한국노동요의 기능과 역할

김진순 한국민요학회 2008 한국민요학 Vol.24 No.-

There are only some folksongs having actual function of work songs that are involved in the beat and rhythm in the field. Korean work songs are strongly emotional because most of them play roles as ‘singing plays’. The function of folksongs is an answer to the question “Why do people song in the present moment?” The factors drawing function have been influenced by various situations of the field in which feasts with songs are being held. This study focuses on the fact that there are much more folksongs playing an emotional role than those function as work songs, even though work songs are categorized as folksongs which occupy most part of the Korean folksongs. I examined the elements of formation of function and the embodiment of the function. The results shows that Korean work songs are based on emotional function, and the essential part of the function is to vent their emotions and get exhilarated. That is, the group work songs are motivated to appease the pressure occurring between the physical factors in work field and internal factors of members. They are also sung as play in order to get over tedious and boring simple labor. The function of play adapted at this time is emotional, so there is a thread connection between the object that they appeases and emotional function. The role of folksongs in the field is to promote the effect of labor by turning the field into feast combined with labor and play, and by making laborer forget the pain of working. Songs basically have amusement role and this is, in particular, remarkable in group working. Folksongs soothe the pain of simple and repetitious labor and further, they help people get over the pain by giving them new energy generated from group exhilaration. That is, the emotional function of folksongs presented in group work songs does not simply relieve the toughness and stress of labor but offers new energy created from group play. It appears that this character of folksongs play an important role in transmission and usage of folksongs in modern society since the emotional function is the main one in Korean working songs, and exhilaration and vent are representative sentiment of our people. There are only some folksongs having actual function of work songs that are involved in the beat and rhythm in the field. Korean work songs are strongly emotional because most of them play roles as ‘singing plays’. The function of folksongs is an answer to the question “Why do people song in the present moment?” The factors drawing function have been influenced by various situations of the field in which feasts with songs are being held. This study focuses on the fact that there are much more folksongs playing an emotional role than those function as work songs, even though work songs are categorized as folksongs which occupy most part of the Korean folksongs. I examined the elements of formation of function and the embodiment of the function. The results shows that Korean work songs are based on emotional function, and the essential part of the function is to vent their emotions and get exhilarated. That is, the group work songs are motivated to appease the pressure occurring between the physical factors in work field and internal factors of members. They are also sung as play in order to get over tedious and boring simple labor. The function of play adapted at this time is emotional, so there is a thread connection between the object that they appeases and emotional function. The role of folksongs in the field is to promote the effect of labor by turning the field into feast combined with labor and play, and by making laborer forget the pain of working. Songs basically have amusement role and this is, in particular, remarkable in group working. Folksongs soothe the pain of simple and repetitious labor and further, they help people get over the pain by giving them new energy generated from group exhilaration. That is, the emotional function of folksongs presented in group work songs does not simply relieve the toughness and stress of labor but offers new energy created from group play. It appears that this character of folksongs play an important role in transmission and usage of folksongs in modern society since the emotional function is the main one in Korean working songs, and exhilaration and vent are representative sentiment of our people.

