국립한글박물관 소장 『가곡원류(歌曲源流)』(고태진 필사본)의 특성과 계보

권순회 ( Kwon Soon-hoi ) 한국고전문학회 2016 古典文學硏究 Vol.50 No.-

국립한글박물관에 소장되어 있는 『가곡원류』 이본 한 종을 소개한다. 1888년(무자년) 12월 1일 한양 반송방(盤松坊)에서 고태진이라는 무반(武班)이 필사한 가집이다. 이에 `고태진 필사본`이라고 하여 여타 『가곡원류』 이본과 구분하기로 한다. 필사본 1책, 총 77장(표지포함) 규모이다. 남창 529수, 여창 189수, 대가(臺歌) 1수, 기타 2수 등 총 721수가 수록되었다. 남녀창 사설 모두 국한문을 혼용해 표기하였다. 표지의 제명은 좌측 상단에 흐릿하게 “醉花弄”이라고 적혀있고 그 이하는 지면(紙面)이 벗겨져 일부 글자가 결락된 상태이다. 뒤쪽 표지안쪽 여백에는 “醉花弄月篇” 이라고 제명이 거듭 적혀 있는데 후대 소장자들이 결락 부분을 보충해서 기록한 것이다. 이러한 형식의 제명은 다소 생소한데 유사한 사례가 1888년 편집된 『詩歌』(권순회 소장)에서도 확인된다. “취월탐행조”라고 하였다. 10면과 11면 사이에 한 장이 결락된 사실이 발견된다. 사설9수 분량이다. 장정(裝幀) 상태를 보면 결락의 흔적이 전혀 포착되지 않는데 그 원인은 분명하게 파악되지 않는다. 한바탕의 편제를 보면 『가곡원류』계 가집들과 달리 남창 28곡, 여창 19곡과 남녀 병창으로 부르며 한바탕을 마무리하는 대가(臺歌) 1곡으로 구성되어 있다. `이삭대엽`의 악곡명이 보이지 않는데, 악곡명이 기록된 부분이 결락되었기 때문이다. 남창에서 `농가`, `계락`이 빠져 있고, `얼락`이 `우락`보다 앞에 배치된 사실이 주목된다. `얼락`과 `우락`의 악곡명은 필사한 후 여백에 추록된 것으로 파악된다. 그런데 자세히 보면 `우락`에 수록된 사설들도 모두 `얼락`에 해당하는 것들이다. 이 부분은 실제로는 `만횡`과 `얼락`만으로 구성되어 있는 것이다. 그렇다면 남창에 실제 수록된 악곡수는 27곡인 셈이다. 있어야 할 `농가`, `계락`, `우락` 사설 100여 수가 모두 결락되어 있는 것이다. 『가곡원류』 다른 이본에 비해 100여 수가 적게 수록된 이유가 바로 여기에 있다. `?終唱臺`에 <태평가>뿐만 아니라 두 작품이 더 실려 있는데 이들은 `대가(臺歌)`로 불린 사실이 없다. 주로 시조창으로 불린 작품들이다. 필사자가 선호하던 작품을 임의로 추록한 것이다. 여창 계면조 `계락`에 수록된 “거년에”(692번)도 유사한 경우이다. 여창에서 한 작품을 두 개의 악곡에 중복 수록한 사례가 2건 발견된다. <장진주> `대(臺)`로 불리는 “空山落木”이 `편삭대엽`, 여창 `두거`로 불리던 “옥우에”(545번)가 `이삭대엽`에 수록되어 있다. 이들 역시 추록된 것들로 저본을 필사하면서 필사자의 취향을 반영한 흔적들이다. 가집의 서지, 악곡 편제 및 사설 특성에 대한 고찰을 통해 『가곡원류』(고태진 필사본)이 『가곡원류』(연대본), 『가곡원류』(구황실본), 『가곡원류』(박씨본)과 긴밀한 이본 관계라는 사실을 파악했다. 논의 결과 『가곡원류』(고태진 필사본)과 『가곡원류』(박씨본)은 『가곡원류』(연대본)을 저본으로 삼아 재필사한각기 다른 판본이라는 사실이 드러났다. 그리고 『가곡원류』(고태진 필사본)에서 『가곡원류』(구황실본)이 파생된 사실을 파악함으로써 그 계보적 맥락을 밝혔다. I introduce a different version of Gagokwonryu housed in The National Hangeul Museum. The military nobility Go Tae-jin transcribed it in Dec. 1, 1888 at Hanyang, Bansongbang. So, it has been called `Go Tae-jin manuscript` and distinguished from other different version of Gagokwonryu. It is one manuscript and consists of 77 pages(including its cover). The total number is 721, 529 poems of Namchang(sung by men), 189 poems of Yeochang(sung by women), a poem of Daega (臺歌), and two other poems. All Saseol are written by Chinese characters with Korean. Title on the cover, “Chwihwarong(醉花弄)” is written blurredly in upper left corner, and some words are deleted because paper peeled off below the title. Title, “Chwihwarongwolpyeon(醉花弄月篇),” is written again on the inside margin of the rear cover. It was supplemented by later private lenders. Unfamiliar with this title, similar case was found Siga(housed by Kwon Soon-hoi) edited in 1888, called "Chwiwoltamhaengjo." Omission of the first movement is found between the 10th page and the 11th page, Saseol 9 poems long. Condition of the binding is perfect because original manuscript was transcribed as it was. List of Hanbatang consists of 28 Namchang, 19 Yeochang, one Daega, sung by men and women, different from a kind of Gagokwonryu. There is no `Isakdaeyeop` because the starting part of `Isakdaeyeop` was included at the deleted part. `Nongga,` `Gyerak` are omitted from the part of Namchang, and `Eolrak` is placed ahead of `Woorak.` It is worthy of notice. Name of the music of `Eolrak` and `Woorak` is found to be written on the margin or blank space after work of transcription. However, on a closer view, all Saseol included in `Woorak` conform to `Eolrak.` This part actually consists of `Manhoeng` and `Eolrak.` If so, the number of music included actually in Namchang is 27. 100 Saseol of `Nongga,` `Gyerak,` and `Woorak` were omitted. That`s why it includes less, almost 100 poems. Two works are included successively after Taepyeongga in `Gyeoljongchangdae.` There was no fact that they were sung as `Daega.` They were mostly sung as Sijochang. Transcribers` preferred works were transcribed. It is similar with "Geonyeonae(No. 692)" included in `Gyerak` of Yeochanggyemyeonjo. Two cases that a work was included at two musics are found. “Gongsannakmok(空山落木)” referred to Jangjinju `Dae` is included in `Pyeonsakdaeyeop,` and "Okwooe(No. 545)" referred to Yeochang Dugeo is included in `Isakdaeyeop.` Transcribers` preferred works were transcribed, too. It is clear that Gagokwonryu(manuscript of Go Tae-jin) is closely related to Gagokwonryu(Yeondae ed.), Gagokwonryu(Guhwangsil ed.), and Gagokwonryu(Parkssi ed.) as a different version. Among these works, old version is Gagokwonryu(Yeondae ed.), and it is the original script of manuscript of Go Tae-jin. And it is found that manuscript of Go Tae-jin is that of Gagokwonryu(Guhwangsil ed.) Gagokwonryu(Parkssi ed.) that original text was lost shows a similar aspect with manuscript of Go Tae-jin. Judging from this, genealogical context(Yeondae ed.→manuscript of Go Tae-jin or Parkssi ed.→Guhwangsil ed.) is clearly evident.

