어사용소리 연구 : 경상북도 경주시를 중심으로

국문 초록 (Abstract)

본 연구는 경상북도 경주시 일대에서 전승되는 어사용소 리를 대상으로 그 사설과 음악적 구조를 분석하여 지역 노동요의 음악적 특성과 전승 양상을 규명한 것이다. 어사용소 리는 나무꾼들이 산에서 부르던 노동요로, 사설에는 하층 남성들의 신세 한탄과 생존의 정서가 농축되어 있으며, “산은 옛산이건마는 물은 옛물이 아니로구나”와 같은 정형 구절을 통해 인생무상과 사회적 체념을 노래한다.
본 연구는 『경주민요』(경주문화원, 2017)에 수록된 성동 동·동촌동·건천읍·안강읍·현곡면 등 9종의 어사용소리를 대상으로 하여, 사설 구조·음계·음역·장단·선율의 진행을 체계 적으로 비교하였다. 그 결과, 모든 악곡이 일정한 박자틀에 얽매이지 않는 무패턴 불규칙장단으로 되어 있으며, 중심음은 미·솔·라·도·레의 오음음계에 기반한 메나리조 구조를 보였다. 또한 일부에서는 육자배기조적 음형이 혼용되어 남도적 색채가 가미되었다. 선율은 상행 후 하행 구조로 전개되 고, 종지에서 순차하행을 통해 안정감을 형성한다.
전승자별 차이 또한 뚜렷하였다. 정옥천의 소리는 빠르고 직선적이며, 이진분의 소리는 서사적이고 장문 구조를 갖추 었다. 최정식과 김낙현의 소리는 짧고, 응축되어 내면적 정조가 강하다. 이러한 차이는 지역·세대·언어습관의 차이가 음악적 표현에 반영된 결과로, 경주시 어사용소리가 고정된 양식이 아니라 다층적, 전승체계임을 보여준다.
결과적으로 어사용소리는 단순한 노동요가 아니라 하층민의 삶과 감정을 담은 서사적 예술로서, 경상도 동부민요의 전형적 음조직과 지역적 특질을 보여준다. 본 연구는 기존 사설 중심 연구를 넘어 실증적 음악 분석을 시도함으로써 민요의 지역적 다양성과 즉흥성을 학문적으로 규명하였다.
향후에는 인접 지역의 어사용소리를 포함한 비교연구와 음향분석을 통해 시김새와 발성의 지역적 변이를 구체적으로 규명할 필요가 있다. 본 연구는 어사용소리의 학술적 정리와 더불어 전승 교육 및 복원 사업의 기초 자료로 활용될수 있을 것이다.

다국어 초록 (Multilingual Abstract)

This study aims to analyze the textual and musical structures of Eosayong sori transmitted in the Gyeongju region of Gyeongsangbuk-do, in order to elucidate its musical characteristics and patterns of transmission as a regional labor song. Eosayong sori was traditionally sung by woodcutters in the mountains, reflecting the emotions and hardships of lower-class men. Its lyrics often contain lamentations and philosophical reflections on life, most notably expressed in the recurring line, “Mountains remain the same, but the waters are no longer old,” which embodies a sense of transience and social resignation.
The study analyzed nine versions of Eosayong sori included in Gyeongju Folk Songs (Gyeongju Cultural Center, 2017), collected from the villages of Seongdong-dong, Dongchon-dong, Geoncheon-eup, Angang-eup, and Hyeongok-myeon. The research examined and compared their textual structure, tonal system, pitch range, rhythm, and melodic progression. The findings reveal that all examples employ irregular, non-metric rhythmic patterns rather than fixed beats, and their tonal centers are based on a pentatonic scale (mi–sol–la–do–re)
belonging to the menarijo mode. Some songs also incorporate melodic elements from the yukjabaegi-jo mode, adding a subtle southern color. The melodies generally ascend and then descend, concluding with a sequential descent that creates a sense of stability.
Notable stylistic differences were observed among performers.
Jeong Ok-cheon’s version features a fast tempo and concise melodic movement, whereas Lee Jin-bun’s version is narrative and expansive. In contrast, Choi Jeong-sik and Kim Nak-hyeon’s songs are brief and condensed, expressing inward emotion. These variations reflect regional, generational, and linguistic differences, demonstrating that Eosayong sori in Gyeongju is not a fixed form but a multilayered and dynamic transmission system.
In conclusion, Eosayong sori is not merely a labor song but a narrative art form embodying the life, emotion, and aesthetic
consciousness of the lower classes. It exemplifies the modal and structural characteristics of eastern Gyeongsang-do folk songs, particularly through its menarijo tonal organization. By
conducting a systematic musical analysis beyond textual typology, this study clarifies the regional diversity and improvisational nature of Korean folk songs. Future research should extend comparative studies to neighboring regions such as Yeongcheon, Cheongsong, and Ulsan, and employ acoustic analysis to document variations in ornamentation, tone production, and rhythmic flow. The findings of this study will
serve as fundamental materials for academic research, transmission education, and the restoration of regional folk song traditions.

목차 (Table of Contents)

• 제1장 서 론 ···················································································· 1
• 제1절 연구목적 ········································································· 1
• 제2절 연구범위와 방법 ··························································· 4
• 제3절 선행연구 고찰 ····························································· 6
• 제2장 이론적 배경 ····································································· 11
• 제1절 민요의 개념과 전개 ·················································· 11
• 제2절 한국민요의 기능과 가창 ·········································· 17
• 제3절 한국민요의 분류 ························································ 22
• 제4절 메나리조(調)와 어사용 ············································· 28
• 제3장 경주시 어사용소리 고찰 ·············································· 30
• 제1절. 경주시 성동동: 정옥천(1908년생) ······················· 30
• 제2절. 경주시 동촌동: 이진분(1962년생) ······················· 33
• 제3절. 경주시 건천읍: 최정식(1934년생) ······················· 38
• 제4절. 경주시 안강읍: 최이범(1922년생) ······················· 41
• 제5절. 경주시 현곡면: 김원락(1919년생) ······················· 46
• 제6절. 경주시 현곡면: 임대순(1922년생) ······················· 49
• 제7절. 경주시 현곡면: 김낙현(1922년생) ······················· 52
• 제8절. 경주시 현곡면: 이선재(1919년생) ······················· 55
• 제9절. 경주시 현곡면: 한동수(1916년생) ····················· 58
• 제4장 경주시 어사용소리 분석 ·············································· 61
• 제1절. 사설 ·············································································· 61
• 제2절. 장단과 빠르기 ··························································· 69
• 제3절. 출현음(음계)와 음역 ················································ 73
• 제4절. 선율의 특징 ································································ 79
• 제5장 결 론 ················································································· 82
• 참 고 문 헌 ·················································································· 85
• ABSTRACT ··············································································· 87
• 부 록 ···························································································· 90