어업노동요의 헤테로포니를 활용한 교육 전략

김혜정 한국민요학회 2008 한국민요학 Vol.22 No.-

Generally speaking, Korean traditional music is said to be melodic music which does not have harmony. However, it is not uncommon to find the cases where various sounds are played simultaneously in Korean traditional music. The consonance of Korean traditional music which differs in structural manner from that of the western music is called heterophony. Heterophony of folk songs manifest itself in various manners. When singing work song, natural heterophony is formed as various singers selectively sing more than two kinds of “Batnunsori”, an exposition. Additionally, selective heterophony occurs when “Meginunsori” comes first before “Batnunsori” is finished. The kind of music in which heterophony is mostly manifested is fishery work song. Representatively, “Oaring Song” in fishery work song, extemporaneously expressed by a number of people who are singing independent melodies, creates splendid, yet equally complex heterophony. Heterophony is one of the factors which add splendor to the sound of Korean traditional music. Therefore, this article attempts; to analyze heterophony of fishery work song; look for its formation principle; and suggest various plans as to how to apply and utilize heterophony in Korean classical song education in elementary school. Firstly, the principles for heterophony in fishery work song can be found in the repetition of “Meginunsori” and “Batnunsori”, intersection of “Meginunsori” and “Batnunsori”, continuance of “Meginunsori” and “Batnunsori”, and the addition of “Satsori”. Various principles seem to occur in a complex manner in the formation of heterophony rather than a single principle being applied to one musical piece. Moreover, as there are many cases where the singers maintain their independent melodies, the sound effect seems to be equivalent to “Sinawi played by songs” Secondly, as an attempt to utilize heterophony in educational context, creating various “Batnunsori” and sing them together or utilizing western singing style such as troll, couple singing, and ostinato easily produce heterophony. Also, heterophony can be created with various ways, namely, continuing “Batnunsori” or creating independent melody with “Meginunsori” and “Batnunsori” and utilizing it as “Satsori”, Thirdly, utilizing heterophony in elementary school’s Korean classical song class will help students expand their creativity and learn the musical usage of folk songs. Also, it will help students acquire the taste for Korean harmony and enjoy Korean traditional music, thus providing opportunity to create Korean classical chorus with abundant sound. Lastly, through Korean classical chorus utilizing heterophony, the meaning of equality and harmony can be gained as well. Generally speaking, Korean traditional music is said to be melodic music which does not have harmony. However, it is not uncommon to find the cases where various sounds are played simultaneously in Korean traditional music. The consonance of Korean traditional music which differs in structural manner from that of the western music is called heterophony. Heterophony of folk songs manifest itself in various manners. When singing work song, natural heterophony is formed as various singers selectively sing more than two kinds of “Batnunsori”, an exposition. Additionally, selective heterophony occurs when “Meginunsori” comes first before “Batnunsori” is finished. The kind of music in which heterophony is mostly manifested is fishery work song. Representatively, “Oaring Song” in fishery work song, extemporaneously expressed by a number of people who are singing independent melodies, creates splendid, yet equally complex heterophony. Heterophony is one of the factors which add splendor to the sound of Korean traditional music. Therefore, this article attempts; to analyze heterophony of fishery work song; look for its formation principle; and suggest various plans as to how to apply and utilize heterophony in Korean classical song education in elementary school. Firstly, the principles for heterophony in fishery work song can be found in the repetition of “Meginunsori” and “Batnunsori”, intersection of “Meginunsori” and “Batnunsori”, continuance of “Meginunsori” and “Batnunsori”, and the addition of “Satsori”. Various principles seem to occur in a complex manner in the formation of heterophony rather than a single principle being applied to one musical piece. Moreover, as there are many cases where the singers maintain their independent melodies, the sound effect seems to be equivalent to “Sinawi played by songs” Secondly, as an attempt to utilize heterophony in educational context, creating various “Batnunsori” and sing them together or utilizing western singing style such as troll, couple singing, and ostinato easily produce heterophony. Also, heterophony can be created with various ways, namely, continuing “Batnunsori” or creating independent melody with “Meginunsori” and “Batnunsori” and utilizing it as “Satsori”, Thirdly, utilizing heterophony in elementary school’s Korean classical song class will help students expand their creativity and learn the musical usage of folk songs. Also, it will help students acquire the taste for Korean harmony and enjoy Korean traditional music, thus providing opportunity to create Korean classical chorus with abundant sound. Lastly, through Korean classical chorus utilizing heterophony, the meaning of equality and harmony can be gained as well.