‘時調三章’의 새로운 이해

權純會(Kwon Soon-Hoi) 한국시조학회 2004 시조학논총 Vol.20 No.-

본고에서는 기존에 우리가 이해하던 ‘時調三章’에 대해 전연적인 재검토를 수행하고, 그 의미를 새롭게 해석하였다. 그리고 시조창의 편가적 특성을 지칭하는 개념어로 ‘時調三章’을 제안하였다. 우리는 그 동안 ‘時調三章’의 문헌 기록에 대해 아무런 의심 없이 당연히 時調 한 수의 초ㆍ중ㆍ종장으로 이해하였다. 여기에는 시조창은 삼장 형식으로 부른다는 고정 관념이 자리하고 있다. 하지만 문헌에서 발견되는 용례를 재검토한 결과 ‘시조삼장’은 각기 다른 악곡의 시조 세수를 연달아 부르는 것으로, 언제나 가곡 한바탕, 가사와 같이 언급되고 있다는 사실을 발견하였다. 이를 통해 우리는 ’시조삼장’이 歌曲의 篇歌에 대응되는 시조창 나름의 악곡 체계를 지칭하는 것이라는 사실도 파악할 수 있었다. ‘시조삼장’은 19세기 시조창의 악곡 분화 과정에서 형성된 것으로 연창 환경에 따라 이 가운데 일부를 생략하기도 하고, 파생곡으로 대체하기도 하지만, ‘평시조’, ‘지름시조’ ‘사설시조’ 세 수를 연이어 부르는 것을 ‘시조삼장’이라 하며, 이는 19세기 이래 시조의 중요한 연창 관행으로 자리 잡은 것으로 판단된다. 그리고 시조창의 악곡 분화의 핵심적 방향은 ’평시조’, ‘지름시조’, ‘사설시조’ 삼장을 연이어 부르는 편가적 특성을 갖추는 것이었다. ‘시조삼장’은 이러한 편가적 특성을 요약적으로 설명해주는 핵심적 개념어이자, 시조창의 전개 양상을 파악하는 키워드 가운데 하나라 할 수 있다. In this paper. I reexamined the word "Sjlo-samjang(時調三章)" and gave a new meaning of it. In addition. I proposed the new concept of "Sio-ssmeng" which meant the characteristic of a Pyon'ga (篇歌) in Sio-chang (時調唱). For a long time. "Sijo-samjang" was regarded as a word which indicated the three sections of a Silo. It was because of the fixed idea that a Silo was always composed of a form separated by three parts. Unlike the fixed idea. I found the fact that "Sijo-samjang" meant singing successively three different Silos which adapted three different music by reexamining the actual uses of the word in the texts of the days. Thus. I could come to a conclusion that "Sijo-samjang" was the word indicating a specific music system of a Silo-chang(singing a Sijo) corresponding to a Pyon'ga of a Gagok(歌曲). "Silo-samjang" seemed to be molded up while the music of Silo-chang developed. Usually. a successive singing of the three different Sijos, such as Pyong-sijo(평시조), Chirum-sijo(지름시조), and Sasol-sijo(사설시조), was called "Sijo-samjang". However, some of the three could be omitted, and some of it could be substituted by a derived song. This kind of a usual and a derived form seemed to be settled as an important custom of singing a Sijo after the 19 century. The main point of the development of music in Sijo-chang was having the characteristic of compilation, which meant singing Pyong-sijo, Chirum-sijo and Sasol-sijo successively. "Sijo-samjang" was the concept which explained this kind of characteristic and was one of the key words to understand the development of Sijo-chang.

