메타버스를 이용한 버추얼 가수의 유형 제시 및 현황 연구

이연경,김현지,박건우 한국엔터테인먼트산업학회 2022 한국엔터테인먼트산업학회논문지 Vol.16 No.6

With the advent of COVID-19, non-face-to-face culture is accelerating, and the use of metaverse in the entertainment industry such as virtual singer planning, production, and promotion is increasing. Virtual singers using the metaverse platform are attracting attention by combining various technologies, but research on the types, characteristics, and composition of virtual singers is insufficient. The purpose of this study is to present the type of virtual singer by investigating and analyzing the reality of these virtual singers. Accordingly, virtual singers are classified into three types: character format, human format, and sub-character format based on document search information. Furthermore, based on the analyzed and classified contents, it is further subdivided and classified according to the appearance, voice, and composition of the virtual singer, and the following code name is given. As a virtual character format singer, ISEGYE IDOL is CVG-A, APOKI is CVS, SAGONGEEHO is CVG-A, virtual human singer OH!_ROZY is HFS, SUPERKIND is HFG-P, ETERNITY is HVG-A, and Han YooA is code name is HPS. In addition, Aespa and K/DA of virtual subcharacter singers are given CVG-P and CVG-A. By classifying the types of virtual singers, it is possible to grasp various virtual singers who are currently active at a glance and visually distinguish the singer's components. It can be an index for systematic research in future comparative analysis studies of virtual singers, and can also be applied to strategic marketing and new rough content development through surveys of various tastes.

성대형태 및 음향발현에서 성악 발성 및 판소리 발성의 비교 연구

김선숙 한국음성과학회 2004 음성과학 Vol.11 No.2

Western singers voice have been studied in music science since the early 20th century. However, Korean traditional singers voice have not yet been studied scientifically. This study is to find the physiological and acoustic characteristics of Pansori singers voices. Western singers participated for comparative purposes. Ten western singers and ten Pansori singers participated in this study. The subjects spoke and sung seven simple vowels /a, e, i, o, u, ??, w/. An analysis of Glottal image was done by Scope View and acoustic characteristics of speech and singing voice were analyzed by CSL. The results are as follows: (1) Glottal gestures of Pansori singers showed asymmetric vocal folds. (2) Singing vowel formants of Pansori singers showed breathiness based on Spectrogram. (3) Music formant of western singers appeared in around 31㎑ area, however, Pansori singers formant appeared in low frequency area. Modulation of vibrato showed 6 frequency per see in case of western singers. Pansori singers showed no deep modulation of vibrato on spectrogram.

판소리 가수와 전문 성악가의 발성 평가를 위한 성문의 특성 및 음향학적 분석

홍기환(Ki-Hwan Hong),김현기(Hyun-Gi Kim),김선숙(Sun-Sook Kim) 한국언어청각임상학회 2006 Communication Sciences and Disorders Vol.11 No.3