노동요 지도를 위한 물 푸는 소리의 고찰

김민하 한국국악교육연구학회 2012 국악교육연구 Vol.6 No.1

Teaching Korean folk songs is important from the aspect that the characteristics of the songs were formed in the working fields, from being performed at ceremonies, and from entertaining amusing cultures. Korean lives and cultures of the time reflected in the songs can be learned from these songs. Since Korean folk songs had been transmitted through such everyday activities like work, ceremonies, and plays, the approaches to teaching Korean folk songs need to focus on understanding the functions of folk songs and on learning about Korean life, culture, and on musical grammar as sung through the functions of Korean folks. In order to teach Korean folk songs, the songs need to be categorized and analyzed according to their particular function; work songs, ceremonial songs, and amusement songs. These songs should be studied regarding their educational approaches. This paper is the study of the analysis of the scooping water songs and of the organizational approaches to teaching work songs as a group or type of songs. Since these songs have the characteristics of work songs as well the lyrical content of social and cultural songs expressing the importance of water, the approaches to teaching the songs are numerous. Thus, this paper proposes approaching these songs from the points of view of the lyrics of the scooping water songs, the songs’ roles, meanings, as well as from their features and the musical characteristics of the songs such as tori, jangdan, and singing form. In conclusion, this paper developed four approaches for this type of song; the relation with water and farming, the kinds of agricultural implements, the counting manners of the scooping water numbers and the folk songs for counting numbers, and the life of Korean people. In addition, the musical characteristics such as the relation with the motion and jangdan of scooping water and the tori and the regional singing form of songs were selected as approaches to the songs. For the following studies, this paper expects the approaches to teaching work songs to be developed using more altermate methods and to extend these approaches to include the other functional songs for working, serving or entertaining. 민요를 지도하는 것은 노동의 현장, 의식의 거행, 놀이 문화 속에서 생성된 민요의 특성과 그에 반영된 우리 민족의 삶과 문화 등을 지도한다는 면에서 중요한 의미를 가진다. 즉 민요는 일, 의식, 놀이와 같은 생활의 필요성에 의해 불려졌기 때문에, 학생들이 민요를 통해서 민요의 기능을 이해하고 각각의 기능에 따라 노래를 불러왔던 우리 민족의 삶과 문화, 음악 어법을 이해할 수 있도록 지도해야 한다. 이를 위해 노동요, 의식요, 유희요의 기능에 따른 민요를 각 특성에 따라 분석하고 각 기능별로 적합한 민요를 선정하여 교육적으로 활용할 수 있도록 다각적인 연구가 필요하다. 이에 본고에서는 이중 노동요에 초점을 맞추어 농업노동요에 속하는 물 푸는 소리를 분석하고, 물 푸는 소리를 통해 노동요를 지도할 때 어떤 내용을 선정하여 지도 내용을 구성할 것인지에 대해 고찰해 보았다. 물 푸는 소리는 노동요의 일반적인 특성을 지니고 있을 뿐만 아니라 농업에 있어 ‘물’이 지니고 있는 중요성으로 인해 물 푸는 소리의 노랫말에는 사회․문화적 맥락에서 지도할 수 있는 지도 요소가 풍부하다. 물 푸는 소리를 고찰함에 있어 각 지역별 물 푸는 소리의 노랫말에 담긴 기능적 측면과 노랫말의 의미, 특징 등을 살펴보았으며, 토리, 장단, 가창 방식 등의 음악적 특징을 분석하여 물 푸는 소리의 지도 내용을 노랫말과 음악적 특징의 두 가지 측면에서 제시하였다. 물 푸는 소리의 노랫말과 관련된 지도 내용으로는 물과 농업의 관계, 물을 푸는 농기구의 종류, 물을 풀 때 숫자를 세는 방법과 숫자를 세며 부르는 민요, 우리 민족의 생활 모습이라는 네 가지 내용을 선정하여 지도 내용을 구성해 보았다. 또한 음악적 특징과 관련된 내용으로는 물을 푸는 동작과 장단의 관계, 지역에 따른 민요의 토리, 가창 방식의 종류에 대한 내용을 선정하여 지도 내용을 제시하였다. 노동요는 노랫말과 음악적 요소가 한데 어우러져 노동의 현장에서 일의 효율성을 높이고 공동체의식을 발현시킬 수 있는 등의 기능을 지니고 있다. 따라서 노동요를 지도하는 데 있어 중요한 것은 노동요의 쓰임이나 악곡에 대한 단편적인 지식의 전달이 아니라 학생들이 노랫말에 담긴 우리 민족의 생활 모습, 정서 등과 같은 사회․문화적 맥락과 가치를 파악하고, 노랫말을 담아내는 음악적 어법을 터득하여 노동요를 불렀던 그 현장에 대해 공감하고, 기능요로서 노동요의 가치를 인식할 수 있도록 하는 것이다. 앞으로 노동요 지도를 위해 제재곡과 그에 따른 지도 내용이 다양한 측면에서 연구되어야 할 것이며, 노동요뿐만 아니라 의식요나 놀이요와 같은 기능요의 교육적 활용에 대해서도 연구가 필요할 것이다.