단독 여창 가집의 형성 과정

권순회 ( Soon Hoi Kwon ) 우리어문학회 2013 우리어문연구 Vol.47 No.-

이 논문에서는 새로 발굴된 『여창가요록』 양승민본과 『여창가요록』 동양문 고본, 그리고 『가곡원류』 국악원본 여창의 비교·분석을 통해 단독 여창 가집의 형성 과정을 새롭게 밝혔다. 이로써 우리는 19세기 여창 가곡의 전개 양상을 보다 입체적으로 조망할 수 있게 되었다. 1853년에 필사된 『여창가요록』 양승민본은 157수가 수록된 최초의 단독 여창 가집이다. 양승민본은 연행 현장에서 이미 여창 사설로 고정된 레퍼토리를 수용한 바탕 위에서 남창 사설을 대폭 수용하고 거기에 편자 주변 인물들의 작품을 일부 추가하는 방향으로 편집되었다. 1870년에 편집된 동양문고본은 원고본인 양승민본의 근간은 그대로 유지하면서 편자 주변 인물들의 작품을 추가하며 일부 악곡의 사설을 조정한 후 여기에 연음표를 부여하는 방식으로 재편집된 가집이다. 『가곡원류』 여창의 편집 과정도 『여창가요록』 동양문고본과 크게 다르지 않다. 동양문고본을 저본으로 편자 혹은 주변 인물들이 창작한 작품을 추가하는 방향으로 편집되었는데 그 가운데 특히 안민영의 작품이 두드러진다. 한바탕의 큰 틀은 그대로 두고 다양한 연창 실험을 통해 좀 더 여창가곡의 특성에 적합한 사설을 부분적으로 보완해 나가는 방향으로 재편집이 이루어졌다. 본고에서는 이러한 단독 여창 가집의 형성과 지속적인 재편집 과정이 동일 집단에 의해 이루어졌고, 그들은 바로 박효관과 그 주변 인물들이라는 사실을 파악하였다. 박효관은 양승민본 편집 당시 가곡 연행의 가장 중심에 있었고 누구보다도 여창의 가치와 효용을 잘 알고 있던 인물이다. 그렇기 때문에 지속적인 재편집 과정을 통해 단독 여창 가집의 완성도를 높여 나날 수 있었던 것이다. This paper presents formation process of separate yeochanggajip(女唱歌集), a anthology of Gagok songs by a female, through analysing newly found Yang Seung-min version of Yeochanggayorok(女唱歌謠錄), that of The Toyo Bunko (東洋文庫, The Oriental Library in Tokyo) version, and yeochang of Gagokwonryu(歌曲源流), version of Gugakwon(國樂院, National Gugak center). With this as a momentum, we can view an aspect of progress of 19th century yeochanggagok tridimensionally. Yang Seung-min version of Yeochanggayorok transcribed in 1853 is the first separate yeochanggajip, which includes 157 songs. It had an editorial policy; swingeing acceptance of namchangsaseol ― saseol means words to a song, that is to say lyric ― based on acceptance of repertory that is fixed as yeochangsaseol, and editing in a portion of works of people around editor. The Toyo Bunko version edited in 1870 is reedited in the manner of keeping Yang`s basis and editing in a portion of works of people around editor to assign yeonumpyo(連音標) after modifying saseol of some parts of melodies. Edition process of Gagokwonryu is not significantly different from this. It is edited along editing in a portion of works of people around editor based on The Toyo Bunko version as the original script and Ahn Min-young`s work is remarkable among the works. Re-edition was performed as follows: hanbatang, a large frame, leaves it at that, and it is supplemented by adding saseol more apt for characteristic of yeochanggagok. I figure out the facts that these formations of separate yeochanggajip and perennial re-edition are performed by coating group, and they are exactly Park Hyo-gwan and his colleagues around him. He, in those days of edition of Yang Seungmin`s version, was the person who was at the center of a song performance and forgot more about its value and utility than a person ever knew. This being so, he could improve completeness of yeochanggajip through continuous re-edition.

18세기 가집(歌集) 편찬(編纂)과 무명씨(無名氏)

권순회 ( Kwon Soon-hoi ) 성균관대학교 대동문화연구원 2017 大東文化硏究 Vol.100 No.-

본고의 목적은 18세기 가집의 無名氏의 특성을 고찰하여 有名氏 중심으로 파악했던 가집 편찬의 구도를 재점검하는 데 있다. ‘無名氏’는 작자명이 유실된 노랫말을 모아 놓은 二數大葉의 항목으로 18세기에 편찬된 가집에만 등장한다. 무명씨는 『靑丘永言』(김천택 편)에 처음 등장한다. 金天澤은 『청구영언』 편찬 과정에서 무명씨 항목을 설정하고 당대 가곡 연행 공간에서 작가명을 잃고 널리 불리던 노랫말 104수를 54개의 주제로 분류하여 수록하였는데, 이는 이후 가집 편찬에서 무명씨 편집의 典範 역할을 하였다. 18세기 중후반 『청구영언』(김천택 편)의 영향력이 지속되는 가운데 무명씨는 가집에 따라 다양하게 변주된다. 『靑丘永言』(박순호본)은 『청구영언』(김천택 편) 무명씨를 충실하게 계승한 것으로 판명되었다. 또한 ‘『청구영언』(김천택 편) → 『詩調』(존경각본) → 『靑丘永言』(장서각본) → 『歌調別覽』’으로 이어지는 흐름이 파악되는데, 이 흐름은 다시 『靑丘永言』(장서각본) → 『永言』 (이근배본) → 『靑丘永言』(홍씨본)’으로 분화되는 양상도 확인되었다. 이들은 『청구영언』(김천택 편) 무명씨 가운데 65수 내외를 수렴한 바탕위에 새로운 작품을 추가한 유형이다. 이외에 『海東風雅』와 『東歌選』은 18세기 말 무명씨의 과도기적 편집 형태를 보여주는 사례로 주목된다. 이상에서 파악한 무명씨의 계보적 맥락은 『청구영언』(김천택 편)』과 『海東歌謠』를 중심으로 18세기 가집 편찬의 흐름을 구도화 했던 기존의 이해와는 전혀 다른 결과이다. 19세기 초 가집이 전면적인 악곡 체제로 전환되면서 무명씨 항목도 점자 자취를 감춘다. 『靑丘永言』(가람본)처럼 『청구영언』(김천택 편) 무명씨를 전폭적으로 수용한 경우도 있지만 악곡과 잘 부합하는 당대의 노래 위주로 무명씨 수록 작품이 선별되면서 옛 노래들이 퇴조하고, 『청구영언』(김천택 편)의 영향력은 현저하게 약화된다. 유명씨와 무명씨의 경계가 흐려지는 양상도 나타난다. 이런 가운데 오히려 무명씨 작품수는 증가하는데, 작가 표기를 생략하며 악곡에 따라 노랫말을 수록하기 시작했지만, 아직 악곡적 좌표가 정해지지 않은 노랫말들을 일시적으로 무명씨 항목에 포함했기 때문이다. 주제 분류와 같은 고정된 체계는 더 이상 무명씨 작품 배열의 중요한 고려 사항이 아니었다. 가창에서 노랫말 기억에 용이한 연상의 원리 등이 일부 적용되었을 뿐이다. 이 시기에 편집된 무명씨 대부분이 주제 층위와 계열관계가 분명하게 드러나지 않는 이유가 바로 여기에 있다. 다만 『詩餘』(김씨본) 무명씨 일부 대목에서 『청구영언』(장서각본), 『가조별람』과의 연관이 포착될 뿐이다. The purpose of this article is to reconsider the composition of the anthology compilation which was identified as the center of yumyeongssi(identified person) by searching the genealogy of mumyeongssi(unidentified person) of 18th century anthology. Mumyeongssi is an item of Isakdaeyeop which is a collection of words whose author was lost. It appeared only in the anthology compiled in the 18th century, which is widely known in the field of songwriting. The basic framework of mumyeongssi was appeared in 『Cheongguyeongeon』(compiled by Gim Cheontaek). Gim Cheontaek selected and categorized the widely searched lyrics and recorded them in the mumyeongssi section. It was a song that was widely called losing the name of the artist. 104 were selected and classified into 54 themes. This framework is used as it is in anthology compilation. The mumyeongssi of the anthology of the mid to late 18th century shows various variations according to anthology while the influence of 『Cheongguyeongeon』 (compiled by Gim Cheontaek) continues. 『Cheongguyeongeon』(Bak Sunho) proved to have faithfully succeeded 『Cheongguyeongeon』(compiled by Gim Cheontaek) mumyeongssi. In addition, the flow from 『Cheongguyeongeon』(compiled by Gim Cheontaek) → 『Sijo』 (Jongyeonggak) → 『Cheongguyeongeon』(Jangseogak) → 『Gajobyeollam』 are figured out, also 『Cheongguyeongeon』(Jangseogak) → 『Yeongeon』(Lee Guenbae) → 『Cheongguyeongeon』(Hongssi) was also differentiated. These are the types of new works arranged on the basis of 65 mumyeongssi of 『Cheongguyeongeon』(compiled by Gim Cheontaek). In addition, 『Haedongpunga』 and 『Donggaseon』 are noted as examples of the transitional editing form of mumyeongssi at the end of the 18th century. The genealogical context of mumyeongssi identified above is completely different from the existing understanding of the flow of the 18th century anthology compilation centered on the 『Cheongguyeongeon』(compiled by Gim Cheontaek) and 『Haedongpunga』. In the early 19th century, the mumyeongssi items gradually disappeared as anthology became a full-scale music system. 『Cheongguyeongeon』(compiled by Gim Cheontaek) mumyeongssi, like Cheongguyeongeon』 (Garam), has been fully accepted. However, the songs of the time, which are in harmony with the music, were selected by the mumyeongssi and the old songs were refused. And the influence of 『Cheongguyeongeon』 (compiled by Gim Cheontaek) is markedly weakened. The boundary between yumyeongssi and mumyeongssi parts appears blurred. In the meantime, the number of mumyeongssi works increases because it contains mumyeongssi, which is a song that has a lot of musical coordinates. Thus, a fixed system such as subject classification was no longer an important consideration in the arrangement of mumyeongssi works. It is only that the reminiscence principle which is easy to memorize the words is applied. This is why most of the edited mumyeongssi at this time are not clearly visible on the topic level and affiliation. However, in some parts of 『Siyeo』(Gimssi) mumyeongssi only the association with 『Cheongguyeongeon』(Jangseogak), 『Gajobyeollam』 is captured.