전문 성악가의 음성관리는 음성언어학적인 연구 방법으로 가창시 성대의 형태와 음향발현을 정량적으로 측정하여 음성 평가의 표준화와 후두 관리법 개발을 위한 기초 자료 수집을 목적으로 하였다. 연구 대상으로 성악가 29명과 소리꾼 16명을 선정하여 후두 내시경과 CSL을 사용하여 성대 길이와 너비 그리고 음악 포먼트와 비브라토를 중심으로 측정하였다. 생리학적인 측면에서 성악가와 소리꾼의 성대 구조의 차이는 소리꾼의 성대는 비대칭적이면서 막성 성대를 기점으로 중간 2/3지점을 또는 막성 성대 중간 2/3지점 후에 형성된 성대 비후증으로 기식성 음의 음원적인 차이가 발견되었다. 또한, 소리꾼은 고음부 및 저음부 발성시 성악가보다 성대 길이 및 성대 너비 차이가 더 크게 나타나 성악 발성시 후두 조정이 더 긴장적이라 해석되었다. 소리꾼의 비브라토는 내시경 투시에서 피열연골의 진동이 특징적으로 관찰되었으며 이때 성문 상부 폭도 줄어들었다. 음향학적인 측면에서 성악가의 발성 훈련을 가늠하는 음악 포먼트의 발현에 대해 성악가는 2,600Hz~3,500Hz 대에서 음악 포먼트를 형성하였으나 소리꾼은 유사한 음악 포먼트가 대부분 나타나지 않았다. 비브라토 진동 회수는 성악가의 경우 1초 당 5.5~6회이었으나 소리꾼은 4~5.5회이었으며 남창은 저주파수대에, 여창은 고주파수대에 비브라토 진동이 선명하게 나타났다. 비브라토 주파수 변동 폭 및 음성 강도 크기의 변화는 소리꾼이 성악가보다 크게 나타나 후두 조정시 긴장도가 큰 것으로 해석되었다. 성악가와 소리꾼의 가창시 성대 구조 및 음향 발현의 차이는 전문 성악가의 음성장애를 평가하는 기준으로 활용할 수 있다. The essential characteristics of a well trained singing voice and laryngeal mechanism has interested scientist since the early 19th century. The purpose of this study was to find the acoustic and physiological characteristics of the voice of Korean traditional song ‘Pansori’ singers determine. Sixteen Pansori singers and twenty-five western singers participated in this study. Speech samples were composed in glissando standard high pitch tone and standard low pitch tone for stroboscopic study of the simple vowels /a, i, u, e, o/. The vocal folds of Pansori singers were asymmetrical in comparison to the symmetrical vocal folds of western singers. Pansori singers’ music formant has higher peaks of intensity for low and high frequency. A Spectrographic characteristic of vibrato showed contrasts between Western singers and Pansori singers: dull and small for Pansori singers and clear and big for western singers. The vibrato rates between Western singers and Pansori singers were 5.5~6/sec and 4~5.5/sec, respectively. The vibrato rate of pitch range was 3.8Hz~11.0Hz for western singers compared to 7.2Hz~46.0Hz for Pansori singers. The vibrato rate of intensity range was 0.3dB~3.3dB for western singers and 0.2dB~11.0dB for Pansori singers.

유성기 음반을 통해 본 경서도 명창들의 남도음악 수용 양상 - <성주풀이>를 중심으로

이윤정 단국대학교(천안캠퍼스) 한국문화기술연구소 2017 한국문화기술 Vol.22 No.-

Gyeongseo-do master singers among the gramophone records, which were mainly released between 1910 and late 1960, was identified and the aspect of acceptance and musical characteristics of the music were reviewed. To that end, first, those singers that recorded Gyeonggi songs and those singers that recorded Seo-do songs were identified centering on the gramophone record list and then, based on the results, those singers that recorded the songs of both regions were selected. Thereafter, the data on the participation of Gyeongseo-do master singers selected from the gramophone record list in the Nam-do music recording work were examined to review the genres of music accepted by them. Finally, the musical characteristics of <Seongjupuri>, which accounts for a large amount of data recorded by Gyeongseo-do master singers, were examined and based on the results, the aspect of acceptance of Nam-do music by the Gyeongseo-do master singers. The results are summarized In the gramophone record list, there are 370 Gyeonggi vulgar songs and 496 Seo-do vulgar songs. In these records, the Gyeonggi vulgar songs were recorded by approximately 70 singers and the Seo-do vulgar songs were recorded by 58 singers. Among them, the number of singers who recorded both Gyeonggi and Seo-do songs was approximately 30. Among these singers, nine singers-Park Wol-Jeong, Park Chun-Jae, Baek-Wun-Seon, Shin Ok-Do, Lee Geum-Ok, Lim Myeong-Ok, Lim Myeong-Wol, Jang Geum-Hwa, and Jae Hak-Seon-participated in Nam-do music record work. Among these singers, Park Wol-Jeong recorded the largest number of pieces of Nam-do music followed by Park Chun-Jae. In particular, the reason why Park Wol-Jeong could record more Nam-do music compared to other Gyeongseo-do master singers seems to be the effects of her father from Nam-do and her husband who was a record planner. The genres of the Nam-do music, recorded by Gyeongseo-do master singers, were folk songs, vulgar songs, and pansori. In addition, such Nam-do music could be found in other genres such as the pansori-based singing in chorus or Changgeuk and creative pansori that changed existing pansori. Except for Changgeuk and the creative pansori, Gyeongseo-do master singers left the largest number of gramophone records for vulgar songs in relation to Nam-do music and among those songs <Seongjupuri> is the most prevalent one. The <Seongjupuri> of Park Chun-Jae and Park Wol-Jeong is of Gutgury rhythms with four beats of three small beats consisting of five tones, ‘Sol-La-do-re-mi’ and the melodies are in conjunct motions. In addition, both singers did not thickly and widely vibrate ‘Sol’, which is the lowest note of the scale, unlike Nam-do master singers, did not vibrate at all in many cases, and when they vibrated this tone, they did so narrowly. Such a form of vibration appears in parts with long beats. The aspect of acceptance can be identified in pansori and Namdo vulgar songs among those pieces of Nam-do music that were recorded by Gyeongseo-do master singers in gramophone records. In the case of pansori, interfacial tones like those in Nam-do pansori were used instead of Gyeonggi type tones or even Gyeongdeurm were changed into interfacial sounds thereby accepting Nam-do pansori as it is. On the contrary, in the case of vulgar songs, Gyeongseo-do master singers reflected the musical characteristics of their regions. Although there are many gramophone records, in which Gyeongseo-do master singers recorded Nam-do music, no such record has been found yet so that the sound sources can be identified in very few cases. Therefore, to concretize the results of this study, the results of analysis of those records should be supplemented after those records are found.