어업활동을 통해 본 경북 동해안지역 어업노동요의 사설과 기능

이중구(Lee, Jung-gu) 안동대학교 민속학연구소 2012 民俗硏究 Vol.0 No.25

이 글은 어민들의 어업활동을 속에서 동해안 지역의 어업노동요를 살피려고 했다. 첫 번째 장에서는 동해안 어업노동요의 전승양상을 살폈고 두 번째 장에서는 어업활동의 각 단계마다 부른 어업노동요의 사설을 분석했으며 마지막 장에서는 동해안 지역 어업노동요가 갖는 기능을 살펴봤다. 먼저 동해안 지역 어업노동요가 갖는 특징은 서남해안 지역과 비교를 통해 노래의 종류와 수, 창자의 성별에 따른 차이를 드러냈다. 다음으로 어업활동과 어업노동요 사설의 관련성은 출어단계, 생산단계, 정박단계로 나누어서 살폈는데 자연환경과 신앙적 대상, 희망을 가져다주는 인물 등이 중요한 소재로 등장한다. 이어서 경북 동해안 지역 어업노동요의 흐름을 정서적, 자연환경적, 경제적, 신앙적 측면으로 나누어 살폈다. 정서적인 측면에서는 어두운 내용의 사설에서 점차 희망적인 사설로 옮겨가며 마침내 정박단계에서는 적극적으로 희망을 노래한다. 자연환경적 측면에서는 바람과 산이 중요하게 등장하며 경제적 측면에서는 생산과 분배, 판매 순으로 사설이 옮겨간다. 끝으로 신앙적 측면에서는 성주와 용왕 등 신앙의 대상에 대한 찬양과 섬김의 내용을 담고 있다. 자연환경과 어업방식, 문화적 특성의 영향 속에서 생성되고 전승된 동해안 지역 노동요의 사설은 어민들의 삶 속에서 충분히 설명할 수 있다. 피부에 와 닿는 내용을 통해 힘든 어업활동을 순조롭게 진행하고 더 많은 생산을 얻으려고 한 것이 동해안 지역 어업노동요의 사설이 갖는 실제적 기능인 것이다. This article was trying to find the finish men’s work songs of the east coast region through the activities of fishermen. In the first chapter, looked into the traditional aspects of the east coast fisheries work songs, in the second chapter, the analysis at each stage of the fishing activities of the editorial fisheries work songs sang and the last chapter looked at fisheries work songs’ features in the eastern coastal areas. First of all, the features of fishery in the East Coast of work songs with the type and number of the songs, the south-western coast and through comparison revealed differences according to the gender of the singer. Next, looked into the fishing activities and fishing of relevance of editorial stage, production stage, and settled down stage in each division, the natural environment and the person that bring hope and faith-target that emerged such as important materials. Follow by, Kyungbuk East Coast regional Fisheries work song flow of work songs, emotional, natural and environmental, and economic aspects of faith, as I studied in each division. In the editorial of the emotional aspects, dark side contents gradually moved to hopeful as editorial, finally hopeful work songs actively sang in the settled down stage. Natural environmental aspects the wind and mountain appeared to be important and economic terms, the production, distribution and sales in the order of the editorial aspects moved. At the end, it contained the contents that the subject of faith and praise and service in term of religion. The natural environment and the fishing method, the influence of cultural characteristics that are being created in the tradition in the East Coast of the work songs of the editorial of fishermen lives that can be explained enough. Tough fishing activities through the contents with the skin feels, trying to get more production, fishing goes smoothly and it is actually a feature of the editorial East Coast regional fishery work songs such as “Harambee.”

향가 <풍요>의 민요적 성격과 사설의 의미

서영숙 한국민요학회 2022 한국민요학 Vol.65 No.-

In this article, despite the abundance of research on the hyangga(鄕歌) <Pung-yo(風謠)>, it started as a reflection on the continued debate over whether the <Pung-yo(風謠)> is a folk song or a created Buddhist song. Therefore, this article developed a discussion as a process of seeking answers to the following questions. ‘Is <Pung-yo(風謠)> a folk song? If it is a folk song, what function, singing method, and how it was sung, and what is the meaning of the lyrics?’ The function of <Pung-yo(風謠)> was thought to be contained in the ‘Yangjisa-seok(良志使錫)’, which is the background story of <Pung-yo(風謠)>, and firstly, the description of the background story was meticulously analyzed and estimated. And the singing method of <Pung-yo(風謠)> was inferred through the singing method of labor songs, which were sung while performing labor similar to the work situation in which <Pung-yo(風謠)> was sung, and the method of attaching words. Lastly, if <Pung-yo(風謠)> had been sung until the late Goryeo period, it is believed that phrases similar to those in existing folk songs would be handed down even in a changed form. Thus, I searched for phrases similar to <Pung-yo(風謠)> in the existing folk songs and searched for the meaning of the lyrics of <Pung-yo(風謠)>. As a result, it was revealed that the function of <Pung-yo(風謠)> should be viewed as a ‘hard work song’ that performs similar labor such as carrying, crushing, and pounding soil in addition to hitting the mill. Also, similar to the singing method of hard work songs such as <Mogdosori(Carrying Song)>, which is present, <Pung-yo(風謠)> was also sung in a catch and receive song style with refrains such as “Euyeo,” “Iyeo,” and “Euyeo-cha.” According to the nature and speed of work, it was thought that a line would be divided into four bars when singing slowly, and into two bars when singing quickly. Lastly, it was thought that the original folk song, which was to be the basis of <Pung-yo(風謠)>, would be the following lyrics through similar phrases appearing in the existing folk songs. I presumed that the song was supposed to have the following lyrics:“iyeo iyeo iyeo~/ iyeo~seol-um manhda (a lot of sorrow) / seol-um manh-eun salamdeul-a (People that have a lot of sorrow) / kungdeog dajyeola (pound down) iyeo~” The lyrics changed the sorrow of working in an unbearable reality into the sorrow of a human being who cannot escape from suffering and anguish, and this sorrow can be sublimated into a song of Buddhist faith to be resolved through the participating in the creation of the Buddha statue by Monk Yangji(良志). 이 글은 향가 <풍요>의 배경설화인 ‘양지사석’ 조를 통해 <풍요>의 민요로서의 기능을 추정하고, <풍요>를 불렀던 작업 상황인 진흙 나르는 작업과 유사한 노동을 하면서 부르는 <목도 소리>, <터 닦는 소리>, <방아 찧는 소리> 등의 가창방식과 말 붙임 방식을 통해 <풍요>의 가창방식과 사설의 의미를 유추해보았다. <풍요>의 기능은 ‘양지사석’ 조에서 많은 사람들이 양지 스님의 장륙상 조성을 돕기 위해 진흙을 나르며 불렀고, 일연 생존 시에도 지역 사람들이 함께 방아를 찧거나 다른 일을 하면서 불렀다고 했듯이, 방아를 찧으면서 부르는 ‘제분노동요’ 이외에 흙덩이를 나르고, 부수고, 다지는 등의 노동을 하면서 부르는 ‘잡역노동요’로 볼 수 있다. 또한 현전하는 <목도 소리> 등의 가창방식과 마찬가지로 <풍요> 역시 “으여”, “히여”, “으여차” 하는 후렴을 붙이며 선후창 방식으로 불렀으며, 일의 성격과 속도에 따라 천천히 부를 때에는 한 장단을 네 마디로, 빠르게 부를 때에는 두 마디로 나누어 변화 있게 불렀으리라고 추정된다. <풍요>의 바탕이 되었을 민요는 현전하는 <방아 찧는 소리>, <터 닦는 소리>, <흙덩이 부수는 소리> 등에 나타나는 유사 어구들을 통해, “이여 이여 이여~/ 이여~설움 하다(많다) / 설움 하난 물아~(설움 많은 사람들아) / 쿵덕 닦아라 이여~”와 같은 사설이 아니었을까 한다. 민요의 이런 사설을 향찰로 기록하면서 “이여” 또는 “으여”와 같은 후렴을 “오다(來如)”로, “쿵덕”을 “공덕(功德)”으로 표기함으로써, 어려운 현실 속에서 노동하는 설움을 고통과 번민에서 벗어나지 못하는 인간 존재의 설움으로 바꾸고, 이 설움을 양지 스님의 장륙상 조성에 참예하는 공덕을 통해 풀고자 하는 불교 가요로서의 기능을 갖게 되었을 것이다.

