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홍란파 동요의 음악사학적 재검토 - 음반자료를 중심으로
송방송(Bang Song Song) 세계음악학회 2002 음악과 문화 Vol.6 No.-
The purpose of this study is to examine the children`s songs (tongyo 童謠) composed by Hong Nan-p`a (1898-1941) from a socio-historical standpoint. This study is based on the source materials of SP discs manufactured by Japanese Columbia and Victor Record Companies during the colonial period of Japan (1910-1945). The content of this paper consists of 1. Introduction, 2. An Examination of the Children`s Songs by Hong Nan-p`a: 1) A General Survey of Pieces of the Children`s Songs Recorded in SP Discs, 2) Text Writers and Singers of Hong`s Children`s Songs, 3) A Comparison with the Chosoˇn tongyo paekkokchip (An Anthology of Hong`s Children Songs), 3. Conclusion: A Historical Meaning of the Advent of Children`s Song. In conclusion, the author points out the unknown fact, i.e. the three pieces of Hong`s children`s song: Pyoˇngari (병아리 A Chick), Agi jaeunuˇn norae (아기 재우는 노래 A Cradle Song), and Ch`umch`use (춤추세 Let`s Dance), all of which are not included in the Chosoˇn tongyo paekkokchip (An Anthology of Hong`s Children`s Songs), which was published in 1929. The historical meaning of Hong`s children`s songs must be remarked by the fact that, like ch`ansongga (讚頌歌 Christian hymns) and ch`angga (唱歌 new songs in western style), the advent of children songs in the 1920s opened a new era of modern history of Korean music.
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대한제국(大韓帝國) 시절의 진연(進宴)과 관기(官妓)들의 정재공연(呈才公演) - 『고종신축진연의궤(高宗辛丑進宴儀軌)』의 정재여령(呈才女伶)을 중심으로-
송방송 ( Song Bang-song ) 무용역사기록학회 2003 한국무용사학 Vol.1 No.-
During the Choson period (1392-1910) court female entertainers (kisaeng 妓生, Yogi 女妓, kinyo 妓女, kwan`gi 官妓, etc.) played a significant role in transmitting court dance repertories. The Imperial Taehan 大韓帝國 period (1897-1907) was not exceptional for the transmission of court dance repertories by court female entertainers. This paper aim at investigating their performing activities in the 1901 court banquet held at the Hamnyonjon 咸寧殿 for the celebration of Emperor Kojong 高宗皇帝 on his 50th birthday. This study is based on such source materials as Chinyon uigwe 『進宴儀軌』(1901),accounts of Hwangsong sinmun 『皇城新聞』 and Taehan maeil sinbo 『大韓每日申報』, and other source materials. This paper deals with such topics as 1. Introduction: Royal Music Institute of Taehan Empire (Kyobangsa 敎坊司) and Court Dance Performing Activities by Kwan`gi, 2. A Survey of the 1901 Court Banquet and Court Dance performance, 3. Court Dance Repertories and Female Entertainers at the 1901 Court Banquet, 4. Performing Activities by Kwan`gi in the Late Inperial Taehan Period, 5. Conclusion: Re-viewing Kwan`gi and Their Performing Activities. In view of investigating the 1901 Chinyon uigwe, it may be conduded that the court dance repertories by famale entertainers was 24 items including such court dances as Kainjon moktan 佳人剪牧丹, Komgimu 劍器舞 Kyongp`ungdo 慶豊圖, Mansumu 萬壽舞, Monggumch`ok 夢金尺, Mugo 舞鼓, Muaemu無導舞, Posangmu 寶相舞,Pongnaeui 鳳來儀, Sasonmu 四仙舞, Sonyurak 船遊樂, Suyonjang 壽延長, Yonbaekpokchimu 演百福之舞, Yonhwadaemu 蓮花臺舞, Yukhwadae 六花隊, Changsaeng poyonjimu 長生寶宴之舞, Che- such`ang帝壽昌, Ch`opsungmu 疊勝舞, Ch`unaengjon 春驚?, P`ogurak ??樂, Hangmu 鶴舞, Hyangryongmu 響鈴舞, Honsondo 獻仙桃, and Honch`onhwa 獻天花. The 24 items of court dance were paformed such female entertainers as Kyongok 瓊玉, Kyewol 桂月, Kukyop 菊葉, Kukhyang 菊香, Kumhwa 錦花, Kumhui 錦喜, Hongdo 紅桃, Pongsim 鳳心, Piyon 飛?, Sanwol 山月, Yongwol 嘆月, Wolsaek 月色, Chomhong 點紅, Chuksim 竹心, Ch`wiryon 翠蓮, Hwayon 花硏, and so on. Some of these court famale entertainers (kwan`gi) made court dance performances at the stage of modem theatres such as Hyomyulsa 協律社, Kwaninn kurakpu 官人俱樂部, Won`gaksa 圓覺社, Changansa 長安社, Yonhungsa 演興社, and Kwangmudae 光武臺 between 1902 and 1910, they played an important role for propagating court dances outside the royal court. This is the reason why the court female entertainers and their performing activities should be reviwing from the standpoint of modem Korean performing arts history.
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