유성기 음반을 통해 본 경서도 명창들의 남도음악 수용 양상- <성주풀이>를 중심으로

이윤정 ( Lee Yunjung ) 단국대학교 한국문화기술연구소 2017 한국문화기술 Vol.23 No.-

In this study, the overall image of Nam-do music recorded by Gyeongseo-do master singers among the gramophone records, which were mainly released between 1910 and late 1960, was identified and the aspect of acceptance and musical characteristics of the music were reviewed. To that end, first, those singers that recorded Gyeonggi songs and those singers that recorded Seo-do songs were identified centering on the gramophone record list and then, based on the results, those singers that recorded the songs of both regions were selected. Thereafter, the data on the participation of Gyeongseo-do master singers selected from the gramophone record list in the Nam-do music recording work were examined to review the genres of music accepted by them. Finally, the musical characteristics of < Seongjupuri >, which accounts for a large amount of data recorded by Gyeongseo-do master singers, were examined and based on the results, the aspect of acceptance of Nam-do music by the Gyeongseo-do master singers. The results are summarized as follows. In the gramophone record list, there are 370 Gyeonggi vulgar songs and 496 Seo-do vulgar songs. In these records, the Gyeonggi vulgar songs were recorded by approximately 70 singers and the Seo-do vulgar songs were recorded by 58 singers. Among them, the number of singers who recorded both Gyeonggi and Seo-do songs was approximately 30. Among these singers, nine singers-Park Wol-Jeong, Park Chun-Jae, Baek-Wun-Seon, Shin Ok-Do, Lee Geum-Ok, Lim Myeong-Ok, Lim Myeong-Wol, Jang Geum-Hwa, and Jae Hak-Seon-participated in Nam-do music record work. Among these singers, Park Wol-Jeong recorded the largest number of pieces of Nam-do music followed by Park Chun-Jae. In particular, the reason why Park Wol-Jeong could record more Nam-do music compared to other Gyeongseo-do master singers seems to be the effects of her father from Nam-do and her husband who was a record planner. The genres of the Nam-do music, recorded by Gyeongseo-do master singers, were folk songs, vulgar songs, and pansori. In addition, such Nam-do music could be found in other genres such as the pansori-based singing in chorus or Changgeuk and creative pansori that changed existing pansori. Except for Changgeuk and the creative pansori, Gyeongseo-do master singers left the largest number of gramophone records for vulgar songs in relation to Nam-do music and among those songs < Seongjupuri > is the most prevalent one. The < Seongjupuri > of Park Chun-Jae and Park Wol-Jeong is of Gutgury rhythms with four beats of three small beats consisting of five tones, `Sol-La-do-re-mi` and the melodies are in conjunct motions. In addition, both singers did not thickly and widely vibrate `Sol`, which is the lowest note of the scale, unlike Nam-do master singers, did not vibrate at all in many cases, and when they vibrated this tone, they did so narrowly. Such a form of vibration appears in parts with long beats. The aspect of acceptance can be identified in pansori and Namdo vulgar songs among those pieces of Nam-do music that were recorded by Gyeongseo-do master singers in gramophone records. In the case of pansori, interfacial tones like those in Nam-do pansori were used instead of Gyeonggi type tones or even Gyeongdeurm were changed into interfacial sounds thereby accepting Nam-do pansori as it is. On the contrary, in the case of vulgar songs, Gyeongseo-do master singers reflected the musical characteristics of their regions. Although there are many gramophone records, in which Gyeongseo-do master singers recorded Nam-do music, no such record has been found yet so that the sound sources can be identified in very few cases. Therefore, to concretize the results of this study, the results of analysis of those records should be supplemented after those records are found.