광려산 숯일소리의 전승 연구 - 박치동ㆍ정채남의 소리를 중심으로 -

서정매 국립국악원 2019 국악원논문집 Vol.39 No.-

Charcoal work songs of Mt. Gwangryeo are a genre of work songs that were inherited in the area of​​ Masan of Changwon city. At present, the charcoal work songs of Mt. Gwangryeo have disappeared, but the songs of charcoal were restored through the endeavors of Park Chi-dong (1933~) and Lee In-gyu (1935~2014) who were engaged in charcoal work. The restored sounds are sorted according to the order of work, consisting of 10 songs in total: ① the song of a charcoal fireball ② the song of a woodblocker-1 ③ the song of a wood bucket ④ the song of a woodblocker-2 ⑤ the song of moving a tree ⑥ the song of hitting a charcoal fireball ⑦ the song of a flattening the charcoal ⑧ the song of burning charcoal ⑨ the song of a charcoal Shaman Ritual ⑩ charcoal harvest song. All of the ten songs of charcoal work songs, except for the two songs of the woodblocker, form the basis of the Menari-tori. In addition, the song of the burning charcoal and the song of charcoalritual are characteristic of Yukjabaegi-tori. This characteristic is also revealed in beompae meloday of the landing material at the bottom which is the National Intangible Cultural Property No. 127. In other words, it is an important characteristic of local folk song in Masan that Menari-tori is the foundation, but the effect of the Yukjabaegi-tori is very small. 광려산 숯일소리는 창원시 마산회원구 내서읍 신감리 마을 일대에서 전승된 숯일노래로, 일제강점기를 거쳐 1970년대까지 불러온 노동요이다. 현재 광려산의 숯일은 사라졌지만, 숯일에 종사했던 박치동(1933~)과 이인규(1935~ 2014)의 고증을 통해 숯일소리가 복원되었다. 복원된 소리는 일의 순서에 따라 ①숯굴터 다지는 소리(망깨소리), ②나무를 베러가면서 부르는 소리(나무꾼소리 1), ③나무를 짊어지고 내려오면서 부르는 소리(어산영, 어뚜구야 소리), ④나무를 지고 내려오다가 쉬면서 부르는 소리(나무꾼소리 2), ⑤목도 옮기는 소리, ⑥숯굴등 치는 소리, ⑦숯굴 고루는 소리, ⑧숯굴불매소리, ⑨숯굿소리, ⑩숯풍년소리 등 총 10곡으로 구성된다. 10곡의 숯일소리 중 나무꾼소리 2곡을 제외하고는 모두 메나리토리가 근간을 이루며, 이외 특징적으로 숯굴불매소리와 숯굿소리에서는 육자배기토리의 특징이 조금씩 나타난다. 이는 국가무형문화재 제127호 아랫녁수륙재의 범패선율에서도 드러나는 특징이다. 이와 같이 메나리토리가 근간 속에 육자배기토리의 영향이 미세하게나마 들어있는 점은 마산 내서지역 민요의 중요한 음악적 특징이다.