근대계몽기 시조의 율격적 변주 양상 -『대한매일신보』, 『대한민보』 소재 시조의 종장을 대상으로-

권순회 ( Soon Hoi Kwon ) 청람어문교육학회(구 청람어문학회) 2012 청람어문교육 Vol.46 No.-

일본 동양문고 소장 국문시가 자료의 가치

권순회( Soon Hoi Kwon ) 고려대학교 민족문화연구원 2014 民族文化硏究 Vol.65 No.-

이 논문에서는 동양문고 소장 국문시가 자료의 현황을 파악하고 주요 자료의 특성과 가치를 고찰하였다. 동양문고 소장 국문시가 자료는 대부분 마에마 교오 사쿠[前間恭作 : 1868-1942]가 기증한 것들이다. 악장 5종, 시조 8종, 가사 4종 등 총 17종이다. 본고에서는 이 가운데 시조와 가사 자료를 중심으로 논의를 전개했다. 시조 문헌 가운데는 .가곡원류., .여창가요록., .남훈태평가., .여창가요록.이 주목된다. .가곡원류. 동양문고본은 본디 2책이었을 것으로 추정되나 현재 첫 1 책만 남아 있다. .가곡원류. 초기 편집본에서 악곡에 따른 사설의 분류 작업이 어떻게 진행되었는지를 보여주는 자료이다. .여창가요록.은 박효관이 1853년에 편집한 단독여창가집 .여창가요록.(양승민본)을 1870년에 재편집한 가집이다. .남 훈태평가.는 1863년 방각본으로 간행된 시조창 가집이다. 동양문고본 .남훈태평 가.는 이를 1892년 서울에서 필사한 것이다. 방각본 .남훈태평가.가 얼마나 폭넓 게 유통되었는지를 보여주는 또 하나의 사례이다. .가요.는 .남훈태평가.와 다른계열 특성을 보여주는 시조창 가집이다. 19세기말 20세기 초 시조창의 연행 양상을 보다 입체적으로 조망할 수 있는 자료로 평가된다. .고금가곡.은 마에마 쿄오 사쿠가 아사미 린타로[淺見倫太郞 : 1869-1943]에게 원본을 빌려 1928년에 전사한 것이다. 현전하는 전사본 4종 가운데 유일하게 完帙을 전사한 판본이다. 가사 문헌 가운데 주목할 자료는 .歌詞六種., .北闕重建歌., .萬言詞.이다. .가 사육종.은 아사미 린타로가 소장했던 가사집이다. 마에마 쿄오사쿠가 1928년 소 장자에게 직접 빌려 전사한 것이다. 표제는 .고금가곡.과 같이 원본의 제목이 결 락되어 있던 것을 전사 과정에서 새로 부여한 것이다. .북궐중건가.는 작자는 알 수 없으며 창작 시기는 경복궁 중건이 완료되는 1870년 전후로 짐작된다. 그동안 일본 駒澤大學 濯足文庫本이 유일본으로 알려졌으나 동양문고에도 이본이 존재한 다는 사실이 확인되었다. .만언사.는 조선 정조 때 안조원(安肇源)이 추자도에 유 배를 가서 지은 장편 국문가사이다. 동양문고본은 1899년 1월에 향수동에서 2책 으로 필사된 세책본이다. 동양문고에 소장된 한국 고서 가운데 국내에 가장 먼저 소재된 것은 국문시가 자료이다. 1927년 6월에서 1928년 5월 사이 손진태(孫晉泰, 1900-?)가 이은상(李殷 相, 1903-1982)과 함께 마에마 교오사쿠의 협조를 얻어 집중적으로 전사하였다. 현재 서울대학교 중앙도서관 남창문고 소장 .가곡원류., .남훈태평가., .송강가사 ., .가사육종., .고금가곡., .여창가요록.이 그것이다. 이들은 이병기(李秉岐, 1891-1968), 조윤제(趙潤濟, 1904-1976)에 의해 재차 전사되면서 초창기 고전시가 연구의 기초 자료로 널리 활용되었다. In this paper, I understood the current situation of Korean classic poetry in Korean in Toyo Bunko and considered feature and value of principal materials. Most of Korean classic poetry in Toyo Bunko has been donated by Mayema Kyosaku, which contains seventeen songs, five kinds of Akjang and eight kinds of Sijo, and four kinds of Gasa, etc. I began a discussion about Sijo and Gasa. Gagokwonryu, Yeochanggayorok, Namhuntaepyeongga, and Yeochanggayorok out of Sijo are worthy of note. Gagokwonryu in Toyo Bunko is presumed to be two books, however, at present, there is only the first book. Its first edition shows how lyrics according to tune was categorized. Yeochanggayorok is reedited anthology of songs, which Park Hyo-gwan reedited Yeochanggayorok in 1870 that was edited in 1753 Yang Seung-min edition. Namhuntaepyeongga is Sijochang anthology written by Banggakbon in 1863. Namhuntaepeongga in Toyo Bunko is its transcription of Seoul in 1892. This is another example of wide distribution of Namhuntaepyeongga. Gayo shows another paradigmatic feather with Namhuntaepyeongga. It can be assessed as material that can tridimensionally show performance aspect of Sijochang from the end of the 19th century to the beginning of 20th century. Mayema kyosaku rented the original text to Asami Rintaro and he transcribed Gogeumgagok in 1928. It is only one perfection edition out of four kinds of transcription. Gasayukjong, Bukgwoljunggeonga, and Manoensa are worthy of note. Gasayukjong was owned by Asami Rintaro. Mayema Kyosaku rented it to private lender and transcribed. The lost title was newly entitled during transcribing like Gogeumgagok. Author of Bukgwoljunggeonga is unknown and the timing of the creation is guessed to be around 1870. Komazawa University Dakusoku Bunko edition has been believed that it is only one edition, however, the fact that there is other version in Toyo Bunko was confirmed. Maneonsa, written by Ahn Jo-won in Chuja Island during banishment, is a long work of Gasa in the age of Jeongjo. Maneonsa in Toyo Bunko was transcribed by two books in Hyangsu-dong in January 1899 for lending.The first introduced Korean material in Toyo Bunko was Korean classic poetry. Son Jin-tae and Lee Eun-sang transcribed it intensively with the cooperation of Mayema Kyosaku from June 1927 to May 1928. Gagokwonryu, Namhuntaepyeongga, Songganggasa, Gasayukjong, Gogeumgagok, Yeochanggayorok in Namchangmungo in central library of Seoul National University are what they transcribed. The works were transcribed again by Lee Byeong-gi and Jo Yun-je, which has been widely utilized as basic material for studying Korean classic poetry.

