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양태순 西原大學校 1985 西原大學 論文集 Vol.15 No.-
Korean old lyrics, such as Hyangga, Sokyo, Kyonggichega, Akjang, Sijo, and Kasa were originally composed for the words of songs. As a result, it can be fully recognized that their meters, lines, structures of song words, and the like had close connection with their musical pieces. the purpose of this paper is to show how lyrical words concern the musical piece of Koryosokyo, one of the lodest lyrics whose score has remained unchanged so far. in chapter Ⅱ, several factors, which have much to do with the arrangement of the woras of this song, are selected and analyzed to prove how they actually arrange the words. in chapter Ⅲ, the words of this song are classified according to the style of their musical piece. And the words belonging to the same kind of style are examined to show how they came to restrict the musical piece of this song. By analyzing the actual melody and structure of the words, some relations are studied between the same kind of style and the different. The following conclusions have been drawn in the last analysis. 1)The Chonggan which one meter occupies is not always the same in length. First, it should be examined how long it is. As a result, it may be examined that ①the Chonggan is the same in length, and ② it is not. In the case of ②, the relationship of every meter(in this case it has a 3-meter) leads to such a rule as<the first meter+the second meter=the third meter>. 2)The words of the song belonging to the Changgo style are not divided into regular units. In general, this Changgo style may be helpful in dividing their lines. 3)The Chongji style and Youm, which are mutually complementary, mainly divde themselves between lines of the Yonjang style and those of the Tanryon one(especaally in the last lines). 4)Sangjoga, Yvgugok, Dongdong, Ssanghwajom, Manjonchun, and Chongsokga.....all of the lyrics belong to the Yujol style. Two of them ......Sangjoga and Yugugok .....have much to do with the appearance of lines of thiir refrains. Ssanghwajom and Manjonchun, which were included in the Yujol style at first, have changed into another style under the influence of the Setul one. The forewords in Chongsokga and Dongdong have a tendency to follow a 3-meter and the main texts a 4-meter. This fact proves that a meter does not develo in a single style, that is, a 3-anda 4-meter exists together at the same time, and that two meters used here repeat and change each other in a double style. 5)Included in the Setul style are Samogok, chongupsa, Manjonchun, and Chojungga. The times when they develop are assumed to come as the above order. 6)The Jinjak style has its origin in Chonggwajong. I sanggok must have been the Jinjak style, for it has ingerited a great part of melody from Chonggwajong. It is highly probable that the singing in the genre of Kasa was also based upon this Jinjak style. 7)The musical pieces and words of Chongupsa and Dongdong have handed down, separated from each other, and this paper is inteded to distribute the words to their musical pieces.
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양태순 西原大學校 1986 西原大學 論文集 Vol.17 No.-
This paper is to reexamine the former studies on the relation of Korean classic poetry to musical tone, and the result can be summarized as follows. 1)Samku- Yookmtyung (三句六名), the form of Hyanga (鄕歌) defined by Choi Hang -Kwi(崔行歸), is applied to the tone and the verse of all the subgenre of Hyanga(鄕歌). It classifies Hyanga(鄕歌) into three Akchul(樂節) or Kachul(歌節) and six Punchul(分節) of 3.4.6.8.9.10. definitely. It explains reasonably and positively that Hyanga(鄕歌) was sung, that is (三國遺事) only Hyanga(鄕歌) was written spacing words.and that it classified Kachul (歌節) and Punchul (分節), but it fails to capture the basis that Myung(名) was used to mean the kinds of things. 2)The so called Sokyo (俗謠) of Korea(高麗)dynasty is connected to the purely traditional, being far from the foreign, in its verse and tone , and in its name such as Pyulkok(別曲) or Pyulsa (別詞). 3)The versification and the tone of Hamlimpyulgok (韓林別曲), the first of Kyungichega (景畿體歌), succeeded those fo Chinjak (Ⅳ) : Cungkwa-jung(眞勻(一):鄭?亭) 4)The musical tone of Yongbyuchunka(龍比御天歌), the typical form of Akchang(樂章), succeeded, by modifying, that of Chinjak (Ⅰ):Cungkwa-jung(眞勻(一):鄭?亭), and by the manner of the modification we can explain the division of chapter, the Symmetry between the former厚 and the latter part of the chapter, and the stableness and the unstableness of the symmetry. The two different meters of Yongka (龍歌), ,the visual tetrameter according Kwunchum(圈點) and the auditory trimeter according to singing, should not be taken as contraditory, since they were formed on different levels. And the third meter according to recitation might be of one's own discretion but as there was no idea of meter in Yongka (龍歌),there must result confusion. 5)Though the reexamination of Obugabyungso (漁父歌竝序)by Nongam(?岩).it is Kown that Sifo(時調) was sung in 1549 earlier then 1572 when Kumhapjabo(琴合字譜),the oldest book containing musical notaions, was published. 6)There has been little researches on the relation of Kasa (歌辭) to music, but further studies are expeeted through reconsidering Suhosabal(西湖詞跋)bym Huh Kang (허강). Th
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양태순 서원대학교 교육대학원 1998 교육논총 Vol.2 No.-
This paper is to examine problems on the teaching purpose, method and content of 'Kujiga', one of the oldest Korean poetries, of which the teaching content is most important. The followings are to be included when 'Kujiga' is taught in literature class of high schools. 1. In mythical context, 'Kujiga' means to manifest hidden aspects. 2. In the context of sacrificial rites, 'Kujiga' is god's words told in oracle ceremony and various attempts to analyse its content is senseless. They are rather descration as it is just god's words. 3. In incatative context, the turtle who is incantative is the mediator between the incantative and the god, the head is the monarch, and 'Kulbongjungchalto(掘峰頂찰土)' is ceremorial dromena of secretive rite. When the teacher teaches in class, it is desirable to present various materials to students to practice themselves to think, tell and write diversely as well as properly. The class activities should be proceeded through discussions between the teacher and students as well as among themselves and the subject need be in question form. Class should be proceeded gradually from general and comprehensive problems to detailed and particular problems. These contents and methods may be changed properly according to the conditions of the teacher and students.
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