노동요의 기능 인식과 무형문화재 지정 검토

이창식 한국민요학회 2008 한국민요학 Vol.23 No.-

The discussion which sees leads and intangible cultural asset designation instance of Chung-Buk folk songs about function of folk song there is a goal which proposes a new understanding necessity about reappraisal and song voluntary cultural heritage value. Setting the designation standard of intangible cultural asset how from site of the song folk song where the function is weakened together and about to lead the agony which the academic world dimension is sincere, a goal there is. In order to accomplish the goal of discussion, genealogies which from intangible cultural asset designation of folk song is considering first of all in absolute standard of the value come circles cultural act and folk song function do to be immanent prerequisite summarized the function which folk song is characteristic with character. Specially from practical function from manifestation and effectiveness and formal function from emotional reaction and proposal characteristic and playing function the amusement instinct and emotional manifestation characteristic etc are going in gear paid attention in fact. Like this logic with foundation intangible cultural asset designation instance of Chung-Buk folk songs if intangible cultural asset designation and management from tracks, in present condition focus as that alternative tried to observe a counter-strategy in the same time when exposes the problem point which becomes known from function loach work. The discussion which sees is limiting the category of discussion in intangible cultural asset designation instance of Chung-Buk folk songs. But the problem point and counter-strategy of designation magnify and as problem point and counter-strategy of the intangible cultural asset designation instance whole of Korean folk song there is a possibility of doing. Must look in the face cultural property classification of influence and folk song of the folk art contest conference which is not the possibility as traditional connection of folk song of seeing in short and the specialist and assigned problematic etc. And national intangible cultural asset and at the time of which relate the reappraisal which intangible cultural asset is general until of course intelligence affection has the necessity which will consider carefully. The reappraisal and intelligence affection of intangible cultural asset a possibility of doing about the minimum necessary condition which ceremony folk song etc is registered with world-wide intangible cultural heritage get the evaluation where the Korean folk song the UNESCO is affirmative and Arirang and work folk song, as verification there is. And the core of verification as the rearrangement for the tradition of Korean folk song and a identity reinforcement is a possibility of doing. Intangible cultural asset of folk song is not the property of the specific individual. It is community property of the Korean race. From folk song academic society dimension cultural property style folk song with inspection certainly must grope a more desirable victory method about new victory act and attitude. The discussion which sees leads and intangible cultural asset designation instance of Chung-Buk folk songs about function of folk song there is a goal which proposes a new understanding necessity about reappraisal and song voluntary cultural heritage value. Setting the designation standard of intangible cultural asset how from site of the song folk song where the function is weakened together and about to lead the agony which the academic world dimension is sincere, a goal there is. In order to accomplish the goal of discussion, genealogies which from intangible cultural asset designation of folk song is considering first of all in absolute standard of the value come circles cultural act and folk song function do to be immanent prerequisite summarized the function which folk song is characteristic with character. Specially from practical function from manifestation and effectiveness and formal function from emotional reaction and proposal characteristic and playing function the amusement instinct and emotional manifestation characteristic etc are going in gear paid attention in fact. Like this logic with foundation intangible cultural asset designation instance of Chung-Buk folk songs if intangible cultural asset designation and management from tracks, in present condition focus as that alternative tried to observe a counter-strategy in the same time when exposes the problem point which becomes known from function loach work. The discussion which sees is limiting the category of discussion in intangible cultural asset designation instance of Chung-Buk folk songs. But the problem point and counter-strategy of designation magnify and as problem point and counter-strategy of the intangible cultural asset designation instance whole of Korean folk song there is a possibility of doing. Must look in the face cultural property classification of influence and folk song of the folk art contest conference which is not the possibility as traditional connection of folk song of seeing in short and the specialist and assigned problematic etc. And national intangible cultural asset and at the time of which relate the reappraisal which intangible cultural asset is general until of course intelligence affection has the necessity which will consider carefully. The reappraisal and intelligence affection of intangible cultural asset a possibility of doing about the minimum necessary condition which ceremony folk song etc is registered with world-wide intangible cultural heritage get the evaluation where the Korean folk song the UNESCO is affirmative and Arirang and work folk song, as verification there is. And the core of verification as the rearrangement for the tradition of Korean folk song and a identity reinforcement is a possibility of doing. Intangible cultural asset of folk song is not the property of the specific individual. It is community property of the Korean race. From folk song academic society dimension cultural property style folk song with inspection certainly must grope a more desirable victory method about new victory act and attitude.