영화 〈서편제〉에 투영된 판소리의 모습과 ‘우리 것’의 의미

송소라(Song, So-Ra) 우리문학회 2014 우리文學硏究 Vol.0 No.44

The purpose of this study is to investigate how a movie actualizes and fictionalizes pansori and how the process is formed by comparing the pansori environment of 1930~60’s as the background of Sopyeonje and the environment at the time. It thereby attempts to redefine the phase of Sopyonje as a pansori movie and to review the meaning of a ‘Korean thing’ that Sopyonje has pursued in the cultural environment of the early of the 1990’s. Sopyonje realistically describes the pansori culture of 1930~60’s as the background of the movie through pansori singer Yoobong. The universal self-portrait of the contemporary pansori singers includes not only the life of Yoobong wandering from place to place but also various activities [(Changgeuk, group activities of Gukgeuk, singing activities at the birthday party and the restaurant, singing activities at the then peddler’s medicine-selling site commonly called “nylon theater (temporary theater)” that pansori singers do to bring in income. The reality of the pansori pushed out by western sounds, which did not enthrall the public realistically, shows the aspect of the gloomy pansori history after KoreanWar. The harmony between the pansori and the drum, emphasized through Yoobong’s lines and movie scenes, and the background of pansaori are the aesthetic factors that are covered critically. Songhwa’s and Yoobong’s pansori learning processes and the poverty-stricken pansori singers’ life adversity do not reflect the reality of the movie made fictionally. They are the actual situation that every contemporary pansori singer may have experienced. Nevertheless, the movie Sopyonje excessively idealizes the aesthetics of pansori singers and pansori itself. Yoobong, newly born through the movie Sopyonje, is described as an artist pursuing only the pansori, not being swayed by reality and capital. Pansori is the world that such an artist as him pursues, and ‘teuk-eum’ through pansori is expressed as an ultimate value that one should obtain no matter how he/she sacrifices. It is only through the pansori as an art that Yoobong, Songhwa, and Dongho all understand each other centering around ‘han’ and that they overcome it. Yoobong’s behavior to blind Songhwa to cultivate her ‘han’ as the final stage for teuk-eum’ and the narrative between Songhwa and Donghwa finally breaking up without any words even though they missed each other to keep ‘han’ extremely consecrate pansori as an art. The reality and idea of Sopyonje are obtained through playwrighter KimMyung-gon and the cultural reality of pansori since 1970’s. Kim, Myung-gon is a professional pansori singer, who has himself learned the pansori for 10 years, and a scenario writer and a director. He is also a writer who has published Gandaeyeoljeon(1988) in his effort after meeting a number of pansori masters and well-known pansori singers. Yoobong that he created in the movie is an aggregator of the well-known pansori singers that he met and himself. Much of reality of Sopyonje has been obtained by him as a professional pansori singer. Meanwhile, the idealization of Sopyonje has been done in the process of accepting the end of the novel and defining it as an art as pansori became an intangible cultural heritage in 1964. Pansori ironically became the tradition to be kept and informed to be prevent from disappearing and at the same time an unique art that should not be damaged carelessly. Well-known pansori singers designated as a cultural heritage though their dark days and regarded a pansori singer focuses on the pansori’ alone as ideal and did not want the pansori to lightly get along with ‘pansori sound.’ KimMyung-gon, who wanted to faithfully express his experience as a pansori singer and the look of various pansori singers’ life, summoned the sound that goes beyond ‘han’ pursued by Lee Cheong-joon into ’pansori, an art pursuing absolute aesthetics. Interestingly, the cultural environment in the early of 1990’s was more explosively cheered

