지원사업
학술연구/단체지원/교육 등 연구자 활동을 지속하도록 DBpia가 지원하고 있어요.
커뮤니티
연구자들이 자신의 연구와 전문성을 널리 알리고, 새로운 협력의 기회를 만들 수 있는 네트워킹 공간이에요.
초록· 키워드
오류제보하기
This paper was initiated from a question about the possible musical relation between seodo popular folk song Sa-sul Nanbong-ga and Kyonggi popular folk song Kyongbokgung Taryung.
In the first half of the twentieth century, several works were found, which verify the dose musical relation between Sa-sul Nanbong-ga and Kyoungbokgung Taryung. It seems noticeable that tunes of Sa-sul Nanbong-ga and Kyoungbokgung Taryung are blended together within a work. Since we already proved that Kyungbokgung Taryung is based on fast bang-a taryong of sadang-pae, the newly-found information supports our supposition that one of them is certainly derived from the other, finally implying that Sa-sul nanbong-ga thereafter might have come from Kyungbokgung Taryung.
In its early stage, Sa-sul Nanbong-ga consisted mostly of tunes of Kyungbokgung Taryung, it comes to deviate, however, from the latter’s sphere of influence by adding tunes of Nanbong-ga versions, which gradually lessened the proportion of tunes from Kyungbokgung Taryung.
By the late twentieth century, becoming completely firm as one of Nanbong-ga versions which has been typical Seodo popular folk song, it finally turns into Seodo Music by altering even the musical elements to show partial influence of Kyungbokgung Taryung. As the modem singers aims at homogeneity in artistry and musicality as Nanbong-ga versions, rhythms and tunes become far more virtuosic than before, which causes a considerable gap between the early and late stage in Sa-sul Nanbong-ga.
I consider that the formation of this Sa-sul Nanbong-ga was made almost simultaneously with the same purpose as Kyungbokgung Taryung which was just created on the basis of fast bang-a taryong of Sadang-pae when singers from the groups of Sadang-pae successors went into the theater, seeking repertoires in order to succeed in their public performances.
Just as Kyungbokgung Taryung, recording of Sa-sul Nanbong-ga by these people appeared the first among SP recordings, retaining tori type which is the most similar to Kyungbokgung Taryung. Since Kyungbokgung Taryung, the prototype of this music was recreated for the purpose of theatrical performance, it seems quite logical that Sa-sul Nanbong-ga was also established in this context.
This paper displays the process of Sa-sul Nanbong-ga’s formation. Originally based on Kyungbokgung Taryung, in its development procedure, Sa-sul Nanbong-ga has gradually transformed itself into Seodo popular folk song, accepting features of Nanbong-ga versions on grand scale.
This paper assumes a first departure for our systematic discussion on the formation of Nanbong-ga versions. It seems suggestive for us to comprehend the principles and ways that made our folk songs have survived in the musical and cultural environment of the twentieth-century, widely different from one in the previous century.
In the first half of the twentieth century, several works were found, which verify the dose musical relation between Sa-sul Nanbong-ga and Kyoungbokgung Taryung. It seems noticeable that tunes of Sa-sul Nanbong-ga and Kyoungbokgung Taryung are blended together within a work. Since we already proved that Kyungbokgung Taryung is based on fast bang-a taryong of sadang-pae, the newly-found information supports our supposition that one of them is certainly derived from the other, finally implying that Sa-sul nanbong-ga thereafter might have come from Kyungbokgung Taryung.
In its early stage, Sa-sul Nanbong-ga consisted mostly of tunes of Kyungbokgung Taryung, it comes to deviate, however, from the latter’s sphere of influence by adding tunes of Nanbong-ga versions, which gradually lessened the proportion of tunes from Kyungbokgung Taryung.
By the late twentieth century, becoming completely firm as one of Nanbong-ga versions which has been typical Seodo popular folk song, it finally turns into Seodo Music by altering even the musical elements to show partial influence of Kyungbokgung Taryung. As the modem singers aims at homogeneity in artistry and musicality as Nanbong-ga versions, rhythms and tunes become far more virtuosic than before, which causes a considerable gap between the early and late stage in Sa-sul Nanbong-ga.
I consider that the formation of this Sa-sul Nanbong-ga was made almost simultaneously with the same purpose as Kyungbokgung Taryung which was just created on the basis of fast bang-a taryong of Sadang-pae when singers from the groups of Sadang-pae successors went into the theater, seeking repertoires in order to succeed in their public performances.
Just as Kyungbokgung Taryung, recording of Sa-sul Nanbong-ga by these people appeared the first among SP recordings, retaining tori type which is the most similar to Kyungbokgung Taryung. Since Kyungbokgung Taryung, the prototype of this music was recreated for the purpose of theatrical performance, it seems quite logical that Sa-sul Nanbong-ga was also established in this context.
This paper displays the process of Sa-sul Nanbong-ga’s formation. Originally based on Kyungbokgung Taryung, in its development procedure, Sa-sul Nanbong-ga has gradually transformed itself into Seodo popular folk song, accepting features of Nanbong-ga versions on grand scale.
This paper assumes a first departure for our systematic discussion on the formation of Nanbong-ga versions. It seems suggestive for us to comprehend the principles and ways that made our folk songs have survived in the musical and cultural environment of the twentieth-century, widely different from one in the previous century.
목차
Ⅰ. 머리말
Ⅱ. 사설난봉가의 음악적 변천양상
Ⅲ. 사설난봉가의 음악적 유래와 형성과정 및 배경
Ⅳ. 맺음말
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