고소설 향유자의 중국인식과 배경 왕조의 상관 -송․원 배경 작품을 중심으로-

주수민 한국문학치료학회 2019 문학치료연구 Vol.51 No.-

This study intends to reveal the correlation between the recognition of classical novel readers' Chinese background knowledge and the context of the works produced during the Yuan Dynasty and Song Dynasty. First, the different authorships in the Song and Yuan dynasties were identified by comparing <Janghanjeolhyogi> with <Jangwalyongeon> which is known for reformation of <Janghanjeolhyogi> . These novels present similar descriptions but differ not only in their background, but also in the setting of concrete figures and events. In addition, the writer’s thought about the Yuan and Ming dynasties in ‘Gundam’ were different in the two works. In other words, if the Yuan Dynasty of <Janghanjeolhyogi> was recognized negatively, the Ming Dynasty of <Jangwalyongeon> was regarded positively for its loyalty. This aspect was seen to arise from the different perceptions about the Yuan and Ming dynasties as a context for readers of late Joseon novels. However, this study aims to confirm that the versions of the <Hyeonsumunjeon> depict different worlds based on a specific background. To this end, it examines the figures of the emperor and the world of composition in the antecedent edition of <Hyeonsumunjeon> and <Hyunxiyangwoongxangrinki> known as the epic source of this work. Each of novels has a same background of the Song Dynasty. However, <Hyeonsumunjeon> is based on the Sin-jong era and <Hyunxiyangwoongxangrinki> is based on In-jong era. Therefore, each novels show different picture of the world regarding the Song Dynasty. And as a result investigating various editions of <Hyeonsumunjeon>, Some editions are based on Sin-jong era and others are not specified by era. So, this paper compared The“Gyeongpan edition” which is one of novel based on Sin-jong era and the “Park Soon-ho edition” which is not specified by era. The Park Soon-Ho edition was found to be more positive about the Song Dynasty than the Gyeongpan edition. This was attributed to Park Soon-ho edition having a limited background of the Song Dynasty and therefore no negative perspective on the Song Dynasty from the Sin-jong era. In addition, despite differences in perceptions about the Song Dynasty, both editions had a similar ending that Song Dynasty was not collapsed. It is different with the previous version, which reflected the Huaiguan(華夷觀) of the late Joseon Dynasty. 본고는 송․원 배경 작품들을 중심으로 고소설의 배경 왕조와 중국인식의 상관성을 밝히고자 한 것이다. 본고에서는 먼저 ‘송말원초’ 배경의 <장한절효기>와 그 개작으로 ‘명나라 성화 연간’을 배경으로 한 <장월용전>을 비교하여 살펴보았다. 두 작품은 서사적 유사성에도 불구하고 배경 왕조를 달리 하는 가운데 주요 인물 및 사건의 세부 설정에서 주목할 만한 차이를 보이고 있었다. 더불어 두 작품의 ‘군담’에 나타난 ‘원나라’ 및 ‘명나라’에 대한 작자인식은 명확한 차이를 보이고 있었는데, <장한절효기>의 원나라가 ‘충’의 대상이 될 수 없는 부정적 공간으로 설정된데 비해 <장월용전>의 명나라는 ‘충’의 대상으로 인식되고 있었다. 본고는 이러한 양상을 고소설 향유자에게 배경 공간으로써의 ‘원나라’ 및 ‘명나라’가 변별적으로 인식된 결과로 보았다. 한편, 본고에서는 <현수문전> 이본들을 중심으로 구체적인 배경 설정에 따른 작중 세계의 변모를 살펴보았다. 이를 위해 먼저 <현수문전> 선본과 본 작품의 서사적 원천이라 할 수 있는 <현씨양웅쌍린기>의 작중 세계를 비교하여 살펴본 결과, 둘은 각각 ‘인종’과 ‘신종’ 연간을 배경으로 상이한 송나라 천하를 그려내고 있었다. 더불어 본 작품의 이본들은 ‘신종 연간’과 ‘송나라’를 배경으로 하고 있었는데, 각각을 대표하여 ‘경판본’과 ‘박순호본’의 작중 세계를 비교해본 결과 박순호본은 경판본에 비해 송조를 보다 긍정적으로 묘사하고 있었다. 본고는 이러한 양상을 박순호본이 ‘송나라’만을 배경으로 취함으로써 ‘신종 연간’에서 오는 송조에 대한 부정적 인식을 제거한 결과로 보았다. 더불어 본고는 경판본과 박순호본이 송조에 대한 인식의 차이에도 불구하고 모두 선본과는 달리 송조가 유지되는 결말을 맺고 있다는 사실에 주목하였으며, 이를 조선 후기 화이관의 소설적 반영으로 보았다.