『영언(永言)』(이근배본)의 문헌 특성과 계보

권순회 ( Kwon Soon-hoi ) 한국시가학회 2020 韓國 詩歌硏究 Vol.51 No.-

In this article, the newly discovered Gajib 『Yeongeon(永言)』 was introduced to the academic world and the bibliographic characteristics and genealogy were revealed. 『Yeongeon』 is owned by Sijo poet Lee, Geun-bae(李 根培). Therefore, in this paper, Youngeon a collection of Lee, Geun-bae was distinguished from other Gajips of the same title. 『Yeongeon』(a collection of Lee, Geun-bae) is a manuscript and consists of two books, one is a part of Geon(乾) and the other is a part of Gon(坤). It was compiled during the reign of King Jeongjo(正祖) in the late 18th century, and it was found out that it has been reprinted by Park, Lae-won as it now in 1809. The works consist of 572 Sijo which were 336 numbers in the part of Geon and 236 numbers in the part of Gon. The organization of 『Yeongeon』(a collection of Lee, Geun-bae) is based on classification by music like other Gajips of 18th-century and by name of authors in case of Isakdaeyeop(二數大葉). The music was composed of ‘Chojungdaeyeop(初中大葉)’, ‘Ijungdaeyeop(二中大葉)’, ‘Samjungdaeyeop(三中大葉)’, ‘Bukjeon(北殿)’, ‘Ibukjeon(二北殿)’, ‘Chosaacdaeyeop(初數大葉)’, ‘Isakdaeyeop(二數大葉)’, ‘Samsaacdaeyeop(三數大葉)’, ‘Yongga(聳歌)’ and ‘Manheong(蔓橫)’. Sakdaeyeop, which was the music of those days, was placed in the center. In front of it, the Jungdaeyeop, which was recognized as an old tune, was positioned and, it put Yongga and Manheong that appeared newly in the 18th century behind of Sakdaeyeop. The center of these is Isakdaeyeop. Isakdaeyeop divided authors into a person whose name exists and a person unknown. The author whose name exists was listed in sub-categories in the following order: ‘Haedongjejak(海東諸作)’, ‘Bonjo Eoje (本朝御製)’, ‘Bonjo(本朝)’, ‘Hansanin(閑散人)’, and ‘Changryu(娼流)’. Unlike other Gajips, that ‘Eoje’ is placed in front of ‘Yeomal(麗末)’, it is different from other Gajibs in that it is in front of ‘Bonjo’, and the items of ‘Hansanin’ combines the ‘Yeondaegeolgo(年代欠考)’ and ‘Yeohangsanin(閭巷人)’ of other Gajibs. In ‘‘Haedongjejak’, a collection of authors from before the Goryeo Dynasty`s end, the 13 new authors who were not seen in the previous gajib appear. The ‘Bonjo’, which contains the Joseon dynasty`s works includes many contributors to Joseon's nation unlike the previous Gajib. Also, it, meanwhile, shared its characteristics such as 『Sijo(詩調)』(a collection of Jongeonggak), 『Chungguyeongeon(靑丘永言)』(a collection of Jangseogak), 『 Gajobyeolram(歌調別覽)』, and 『Siga(詩歌)』(a collection of Park’s) and authors who were included only in the 『Haedonggayo(海東歌謠)』 like Lee Jeong-bo(李鼎輔) were converged. There were two flows that one originated from 『Cheongguyengeon(靑丘永言)』(Gimcheontaek edition) to 『Sijo』(a collection of Jongeonggak), 『Chungguyengeon』(a collection of Jangseogak), 『Gajobyeolram』, 『Siga』(a collection of Park’s) sequently and the other which is divided into 『Haedonggayo』 and inherited in the 18th. It can be said that these two lines of compilation were finally merged into 『Yeongeon』(a collection of Lee, Geun-bae). This flow, which was formed in 『Yeongeon』(a collection of Lee, Geun-bae). Passed through 『Chungguyeoungeon(靑丘永言)』(a collection of Hong, Jae-hu), 『Chungguyeoungeon(靑丘詠言)』(a collection of Garam), 『Akbu(樂府)』(a collection of Seoul Univ.), 『Akbu(樂府)』(a collection of Nason), 『Shiyeo(詩餘)』(a collection of Kim, Seon-pung) later, and it was recognized that the collection of transmitted works was once again achieved in the 『 Byeongwagagokjip(甁窩歌曲集)』. Like this, 『Youngeon』(a collection of Lee, Geun-bae) was a very important node where various Gajib compilation flows in the late 18th century met. 『Chungguyeoungeon』(a collection of Hong, Jae-hu) is an abbreviated version that is selected by the Sadaebu authors-centered in 『Youngeon』(a collection of Lee, Geun-bae).