한국 가상 가수의 양상과 향방

장유정 세계음악학회 2023 음악과 문화 Vol.- No.49

. This paper provides a diachronic examination of the phenomenon and trajectory of virtual singers in South Korea. Chapter 2 chronologically traces the evolution of these virtual singers, beginning with ‘Adam’ in 1998, considered as the country's first virtual singer, to those actively performing in 2023. They are categorized into three phases based on the time and technological advancement: inception, transitional, and diversification. While the transitional phase, the second generation of virtual singers, can be deemed a failure, it wasn't entirely negative. Thanks to the various trials and experiments up to this phase, the virtual singer industry has seen subsequent growth. Presently, in the diversification phase, virtual singers exist in myriad forms—some increasingly resembling humans, while others distinctively diverging, coexisting with real-life singers. Chapter 3 proposes several reasons for the anticipated growth of the virtual singer industry and points out potential challenges. The advancement in science and technology, coupled with the growth of the gaming, character, and animation industries, heralds the rise of virtual singers. The current popularity of K-pop and the tech-savviness of the younger generation further brighten the prospects. The public's reception and preference will vary depending on how narratives intertwine with these virtual entities. Thus, it's crucial to bridge technological advancement with humanities sensitivity. Furthermore, potential issues stemming from the industry's growth were addressed. While this paper doesn't offer exhaustive solutions, it anticipates forthcoming challenges and explores legal, institutional, ethical, and educational resolutions. The advancements in digital technology and artificial intelligence are paving the way for virtual singers to offer a novel paradigm in the music and entertainment sector. Nevertheless, this progress brings its set of challenges and contemplations. As we mark the 25th anniversary of virtual singers, preparations are paramount for harmonious coexistence with the ever-expanding virtual realm. We may not halt the tides of change, but forecasting and preparing for them is indispensable. It's hoped that this paper of 25 years in the virtual singer history offers a glimpse into the industry's future trajectory.

가수 집단 간 음성 특성 비교

유재연 한국언어치료학회 2010 言語治療硏究 Vol.19 No.2

The purpose of this study was to obtain acoustic measurements (F0, vF0, Jitter, Shimmer, and NHR) of 24 trot singers(14 males, 10 females) and 25 ballad singers (12 males, 13 females) and to compare acoustic measurements of the vowel /a/ produced by four singers' groups on three voice sampling conditions (prolongation, reading, and singing of /a/). Sound Forge 6.0 was used to record voices and MDVP was used to measure the acoustic parameters. A three-way MANOVA was used for statistical analyses. The results were as follows: first, there was an interaction between music genre and voice sampling condition in vF0. It was concluded that trot singers sing with more vibrato than ballad singers. Second, there was a significant difference between sex and among the three voice sampling conditions in jitter. Jitter was higher in male than female singers and it was highest in the singing voice. Third, there was a significant difference among the three voice sampling conditions in shimmer. Shimmer was significantly higher in singing voices than prolongation and reading. Finally, there was a significant difference among the three voice sampling conditions in NHR. NHR was significantly higher in singing voices than prolongation and reading. The female trot singers tend to sing in a less noisy voice than the remaining three groups. 이 연구는 트로트 가수와 발라드 가수를 대상으로 음향학적 파라미터 값을 측정하고 음악장르별, 성별 그리고 발성 조건(연장발성, 낭독, 가창)에 따라 음향학적 파라미터(F0, vF0, jitter, shimmer, NHR) 값에 차이가 있는가를 알아보았다. 10명의 여성 트로트 가수, 14명의 남성 트로트 가수, 13명의 여성 발라드 가수, 그리고 12명의 남성 발라드 가수들이 대상자로 참여하였다. 음성의 수집은 Sound Forge를 사용하여, 연장발성, 낭독, 가창 시의 가수들의 음성을 수집하였으며, MDVP를 사용하여 F0, vF0, jitter, shimmer, NHR을 측정하였고, 다변량분산분석을 통해 음악장르, 성별, 그리고 발성조건 간에 음성에 유의한 차가 있는 가를 살펴보았다. 연구 결과는 다음과 같다. 첫째, 평균기본주파수변동률은 음악장르와 발성조건 간에 상호작용이 있는 것으로 나타났다. 둘째, 주파수변동률은 여성가수보다 남성가수 집단에서 유의하게 더 높았으며, 가창 시 음성에서 가장 높게 나타났다. 셋째, 진폭변동률은 연장발성 시, 낭독 시의 음성보다 가창 시 음성에서 유의하게 높은 것으로 나타났다. 마지막으로 소음 대 배음비는 연장발성 시, 낭독 시의 음성보다 가창 시 음성에서 유의하게 높은 것으로 나타났다.

