平時調의 唱制別 音樂的 特徵 硏究

다국어 초록 (Multilingual Abstract)

Presently gyeongje sijo (short lyric song of Seoul and Gyeonggi province) first appeared in the eighteenth century as the prototype of sijo. Soon, due to the influences of gagok (lyric song with more codified formal structure and elaborate accompaniment), numerous variants of sijo emerged and some of the variants were disseminated into other provinces, which led to the development of regional styles and forms. However, the regional (except Seoul and Gyeonggi province) characteristics of sijo are now blurred to the extent that those styles are collectively referred to as hyangje or jibangje, meaning provincial styles.

This study examines the regional and individual characteristics of sijo by analyzing musical styles of selected sijo singers from various regions and singers who have developed their unique styles of sijo in South Korea. Utilizing the musical scores and sound recordings of pyeong-sijo by these singers, characteristics of the regional and individual musical styles of sijo will be observed in two categories : 1) melodic shapes and ornamentations and 2) text settings. The following regional and individual stylistic categories of sijo are studied in this thesis:

1) Regional styles
(1) Gyeongje (singing style of Seoul and Gyeonggi province)
(2) Yeongje (singing style of Gyeongsang province)
(3) Naepoje (singing style of Chungcheong province)
(4) Wanje (singing style of Jeolla province)
(5) Banyeongje (mixed singing style of Gyeongje and Yeongje)

2) Individual styles
(1) Seokamje (Jeong Gyeong-tae style, named after his pen name seokam)
(2) Choe Il-won style (significant amount recorded singer in SPs)

The number of sijo singers to be studied is 25 in all : gyeongje (16), yeongje (4), naepoje (3), wanje/ Jeong Gyeong-tae style (1), and Choe Il-won style (1). 158 sources relating to the singers include 100 scores of seonyulseonbo (23), a graphic notation devised by Jeong Gyeong-tae, the western notation (1), jeongganbo (75), a musical notation devised during the rein of King Sejong of Choseon period, and seven-line staff notation (1), devised by Kim Yeong-do and Yi Gi-neung, virtuosos of yeongje. The other 58 examples are recordings in cassette tape (26), CD (13), LP (5), reel to reel (7), and SP (7), which are transcribed into Western notation in the appendix. Other than the SPs that feature gyeongje gipan, sung by gisaeng, Go Yeong-tae and Choe Il-won recorded between 1910's and 1940's, and all other sound recordings were made after 1960's.

The study of the above listed sources illustrates the following observations. There are distinct differences between gyeongje and jibangje (including individual styles) sijos. Of the pyeong-sijos except gyeongje, the naepoje and seokamje are similar, but yeongje is quite different from other styles. The differences among jibangje (including individual styles) pyeong-sijos are not nearly as distinct as the differences between the gyeongje and jibangje pyeong-sijo. Even though there are not enough materials for the research of wanje and banyeongje, they show a similar musical characteristics with seokamje. However, further research is required for more conclusive comparison with an abundance of musical resources. Choe Il-won's style can be seen as a jibangje, but in numerous ways, his style is unique and it incorperates multi-provincial styles.

Through the research and analyzation of the musical resources that recorded after the 1960s, there are ambiguous musical characteristic differences among the various singing styles in jibangje sijos. The primary reason of this situation happened is that jibangje sijos got influenced by seokamje that flourished in nationwide in 1960s. The singing styles of naepoje and seokamje also has become similar is banyeongje worked as an intermediate role of the singing styles between them.

Naepoje has been changed their own musical characteristics under the influence of banyeongje in Chungcheong province eighty years ago. Jeong Gyeong-tae newly created seokamje based on banyeongje that flourished singing style in Jeolla province.

Due to the banyeongje flowed in Chungcheong province; it seems that naepoje declined their unique singing style in the middle of 1920s gradually.

Seokamje has been bring the musical phenomenon that occured various jibangje and even gyeongje lost their own singing styles and the musical characteristics from the 1960s to the present.

In conclusion, there were own singing styles in the south Korea in the past that transformed and altered through the influences of banyeongje and seokamje.