김천택(金天澤) 편 『청구영언(靑丘永言)』의 문헌 특성과 편찬 맥락

권순회 ( Kwon Soon-hoi ) 한국시가학회 2017 韓國 詩歌硏究 Vol.43 No.-

In this paper, in the context of the release of the original edition, we review the characteristics of the biography and composition of Cheongguyeongeon, compiled by Gim Cheontaek, and explore the context of the compilation. Cheongguyeongeon is a manuscript, measuring 26.5×17.5cm(length×width) in size, comprising a total of 140 pages. Although the cover is missing, the original title of the anthology was found to be “靑丘永言” in the introduction and epilogue(seobalmun). The red square on the bottom right of the first page was read with the jeonseo font(篆書體), written by “Nampageosa(南坡居士)”. It has been suggested that Gim Cheontaek compiled Cheongguyeongeon himself. It is clear that the sentences were written attractively and during one period, since the handwriting is consistent with the haengcho font(行草體). Having completed the editing, it is widely believed that Gim Cheontaek wrote and imprinted his ownership stamp. It is not easy to judge, however, whether or not the charged subject is Gim Cheontaek himself, or whether he asked a neighbor capable of writing Korean fonts. Cheongguyeongeon may be the first anthology, but it is as perfect as later anthologies. He centered on Sakdaeyeopgok and placed Jungdaeyeopgok at the forefront. Sakdaeyeopgok was at the center of the Gagok directing at the time, and Jungdaeyeopgok was recognized as a relatively old style. Later, Naksijo, < Jangjinjusa >, < Maengsanggunga >, and Manhoengcheongnyu, which are different from previous works, were published in order to bring out Gagok's flow and contemporary interest. Among these, Isakdaeyeop was perhaps the favorite music of the contemporary period. The number 391, which corresponds to about 67.4% of the 580 words, is included here. Isakdaeyeop distinguished between yumyeongssi(identified person) and mumyeongssi(unidentified person). According to their status, writers divided their works into the works of Sadaebu(nobility), the king, the Yeoang singer, and Gineyeo. They were then placed in chronological order. Mumyeongssi is a collection of lyrics that is widely circulated in the contemporary space but whose artist’s name has been lost. Gim Cheontaek selected and contained 104 of these and divided them into 54 topics. Until the completion of the Cheongguyeongeon in the lunar calendar on May 16, 1728, it has been confirmed that Gim Cheontaek was constantly travelling to collect the Gagok lyrics. The main object of the yumyeongssi collection was anthology or poetry circulated in small scale. Works spoken by one or two performers on stage were also collected. To unify these various works, Cheontaek devised a new form of anthology. This form overlapped the artist and subject category through the objective index song. This was possible because Gim Cheontaek was literate and also well versed in music. Isakdaeyeop mumyeongssi is an example of this aspect of Gim Cheontaek’s work. Based on his experience as a Yeoang singer, he selected and classified the 104 works by topic, which were popular in the performing arts. Fifty-four topics were not fully integrated in the classification. It is interesting to clearly show, however, the level of interest of the contemporaries' Gagok lyrics. Gim Cheontaek accepted traditional topics such as “gangho(affection for the beauties of nature)” and “yeongunaffection for their king)”, while also selecting works based on realistic interests of contemporary people such as “cheose(worldly wisdom)” and “gwangye (relationship)”. On the other hand, for Manhoengcheongnyu, the style performed in the market place at the time, Gim Cheontaek controversially recorded 116 numbers in Cheongguyeongeon. As a result, this publication is considered as establishing the beginning of the Gagok. The controversy surrounding Manhoengcheongnyu remained an issue into the mid-18th century. In the latter part of the 18th century, however, many versions appeared and were firmly established as an axis of the Gagok performance. This would have been impossible without Gim Cheontaek’s efforts in compiling Cheongguyeongeon in spite of the controversy surrounding him. In the meantime, in the absence of the original edition, academic research has been completely dependent on the printed book published by the 1948 Joseon Jinseo Ganhaenghoe(Joseon Treasured Volume Publishing House). Furthermore, the “Jinbon” Cheongguyeongeon, abbreviated to “cheongjin” was previously used in official academic circles. The original has now been released; as a result, I hope that “Cheongguyeongeon, compiled by Gim Cheontaek will be widely used as an official academic reference, rather than the “Jinbon” Cheongguyeongeon.