고창과 판소리 문화 고창과 여성명창

성기련 ( Ki Ryun Sung ) 판소리학회 2005 판소리연구 Vol.20 No.-

Among the noted female master singers in pansori history, Jin Chae-seon, Heo Geum-pa, Gim Yeo-ran, and Gim So-hui are either from Gochang or closely associated with Gochang for their study of pansori and their talents being recognized there. Besides the fact that they are related to Gochang, these singers share the followings. First, they met excellent pansori teachers. Singers Jin Chae-seon and Heo Geum-pa met Sin Jae-hyo and Gim Yeo-ran and Gim So-hui, Jeong Jeong-ryeol. Even though Sin was not actually a pansori singer who performed well, he guided and supported Jin and Heo lest they should become discouraged and so that they would act confidently in a male-dominating vocal field. Thus, he recognized their potentials and supported them to become active professional singers. In the respect that Song Man-gap and Jeong Jeong-ryeol recognized the talents of Gim Yeo-ran and Gim So-hui and transmitted songs that matched their vocal characteristics, it could be said that Gim and Gim were singers who had a teacher as caring as that of Jin and Heo. The aspect that they performed songs in which the dramatic elements of pansori were expressed well because of the influence of Sin and Jeong, who emphasized the competence for dramatic performance, is also one of their commonalities. Secondly, through continuous effort they earned reputation for their vocal talents in the male-dominating field and became famous in pansori history. As for Jin and Heo, they strived to make a name for themselves in the vocal field as the first female singers. As for Gim and Gim, they endeavored to study in the mountains, perform a series of pansori on radio, and held batangsori(authentic sound) performances in order to break down the prejudice of the people who appreciated pansori then that female singers do not possess excellent vocal capacities and are only good at performing sajin sori(copy sound) and tomak sori(block sound). The followings have been considered negative influences on pansori history that resulted in the transformation of gyemyeonjo (gyemyeon mode) and tomak sori because of the appearance of female pansori singers. 1) Transformation to gyemyeonjo and seopyeonje; 2) the transformation to tomak sori and pansori`s evolution to changgeuk; 3) deletion of obscence and vulgar lyrics; and 4) the decrease of the activities of male singers. However, these factors cannot be regarded as the results from the emergence of female singers but rather are due to the general tendencies of the musical culture of pansori because of the changes in social and cultural surroundings. Indeed, the fact that singers from Gochang, including Gim Yeo-ran and Gim So-hui, and Bak Rok-ju and Gim Cho-hyang endeavored to overcome such periodic environment through unceasing practice and strong will should be highly evaluated.

