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학술연구/단체지원/교육 등 연구자 활동을 지속하도록 DBpia가 지원하고 있어요.
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초록· 키워드
오류제보하기
The epic Muga(Korean shamanic song) 〈Princess Bari〉 spread over all of the country. The features of this genre have both faces ; those of epic literature and poetic literature. According to the preceding studies, the study about the feature of epic literature was done fully, but the feature of poetry literature wasn't done sufficiently. However about 90's Muga in the aspect of poetry literature was begun to approach through the method of principle of versification and the study in the song literature aspect.
The epic Muga is very long, so we need to have various method to expand the length of the text. And then, we can't say it in one breath or sing, because it is performed orally. The text of shaman song is developed by narration and song in turn like 'chang' and 'aniri' of Pansori. In this course the part of 'chang' is fixed or the other song is added, which is called a 'insertion song'. Especially 〈Princess Bari〉 in east coast area has this feature much more than other area.
This insertion songs have many features of poetry literature of the epic Muga. The main story of 〈Princess Bari〉 as epic Muga is epic event development. However if we consider the composition principle, we can't but to neglect the poetry literary feature. Moreover the insertion songs accompanying music shows the lyric feature which is marked in the poetry literature.
Through seven works of 〈Princess Bari〉 in east coast area, that have the feature of insertion song more than other area, this study will analyze an aspect of insertion songs' acception and functions. Then through the comparison and consideration with the insertion songs in Pansori, it will approve the significance of the insertion songs in east coast area shaman song. The main texts of this study are the complete series of 〈Princess Bari〉 by Kim Jin-young and Hong Tae-han.
'Insertion song' is a term which refer the song inserted in the epic literature. It is sung with the words called "Gayo" along with rhythm and pitch. And also it has its own forms and content. "Gayo" has not only the musical feature but also literary feature. Insertion song is understood that it is done as a secondary function, for it is a part of the epic literature. However it has to have its own feature, for it is just inserted in the narration that is already made.
'Siga' which is inserted in the classical novels is representative as a lyric style inserted in epic literature. Then in our classical literature, it has a long tradition to insert 시가 in the epic literature. The representative example is 'Hyang-ga' in the Samgugyusa(Korean history). Also it is used in various narration genres. Especially 'Siga' inserted in the narration genres functions not only as the text development but the decoration of the story.
Pansori is quite long epic literature and is performed orally, so it can't be continued constantly. In the same way. The epic Muga is also made of very long text, in some aspects we can't compare with Pansori. So if it is developed a simple way, the narrator and audience will be tired of it easily. So when we consider this fact, insertion songs are used not only simply as a means for narrator to do easily but also to excite the audience or to increase lyrical emotion. This is an converse influence of Pansori rather than an original feature of the epic literature. And then it is related to the development of the event.
The epic literature was changed to a form of yeonheui-chang(a played song by singer) in which the narrator face the audience and care about them. By the way in the case of yeonheui-chang, there are more insertion songs for interests and play. Therefore sometimes the insertion songs are added some contents that are not related to the text, but the insertion songs in 〈Princess Bari〉 don't go astray from the main text. Instead they help the development of the story.
Insertion songs in Pansori include very various forms from the upper class culture like a chinese poem and Shijo to plebeian class culture like a folk song and ballad. Compared with this, when we consider 〈Princess Bari〉, in the epic literature they aren't very various. There are some differences according to the narrator.
According to this argument, the feature and notions of the insertion songs in the epic literature are followings :
First, it is the part of 'chang'.
Second, it has its own character as a insertion song.
Third, it has mobility. So it can be changed according to the epic literature.
Fourth, it has universality. So it can be applied to similar or same situation.
Fifth, it can rise an atmosphere by performing 'chang'
When we consider the epic Muga 〈Princess Bari〉, they accept many insertion songs Among of them, 'Sarang-ga(love song of Chung-hyang-ga)' is marked. These insertion songs play many important parts, not only a certain function. Especially the most remarkable role is entertainment which strengthen the lyrical function.
This study about insertion songs in eastern areas is considered as a regional culture ecology. Through studies of the other Muga in Gyeong-sang doㆍEast coast area, the total consideration about insertion songs of Muga should be done.
