미산제와 추담제의 수궁가 비교 연구 : 박초월, 홍정택의 탑상을 탕탕 ·왕왈 연하다 대목을 중심으로 = A Comparative Study of the Misanje and Chudamje Versions of Sugungga — Focusing on Tapsang-eul Tangtang and Wangwal Yeonhada in the Performances of Park Cho-wol and Hong Jeong-taek —

다국어 초록 (Multilingual Abstract)

Based on the teachings of their respective masters, Park Cho-wol and Hong Jeong-taek both developed their own distinctive vocal styles. This study analyzes the textual content saseol, rhythmic placement butimsae, rhythmic patterns jangdan, and melodic progression of the Tapsang-eul Tangtang and Wangwal Yeonhada sections of Sugungga to identify the musical characteristics of their two styles. The research findings are summarized as follows.

First, both Park Cho-wol and Hong Jeong-taek generally use similar saseol in Tapsang-eul Tangtang and Wangwal Yeonhada. However, in Tapsang-eul Tangtang, Hong Jeong-taek expands the saseol by adding two lines in the singing section following a one-line narrative aniri, enlarging both the aniri and singing portions. In Wangwal Yeonhada, Park Cho-wol expands the aniri and adds one additional line in the singing section, thus expanding both components.

Second, in comparing rhythmic cycles jangdan, Park Cho-wol employs 12 jangdan in Tapsang-eul Tangtang, whereas Hong Jeong-taek uses 16, making the latter version four cycles longer. However, the total performance duration differs only slightly—approximately 10 seconds—with Park Cho-wol’s version being 1 minute 53 seconds and Hong Jeong-taek’s being 2 minutes 3 seconds. This is because Park Cho-wol performs the Jinyangjo with a slower tempo hanbae than Hong Jeong-taek.
In Wangwal Yeonhada, both singers use 24 jangdan, yet Park Cho-wol takes significantly longer Park Cho-wol: 4:02, Hong Jeong-taek: 3:05. This 57-second difference results from Park Cho-wol’s expanded aniri and slower Jinyangjo tempo. Overall, Park Cho-wol’s hanbae tempo is slower.

Third is the comparison of rhythmic placement butimsae. In both Tapsang-eul Tangtang and Wangwal Yeonhada, the two singers share the common feature of using large-phrase and large-cycle structures daemadi-daejangdan for most measures. However, in Tapsang-eul Tangtang, Park Cho-wol employs an off-beat placement eotbutim once in the 4th jangdan, while Hong Jeong-taek uses an off-beat pattern once across the 7th–8th jangdan. Wangwal Yeonhada shows no difference; both versions rely entirely on daemadi-daejangdan structures.

Fourth is the comparison of melodic structure. In Tapsang-eul Tangtang, the two singers differ in both melodic construction and progression. Park Cho-wol constructs comparatively short melodic units of 1–2 jangdan each, beginning primarily on E♭ and G. His style is characterized by frequent ornamental sequential motion using short-note figures. Hong Jeong-taek, due to his expanded text, forms more varied melodic units spanning 2–6 jangdan, and mainly begins phrases on G. Ornaments involving downward bends kkeokneun eum appear mainly in the latter half e.g., measures 11 and 14. Hong Jeong-taek uses vibrato-like ornaments yoseong more frequently than Park Cho-wol—in measure 3 ‘seong’, measure 6 ‘pyeongheo’, and measure 8 ‘ni’, ‘eu’. In measure 7, pitches such as E♮ and F♯ also appear.

In Wangwal Yeonhada, although the lyrics and rhythmic structure are largely identical, differences emerge in ornamentation, central pitches, and melodic direction. Park Cho-wol centers her melodies around C and G, moving upward or downward from these tones. Hong Jeong-taek employs yoseong more frequently e.g., measure 3 ‘su’, measure 4 ‘jin’, measure 8 ‘gu’. Most cadences resolve on C, and his use of short, sequential ornamentation is a notable feature. Hong Jeong-taek uses bending ornaments throughout the piece e.g., measures 2, 11, 19. Park Cho-wol employs yoseong in measure 2 ‘su’, measure 9 ‘baek’, and measure 23 ‘kkineun’. Her melodic lines characteristically traverse a wider pitch range, moving in larger intervals both upward and downward compared to Hong Jeong-taek.

In conclusion, this study compared the performances of Park Cho-wol—who developed Misanje by extending the Dongpyeonje tradition of Sugungga—and Hong Jeong-taek, who synthesized both Dongpyeonje and Seopyeonje lineages to form Chudamje. The comparison of the Tapsang-eul Tangtang and Wangwal Yeonhada sections shows that, while their saseol and rhythmic placement share significant similarities, their melodic progression, pitch range, and use of ornamentation differ notably. These differences appear to stem from variations in their transmission lineages.
Although this study is limited in that it examines only selected sections, it identifies the musical characteristics of Chudamje, a style that has not been extensively researched. It is hoped that future studies will continue to conduct comparative analyses on the sections that were not addressed in this research.

목차 (Table of Contents)

• Ⅰ. 서론 1
• 1. 문제제기 및 연구목적 1
• 2. 연구대상 및 연구방법 7
• Ⅱ. 박초월과 홍정택의 예술세계 10
• 1. 박초월 11
• 2. 홍정택 11
• Ⅲ. 미산제와 추담제의 사설 및 선율 비교 13
• 1. ‘탑상을 탕탕’ 13
• 1) 사설 14
• 2) 붙임새 16
• 3) 선율 23
• 2. ‘왕왈 연하다’ 33
• 1) 사설 34
• 2) 붙임새 36
• 3) 선율 46
• Ⅳ. 결론 63
• 참고문헌 65
• 참고악보 67
• Abstract 82