일반논문 : 근대미디어와 젠더(1) -20세기 초 여성 판소리 창자의 부상-

임형택 ( Hyeong Taek Im ) 성균관대학교 인문학연구원(성균관대학교 인문과학연구소) 2015 人文科學 Vol.0 No.59

이 글의 목적은 여성이 판소리 창자로 호명되었던 사회.문화사적 기제로서 근대미디어의 작동을 분석하는 데 있다. 전통적 판소리의 전성기인 19세기까지 여성이 판소리 창자로 나서는 것은 금기시돼 있었다. 진채선·허금파·강소춘 등의 예외가 있었으나, 그 간헐적 등장은 매번 새로운 사건일 뿐이었다. 본격적으로 여성들이 판소리 창자로 호명되기 시작한 때는 근대미디어가 작동하던 20세기 초반이었다. 그것은 신문·잡지·『매월신보』·가사지 등의 문자미디어(문자+책+인쇄)와, 유성기·라디오의 소리 미디어-테크놀로지가 교호 작동하는 가운데 나타난 현상이었다. 그런데 당시 대중문화의 코드는 전래의 가부장적 마초 취향의 지속이었다. 여성 창자는그 기호에 조응하는 문화 아이템으로서의 성격이 강했다. 그들은 남성창자가 명창으로 지칭되며 공인받던 것에 비해, 기생적 존재처럼 - 실제‘기생(妓生)’이거나 기생적(寄生的)인 - 문화사에 등장했던 것이다. 이러한 흐름은 판소리가 근대 대중문화 콘텐츠로서의 생명력을 다해가던 1950년대까지 계속되었으며, 지나간 고급문화로 전환되던 1960년대까지도 잔영처럼 남아있었다. 여성 창자가 여류 명창으로, 나아가 국창이나 선생으로 인식되기 시작한 것은 대중문화의 영향권에서 완전히 벗어난 시기, 그러니까 판소리 전통의 수보와 계승의 한복판에서였다. 대중문화의 시선에서 풀려났을 때에야 비로소 여성 창자들은 그 고유한 예술성과 입지, 명창의 길을 의연히 갈 수 있었던 것이었다. 이 글은 근대미디어와 젠더의 관점에서, 20세기 초 여성 판소리 창자의 사회·문화사적 변모 과정을 분석하였다. 그 결과 근대미디어는 문화사에서 여성의 등장 즉 젠더 분화를 야기하였으나, 문화상품으로 호명함으로써 그 여성들에게 제약을 가하기도 했음을 알 수 있었다. The purpose of this paper is to analyze the operation of modern media as a social and cultural mechanism which called in female pansori singers. Until the 19th century, in the heyday of traditional pansori, female pansori singers had been prohibited from performing on stage. While there existed some cases of exceptions such as Jin Chae-seon, Heo Geum-pa and Gang So-chun . though intermittently . their public appearance always hit the news. It was not until the early 20th century that female pansori singers were called on stage in earnest in the wake of the appearance of modern media. Such a phenomenon was the outcome of the reciprocal interaction between the “literary media”. letters, books, and publications such as newspapers, magazines, the Maewol Shinbo (the Monthly Report of New Music) and the collection of lyrics and the “sound media-technology” such as gramophones and the radio. Besides, the conventional and patriarchal macho tastes continued to dominate society as the code of popular culture. Under the context, female singers had a strong character of a cultural icon who only corresponded to the tastes. This trend continued until the 1950s when pansori almost lost its vigor as the main contents of modern popular culture and remained until the 1960s when pansori was promoted into a high artistic cultural item showcasing a trace of cherished old Korean cultures. The status of female pansori singers was promoted to that of female master singers, and furthermore to the state-authorized singers (gukchang) or instructors during the period when pansori was completely freed from the influence of popular culture. At that time, female pansori singers were at the center of preserving and inheriting the tradition of pansori. Only after they were liberated from the gaze of the public could they find they own way as artists and master singers dauntlessly. This paper has analyzed the socio-cultural changes of the female pansori singers in the early 20th century from the perspective of modern media and gender. And this research has consequently found that modern media resulted in the emergence of women and the subsequent differentiation of gender on one hand and imposed restrictionw on the female pansori singers in the process of calling them out as the cultural products on the other hand.