The epic Muga is very long, so we need to have various method to expand the length of the text. And then, we can't say it in one breath or sing, because it is performed orally. The text of shaman song is developed by narration and song in turn like 'chang' and 'aniri' of Pansori. In this course the part of 'chang' is fixed or the other song is added, which is called a 'insertion song'. Especially 〈Princess Bari〉 in east coast area has this feature much more than other area.
This insertion songs have many features of poetry literature of the epic Muga. The main story of 〈Princess Bari〉 as epic Muga is epic event development. However if we consider the composition principle, we can't but to neglect the poetry literary feature. Moreover the insertion songs accompanying music shows the lyric feature which is marked in the poetry literature.
Through seven works of 〈Princess Bari〉 in east coast area, that have the feature of insertion song more than other area, this study will analyze an aspect of insertion songs' acception and functions. Then through the comparison and consideration with the insertion songs in Pansori, it will approve the significance of the insertion songs in east coast area shaman song. The main texts of this study are the complete series of 〈Princess Bari〉 by Kim Jin-young and Hong Tae-han.
'Insertion song' is a term which refer the song inserted in the epic literature. It is sung with the words called "Gayo" along with rhythm and pitch. And also it has its own forms and content. "Gayo" has not only the musical feature but also literary feature. Insertion song is understood that it is done as a secondary function, for it is a part of the epic literature. However it has to have its own feature, for it is just inserted in the narration that is already made.
'Siga' which is inserted in the classical novels is representative as a lyric style inserted in epic literature. Then in our classical literature, it has a long tradition to insert 시가 in the epic literature. The representative example is 'Hyang-ga' in the Samgugyusa(Korean history). Also it is used in various narration genres. Especially 'Siga' inserted in the narration genres functions not only as the text development but the decoration of the story.
Pansori is quite long epic literature and is performed orally, so it can't be continued constantly. In the same way. The epic Muga is also made of very long text, in some aspects we can't compare with Pansori. So if it is developed a simple way, the narrator and audience will be tired of it easily. So when we consider this fact, insertion songs are used not only simply as a means for narrator to do easily but also to excite the audience or to increase lyrical emotion. This is an converse influence of Pansori rather than an original feature of the epic literature. And then it is related to the development of the event.
The epic literature was changed to a form of yeonheui-chang(a played song by singer) in which the narrator face the audience and care about them. By the way in the case of yeonheui-chang, there are more insertion songs for interests and play. Therefore sometimes the insertion songs are added some contents that are not related to the text, but the insertion songs in 〈Princess Bari〉 don't go astray from the main text. Instead they help the development of the story.
Insertion songs in Pansori include very various forms from the upper class culture like a chinese poem and Shijo to plebeian class culture like a folk song and ballad. Compared with this, when we consider 〈Princess Bari〉, in the epic literature they aren't very various. There are some differences according to the narrator.
According to this argument, the feature and notions of the insertion songs in the epic literature are followings :
First, it is the part of 'chang'.
Second, it has its own character as a insertion song.
Third, it has mobility. So it can be changed according to the epic literature.
Fourth, it has universality. So it can be applied to similar or same situation.
Fifth, it can rise an atmosphere by performing 'chang'
When we consider the epic Muga 〈Princess Bari〉, they accept many insertion songs Among of them, 'Sarang-ga(love song of Chung-hyang-ga)' is marked. These insertion songs play many important parts, not only a certain function. Especially the most remarkable role is entertainment which strengthen the lyrical function.
This study about insertion songs in eastern areas is considered as a regional culture ecology. Through studies of the other Muga in Gyeong-sang doㆍEast coast area, the total consideration about insertion songs of Muga should be done.
목차
Ⅰ. 들어가기
Ⅱ. 삽입가요의 개념과 성격
Ⅲ. 동해안 지역 〈바리공주〉의 삽입가요 현황
Ⅳ. 삽입가요의 수용양상
Ⅴ. 삽입가요의 기능과 의의
Ⅵ. 마무리
〔참고문헌〕
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UCI(KEPA) : I410-ECN-0101-2009-673-017602791