미국 클레어몬트대학도서관 맥코믹 컬렉션 소장 『청구악장(靑邱樂章)』의 특성

권순회 ( Kwon Soon-hoi ) 한국시가학회 2018 韓國 詩歌硏究 Vol.44 No.-

The purpose of this article is to introduce and characterize an anthology Cheongguakjang, a collection in the McCormick Korean Collection at the Claremont Colleges Library in the United States. The McCormick Collection is a collection of Korean literature(808 books in total of 128 kinds) collected by Frederick McCormick (1870~1951), who was a journalist in East Asia in the early 20th century. It was obtained through James Scarth Gale (1863~ 1937), who had been working as a missionary collecting Korean literature at the end of old Joseon Dynasty. Among these, Cheongguakjang was collected by Gale before 1900, and his handwritten notes remained everywhere. In Chapter 3, we have identified the bibliographic characteristics of Cheongguakjang. Cheongguakjang is one manuscript, 116 sheets(excluding cover). There are 984 Sijo works, Sibigasa 10 works, and Japga 7 works. There are three types of Gajip with different characteristics as follows. A : Total 25 sheets and 50 pages : Sijo 226 works, Sibigasa 1 works B : Total 52 sheets and 104 pages : Sijo 400 works, Sibigasa 9 works, Japga 7 works C : Total 39 sheets and 78 pages 78 : Nanchang Gagok Hanbatang 358 works The reason why these Gajips are combined is not clearly understood. How ever, analyzing the characteristics of the paper, the handwriting, and the co llection, Gajip was originally known as Cheongguakjang(C) in the first place, and the colleagues combined Cheongguakjang(A) and Cheongguakjang(B) ne wly collected from 1896 to 1898 . In Chapter 4, we analyzed the characteristics of the music composition of Cheongguakjang(C). Cheongguakjang(C) contains Nanchang Gagok Hanbata ng. Although the song names derived from the middle of the 19th century suc h as 'Joonggeo', 'Pyeonggeo', and 'Doogeo' were not found, it was confirmed that the lyrics were in place. Unlike the Joongdaeyeop section, which did not have a lot of demand for chanting, Sakdaeyeop chose songs in accordance wit h the essence of chanting. In Chapter 5, characteristics of Cheongguakjang(C) are understood by analyzing features of new works. Cheongguakjang(C) has 13 new works. All but one of them were concentrated on 'Joonggeo', 'Pyeonggeo', and 'Doogeo'. As a result of confirming the writer, it was identified as Park Hyo-gwan(2 works), Yim Eui-jik(3 works), and Lee Jeong-shin(3 works). Yim Eui-jik and Lee Jeong-shin are presumed to be singer who worked around Park Hyo-gwan. However, the same aspect is also found in Jium(Geon)'s new work. This aspect clearly reveals the character of Cheongguakjang(C). Cheonggua kjang(C) is Gajip, like Jium(Geon), edited by Park Hyo-gwan and the people around him. It is clear that Park Hyo-gwan has been edited before his relations hip with An Min-young, as An Min-young does not appear. It was identified as Gajip, which was used as the basis of Gagokwonryu editing, like Jium(Geon).

