高麗歌謠의 餘音考 = A Study of Refrains of the "Koryo kayo"

다국어 초록 (Multilingual Abstract)

Necessarily there have been accompanied mary "refrains" in the old Korean classic poetry, but none of them have more various of refrains of poetry than those of the Koryo Kayo", the songs of the Korea dynasty. The "Koryo Kayo" depicted the human senses so plainly that they had been bitterly persecuted by Confucianism of the Rhee Dynasty, and had become the objects of the contemporary severe criticism. But they have been unceasingly existed, just involved in the numerious songs of the later years through the literary current of Korea, and have been able to fix themselves to the Korean letters. It is believed that this comes from rather the influence given by the various refrains of poetry itself than the contains of them.
The component Classifications of the "Koryo Kayo" are as follows:
1) The exclamatory refrains 2) an onomatopoeic refrains of a drum.
3) an onomatopoeic refrains of a flute. 4) a vocal refrain
The "Koryo Kayo" had not been much developed from the complte style of the style of the style of ten stanzas, and later had become absolute, and the "Koryo Kayo" had originated from the background of the Korean folk songs. We can find out the similiarity between the swells of the "Koryo Kayo" and those of the present folk songs by the comparision of both.
There are also many onomatopoeic swells except the exclamatory ones, which proves that the "Koryo Kayo" had associated with music and the onomatopoeic swells had not been used in the "Koryo Kayo". The conclusion of this thesis is:
1) The swell "Au˘" being used frequently in the "Koryo Kayo" is one of the traditional exclamatory swells of the Korean poetry and the reason why it had been used so often seems to be under the influence of Buddhism.
2) The swell "Aso-Nimha" had been written to emphasize the contains of poetry, the hero confessing his own layalty to the King.
3) The swell "Dong Dong" also has been formed by the influence of the manners and customs of the people.
4) The swell "Yalli" have the various theories of many scholars, but I prescribe it had originated from the onomatopoeic swell of a flute.
5) There are various theories of the scholars on the swells "Dari", "Diri", "Dyori" but I prescribe these vocaburary are the swells meaning groups.

목차 (Table of Contents)

• Ⅰ. 緖 論
• Ⅱ. 高麗歌謠 餘音의 成分上 分類와 解剖
• 1. 감한여음
• 2. 鼓의 擬聲餘音
• 3. 笛의 擬聲餘音
• 4. 聲音餘音
• Ⅲ. 高麗歌謠 餘音과 民謠餘音과의 관계
• Ⅳ. 結 言