 되었을 것이다. 둘째, 신재효의 판소리 사설 창작과 개작이 갖는 의미이다. 판소리는 이면의 음악이기 때문에 ‘어떠한 사설이냐’는 판소리 음악을 결정짓는 중요한 역할을 하게 된다. 광대들의 입장에서 보면, 다양한 사설을 소리로 만들어 불러보는 것이 자신의 음악 세계가 풍성해지는 방편이 될 수 있다. 이 때, 신재효는 사설의 이면이 잘 묘사될 수 있도록 광대들에게 지도자와 논평자의 역할을 하였을 것이고, 광대들에게도 작창자로서의 기회와 경험이 주어지는 것이다. 셋째, 신재효의 판소리 교육의 선구성은 남성들만의 전유물이었던 판소리를 여성에게로까지 확장시킨 점이다. 신재효는 경복궁 낙성연에 최초의 여류명창인 진채선을 준비시켜 내보냈고, 이는 대원군의 총애를 받을 만큼 성공적인 무대를 만들었다. 현재 판소리계에서 여자명창들이 차지하는 비율을 본다면, 진채선의 등장은 단지 개인의 사건이 아님을 알 수 있다. 진채선 이후 지금까지 여류명창들의 대거 등장은 신재효의 선구성과 혜안을더욱 돋보이게 한다. 신재효는 판소리에 관한 전체적인 시각과 균형 감각을 가지고, 광대들과 교유하고 교육함으로써 판소리 미래를 준비시킨 실천가적 선구자라 할 것이다.