신발굴 가집 『가사(歌辭)』의 특성

권순회 ( Kwon Soon-hoi ) 한민족문화학회 2016 한민족문화연구 Vol.55 No.-

이 논문은 고시조 연구에서 주목받지 못했던 소규모 가집들도 큰 가집 못지않게 가곡 연행의 중요한 정보를 담고 있다는 문제의식을 바탕으로 신발굴 가집 『歌辭』 의 특성을 분석했다. 『歌辭』 는 가곡 사설 26수와 가사 4편만 수록한 소규모 가집이다. 먼저 서지적 특성을 밝혔다. 표지에 적힌 간기(刊記)와 수록 사설의 특성에 대한 분석을 통해 편찬 시기를 1804년으로 확정했다. 또 필사기를 통해 전문 가창자가 아니라 가곡을 애호하던 인물이 편집했다는 점, 가집도 소설처럼 동호인들 사이에서 필사되며 새로운 가집이 만들어지는 양상을 파악했다. 다음으로 이 가집에 새롭게 등장하는 창곡명인 ‘곱쇠옹이’와 ‘편모리’의 정체를 탐색 했다. ‘곱쇠옹이’ 항목에 수록된 “어제 간밤의도 곱송고려”가 18세기 중반 이후 가집에 거의 예외 없이 ‘소용’ 사설로 올라 있는것을 확인하고 ‘곱쇠옹이’가 바로 ‘소용’을 지칭한다는 사실을 밝혔다. 이어 ‘쇠옹이’ 또는 ‘소용’ 앞에 ‘곱’자를 붙인 이유가 무엇인지를 탐색했다. 먼저 ‘소용’의 이칭(異稱)들에 대해서 살폈다. 여러 이칭들이 쓰이고 있음이 확인되는데 이들은 모두 ‘쇠옹(이)’, ‘소용(이)’의 변형태이다. ‘쇠옹’과 ‘소용’은 표기 형태만 다를 뿐 발음상의 차이는 없다. 중세국어에서는 이중모음을 풀어서 발음했다. ‘ㅚ’의 경우 ‘ㅗ ㅣ[oj]’로 발음된다. 이에 ‘소용’과 ‘쇠옹’도 모두 ‘소ㅣ옹[sojoŋ]’으로 발음했던 것이다. 다만 ‘ㅣ[j]’를 첫음절로 인식했을 경우 ‘쇠옹’으로, 둘째 음절로 인식했을 경우 ‘소용’으로 표기했을 뿐이다. ‘쇠옹이’, ‘소용이’의 경우 ‘쇠옹’, ‘소용’의 끝에 명사 파생 접미사 ‘이’가 결합한 형태이다. ‘搔聳’, ‘騷聳’, ‘三雷’ 등 한자 명칭은 높게 내지르고 떠들썩한 음악적 특성에 맞추어 의미를 부여한 것이다. ‘소용’의 창곡명의 유래는 말과 같은 짐승이 넘어져 데굴데굴 구르며 발버둥치는 것을 이르는 ‘쇠옹이 치다’, ‘소용이 치다’에서 유추되었을 가능성, 전통음악에서 높게 부르는 것을 지칭하는 ‘쇠다’, ‘쇤다’에서 유래했을 가능성을 탐색했으나 논거를 아직 충분히 확보하지 못해 결론은 유보하였다. ‘소용’의 기원에 대해서는 박후웅(朴後雄)이 만들었다고 알려져 있다. 하지만 본고에서는 ‘낙시조’로 부르던 “아함 긔 뉘옵신고”를 ‘소용’으로 재편해 부르기 시작하면서 이 곡이 풍류객들 사이에서 유명해진 사실을 확대 해석한 것으로 파악했다. 무엇보다 그 이전에 이미 ‘소용’이라는 창곡이 존재했다는 사실을 확인했다. 그 가운데 ‘곱쇠옹이’ 사설인 “어제밤도 혼자 곱송그려”가 18세기 중반 ‘소용’으로 가장 널리 불렸고 이 노래로부터 ‘소용’이 비롯되었다고 보았다. 이 작품을 자세히 보면 “곱송그려”라는 시어가 세 번이나 반복되는데 전에 들어보지 못했던 떠들썩한 악조에 혼자 곱송그리는 화자의 모습이 기묘하게 결합하면서 청중들에게 특별한 관심을 끌었던 것으로 판단된다. 이에 사람들은 각별한 흥미를 느끼고 이 노래를 다른 ‘소용’ 곡들과 구분해서 특별히 ‘곱쇠옹이’라고 했던 것으로 판단된다. 즉 ‘곱송그려’와 ‘쇠옹이’를 합쳐 ‘곱쇠옹이’라는 새로운 명칭을 부여했던 것이다. 때문에 ‘곱쇠옹이’는 이 노래의 창곡명이자 작품명인 것이다. ‘편모리’는 ‘편삭대엽’의 이칭으로 파악되었다. 『歌詞』(나손본)에서도 용례가 확인되는 것으로 보아 조선 후기 가창 공간에서 종종 쓰였던 것으로 보인다. 가곡 사설 26수는 모두 순 국문으로 표기하고 가곡의 5장 형식에 따라 나누어 수록하였는데 모두 가창을 염두에 둔 것들이다. 또 사설 일부를 변개해 수록한 작품이 적지 않은데, 이들은 모두 가집 고유의 연창의 흔적들이다. 큰 가집과 달리 연창의 흔적을 다듬지 않고 있는 그대로 기록해서 가집으로 엮었던 것이다. In this paper, I analyze the characteristics of Gasa(歌辭) newly discovered anthology of songs based on my thought that a small anthology of songs out of the picture also has important information about performance of Gagok. Gasa(歌辭), a small anthology of songs, includes 26 Gagok Saseol and 4 Gasa. First, I reveal this bibliography. Compilation period(1804) is determined by the colophon on the cover and the characteristics of contained Saseol in this book. And the things this was edited by a fan of Gagok, not a professional, and the aspect of the birth of new Gajip written among fans like novel are confirmed. Next, I explore the identity of ‘Gopsoeongi’ and ‘Pyeonmori’ which are newly appeared in this Gajip. I find that “Eoje ganbamuido gopsonggoryeo” in ‘Gopsoeongi’ is ‘Soyong’ Saseol without exception after the middle of the 18th century, and reveal the fact that ‘Gopsoeongi’ calls ‘Soyong’. And I explore the reason why the letter, ‘Gop,’ is attached in front of ‘Soeongi’ and ‘Soyong.’ An alternative name of ‘Soyong’ is analyzed. Various names are found to be used, and they are all changes of ‘Soeong(i)’ and ‘Soyong(i).’ ‘Soeong’ and ‘Soyong.’ are just different from writing, not pronunciation. A diphthong in Korean language used in the middle ages was pronounced by disassembling. ‘ㅚ’ was pronounced as ‘ㅗㅣ(oj).’ Because of this, ‘Soeong’ and ‘Soyong.’ were all pronounced as ‘소ㅣ옹[sojoŋ].’ When ‘ㅣ[j]’ was realized as the first syllable, it was written as ‘Soeong,’ if not, as the second syllable, it was written as ‘Soyong.’ ‘i’ out of ‘Soeongi’ and ‘Soyongi’ is combined by a noun derivational suffix. Names written in Chinese character, such as ‘Soyong(搔聳)’, ‘Soyong(騷聳)’, ‘Samnoe(三雷)’ have been given by tumultuous musical characteristics. names written in Chinese character, such as ‘Soyong(搔聳)’, ‘Soyong(騷聳)’, ‘Samnoe(三雷)’ have been given by tumultuous musical characteristics. The origin of ‘Soeongi’ or ‘Soyong’ has two stories, a struggling figure of a horse and high tone called ‘Soenda,’ is analyzed. However conclusion of the origin of the word, ‘Soeongi,’ is deferred. It has been widely known that Park Huung(朴後雄) is the origin of ‘Soyong.’ However I understand that many people stretched the meaning of the fact that this song was being famous among artists after reorganization of ‘Aham gui nwiopsingo’ as ‘Soyong.’ Above all, I find that already ‘Soyong’ existed. Among the rest, ‘Gopsoeongi’ Saseol, “Eoje bamdo honja gopsonggeuryeo”, was widely sung as ‘Soyong’ in the middle of 18thcentury, and I find ‘Soyong’ is originated from this song. I also examine that three times ‘Gopsonggeuryeo’ in this song combines tumultuous movements with figure of flinching speakers weirdly, it appealed to their audiences. For this, being interested in that one, they especially distinguished ‘Soyong’ songs from ‘Gopsoeongi.’ ‘Gopsoeongi’ was given by combination of ‘Gopsonggeuryeo’ and ‘Soeongi.’ Therefore ‘Gopsoeongi’ is the name of Changgok and the work.