민요의 전승과 교육을 위한 사설 표준화 방안

이성훈 한국민요학회 2011 한국민요학 Vol.32 No.-

Work songs have long been disappeared at workplace. The transmission of folk songs now depends on education. Given that the transmission of work songs cannot be done naturally, standardization of lyric words is essential to teaching general people folk songs. There were some efforts to unify a classified of song types but none to standardize lyric words. As we already know, lyric words of folk songs, which are oral literature, not documentary literature, created by a group of people rather than an individual. This explains why it is difficult to select or decide specific lyric words as representative works. This study explores how to standardize lyric words for the transmission and education of folk songs based on <Woman Divers’ Rowing Songs>. The act of rowing, which is the chance to sing <Woman Divers’ Rowing Songs>, has long been disappeared at the workplace, and the transmission of the song has failed as well. Under these circumstances the standardization of <Woman Divers’ Rowing Songs> provides standard data for the education of lyrics words as well as basic data for the education of singing the songs. <Woman Divers’ Rowing Songs> recorded in the previous data has errors in writing and translating the lyric words. This is why we need to select general lyric words from those recorded in Jeju Island and the mainland, correct the errors in writing and translating the words, and classify/standardize the words based on the chance to sing (the act of rowing). 노동 현장에서 노동요의 전승이 단절된 지는 오래다. 노동요의 전승이 교육을 통해서 이루어질 수밖에 없는 이유다. 노동요의 전승이 자연적인 조건에서 이루어지지 않는 현실을 감안한다면 일반인을 상대로 민요의 전승을 위한 교육을 하려면 사설의 표준화는 절대적으로 필요하다. 민요의 요종명을 통일하자는 주장은 있었지만 사설을 표준화하자는 논의는 거의 전무하다. 주지하듯이 구비문학인 민요의 사설은 기록문학과는 달리 요종별 사설이 특정인이 창작한 게 아닌 공동작이다. 특정한 사설만을 대표적인 사설로 선정하거나 확정하기가 쉽지 않은 이유다. 이 글은 민요의 전승과 교육을 위해 사설을 표준화하는 방안을 <해녀노젓는소리> 사설을 중심으로 모색해 보았다. <해녀노젓는소리>의 가창기연인 노(櫓) 젓는 노동은 동력선의 등장으로 소멸되었고 현장에서의 전승도 단절되었다. 이러한 현실에서 <해녀노젓는소리> 사설의 표준화는 가창 교육을 위한 기본 자료뿐만 아니라 사설 교육을 위한 표준 자료로 활용하기 위해서도 필요한 작업이다. 기존 자료집에 수록된 <해녀노젓는소리> 사설 중에는 사설을 오기하거나 어석의 오류를 범한 경우가 있다. 제주도와 본토에서 채록된 사설 가운데 보편적이고 일반적인 사설들을 선택하고 사설의 오기와 어석의 오류를 바로잡은 다음에 가창기연(歌唱機緣)을 중심으로 사설을 분류하고 표준화해야 하는 이유가 여기에 있다.

강배 끄는 소리와 그 환경-일본·한국·중국- 河川における船曳歌とその環境-日本·韓国·中国-

마나베마사히로 한국민요학회 2010 한국민요학 Vol.30 No.-

This is the study of work songs for people working with boats in East Asia including Japan, Republic of Korea, and China. This study is about work songs, and lives of people who tug boats in rapid river. It also refers to the scenes of gorge and boat path which is made at precipice. I have already written the treatise. ‘The study about works songs for boats’ “Toho” No.321 2007 July 「船曳歌の研究」 『東方』三二一号。二〇〇七年七月 On the basis of this treatise, I treat of the conception of songs and the type of songs’ expressions, and the scenes of rivers where the songs have been come down. This is probably the first comparative study of work songs for people living with boats in East Asia including Japan, Republic of Korea, and China. 이 논문은 동아시아(日本·韓国·中国)에서의 배 끄는 노래의 기반적인 연구이다. 동아시아의 배끄는 노래는 구호와 구령이 기반이 되는 노동가요군으로 혼신을 다해 임하는 노동 현장에서의 가요이다. 이에 대해 본 논문에서는 다음과 같은 내용을 다루었다. 【一】가요의 내용으로서 다음의 4종류로 나누어 볼 수가 있다. ①구호소리(号子) ②「지시어구」 ③풍경 등을 노래한 즉흥부분 ④名所를 열거한 것, 難所를 열거한 것 등. 이미 전승과정에서 그 형태가 정착된 것이 많다. 【二】배 끌기의 실체에 대해서 듣고 기록한 것을 기반으로 실행해야 할 필요성에서 관계문헌을 수집하는 것이 중요하다. 【三】배 끄는 노래는 민요의 原点․基点인 것이고 이것은 気息霊, 発汗霊으로서의 성격을 가지는 歌謡群으로서 보아도 좋다. 앞으로 더욱더 듣고 기록하는 것을 계속하여 각 지방의 論考가 필요할 것이다.