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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
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Cheunan-samgeuri has thus far been assumed to have been a Gyeonggi popular folk song, which was formed in the early 20th century. However, it was recorded as Heung-Taryeong in the ancient literature東大伽倻琴譜, which is considered to have been published in the late 19th century. It suggests Cheunan-samguri was created in the late 19th century or before.
This study argues that the origin and evolution of Gyeonggi popular folk Cheunan-samguri by analyzing songs in the ancient literature東大伽倻琴譜 and the early and late 20th century. Cheunan-sameuri was originated from Sandangpae (typical wandering troupes) song Heung-Taryeong, but recreated as a more refined form in the early 20th by the Sadangpae successors when they went into the theater, seeking repertoires in order to succeed in their public performances.
There were two different versions of Cheunan-samgueri in the early 20th century : old and new ones. The former, which is found still more than the latter in the recordings and the music books, is simpler in terms of tune and melody and has the Namdo musical style more than the latter. In this respect, it approximates to the original source of Cheunan-samgeuri and at this time this song was the mixture of the Namdo and Gyeonggi musical style. Meanwhile, the latter is very similar with the recent song, which is nearly composed of the Gyeonggi musical style. However, since the late 20th, only new version, which is consisted of the Gyeonggi musical style, has come to be transmitted.
Cheunan-samgeuri, which is also called Heung-Taryeong, was more closely related with Namdo popular folk song and traditional folk song Heung-Taryeong in terms of text and musical features in the early 20th century. Therefore, it can be maintained that this study made a genuine opportunity for examining the musical relationships between these two different regional Heung-Taryeong.
This study argues that the origin and evolution of Gyeonggi popular folk Cheunan-samguri by analyzing songs in the ancient literature東大伽倻琴譜 and the early and late 20th century. Cheunan-sameuri was originated from Sandangpae (typical wandering troupes) song Heung-Taryeong, but recreated as a more refined form in the early 20th by the Sadangpae successors when they went into the theater, seeking repertoires in order to succeed in their public performances.
There were two different versions of Cheunan-samgueri in the early 20th century : old and new ones. The former, which is found still more than the latter in the recordings and the music books, is simpler in terms of tune and melody and has the Namdo musical style more than the latter. In this respect, it approximates to the original source of Cheunan-samgeuri and at this time this song was the mixture of the Namdo and Gyeonggi musical style. Meanwhile, the latter is very similar with the recent song, which is nearly composed of the Gyeonggi musical style. However, since the late 20th, only new version, which is consisted of the Gyeonggi musical style, has come to be transmitted.
Cheunan-samgeuri, which is also called Heung-Taryeong, was more closely related with Namdo popular folk song and traditional folk song Heung-Taryeong in terms of text and musical features in the early 20th century. Therefore, it can be maintained that this study made a genuine opportunity for examining the musical relationships between these two different regional Heung-Taryeong.
목차
Ⅰ. 머리말
Ⅱ. 『東大伽倻琴譜』所載〈천안삼거리〉
Ⅲ. 20세기 전반과 후반 이후의 〈천안삼거리〉
Ⅳ. 〈천안삼거리〉의 형성 및 그 변모 양상
Ⅴ. 맺음말
〈참고문헌〉
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UCI(KEPA) : I410-ECN-0101-2010-673-002267589