대전 산소골 상여놀이 연구 = A Study on the Sansogol Bier Procession Performance of Daejeon

다국어 초록 (Multilingual Abstract)

This thesis analyzes the post-restoration changes, procedural organization, and musical characteristics of the Sangsogol bier procession performance of Daejeon Metropolitan City, which has been recognized for its artistic excellence at national-level competitions but has not been subject to systematic management by national or local governments and has received limited scholarly attention. The Sangsogol bier procession performance was restored in 1997 under the initiative of the Yuseong Cultural Center and was awarded a bronze prize at the 2005 Korean Folk Arts Festival. Since then, it has continued to be performed as one of the representative folk performances of the Daejeon region. However, due to the aging of tradition bearers and a decline in the number of participants, the scale of performance has been reduced and certain procedures have been adjusted.
At the time of restoration, the Sangsogol bier procession performance consisted of seven procedures: Daetteori, Chulsang, Nose-shin rites, Jinggeumdari, Oenamudari, burial at the grave site, and Dwitpul-i. Since the 2000s, additional procedures such as Jecheongnori, Gakseori nori, and Dalgujil have been added or modified, resulting in changes to the overall structure of the performance. Through these developments, the performance has been reorganized into four procedures in its current form: Hoesimgok, Chulsang, Oenamudari, and Dwitpul-i (or Dalgujil).
The musical analysis focuses on five pieces—Hoesimgok, Daetteori, Chulsang, Oenamudari, and Dalgujil—and examines their rhythmic structure, tempo, melodic organization, and modal characteristics. The results show that Hoesimgok exhibits characteristics of the Gyeongtori mode, while Daetteori, Chulsang, and Oenamudari share melodic structures associated with the Menaritori mode. Dalgujil is centered on the pitches Mi–La–do; however, due to its limited pitch usage, its modal classification remains unclear.
This thesis is significant in that it systematically documents the transformation process and musical characteristics of the Sangsogol bier procession performance amid the gradual decline of performance-based bier procession traditions. As further regional case studies and materials are accumulated, more in-depth discussions of the musical features and transmission patterns of bier procession performances are expected to become possible.

Keywords : Sangsogol bier procession performance; bier procession performance; Daetteoli; bier; celebratory funeral ritual performance; No, se-shin

목차 (Table of Contents)

• Ⅰ. 서론 1
• 1. 연구목적 1
• 2. 연구 범위 및 방법 2
• 3. 선행연구 검토 4
• Ⅱ. 상여놀이의 역사와 전승 7
• 1. 상여놀이의 역사 8
• 2. 산소골 상여놀이의 유래 및 전승 19
• Ⅲ. 산소골 상여놀이의 절차 28
• 1. 복원 당시(1997) 산소골 상여놀이의 절차 29
• 2. 현행 산소골 상여놀이의 절차 36
• 3. 절차의 변화와 의미 42
• Ⅳ. 산소골 상여놀이의 음악적 특징 45
• 1. <회심곡> 46
• 2. <대떨이> 54
• 3. <출상> 56
• 4. <외나무다리> 58
• 5. <달구질> 62
• Ⅴ.결론 66
• 참고문헌 68
• 부록 악보 71