강산제·동초제 심청가「범피중류」비교연구 : 성창순과 오정숙을 중심으로 = A Comparative Study of ‘Beompijungnyu’ Section of Simcheongga in the Gangsan-je and Dongcho-je : Centered on Seong Chang-sun and Oh Jeong-suk

다국어 초록 (Multilingual Abstract)

This study aims to compare and analyze the musical characteristics of the ‘Beompijungnyu’ section in Simcheongga, as performed by two female master singers, Seong Chang-sun of the Kangsan-je lineage and Oh jung-suk of the Dongcho-je lineage. The two singers share a common historical background, having been designated as holders of Important Intangible Cultural Property in the same year, 1991, and they influenced each other in the field of pansori transmission through activities such as releasing joint folk song recordings. Focusing on their renditions of the ‘Beompijungnyu’ section, this study examines the structure of lyrics, rhythmic cycles and rhythmic setting, and melodic organization.

First, among the 115 jangdan of the ‘Beompijungnyu’ lyrics, 101 jangdan were found to have identical or similar texts, while 14 jangdan showed different texts. This indicates that the two singers share the same narrative framework and textual structure, yet reveal lineage-specific differences through the division of jangdan, the choice of phrasing, and interpretive treatment of the lyrics. Seong Chang-sun’s version tends to maintain a concise textual structure, whereas Oh jung-suk’s version expands and varies the lyrics.

Second, the analysis of jangdan and rhythmic setting shows that Seong Chang-sun employs a structure centered on regular beats, emphasizing stability and the natural flow of the lyrics. In contrast, Oh jung-suk actively uses techniques that introduce rhythmic flexibility and expressive expansion. These findings suggest that Gangsan-je values balance and restraint, while Dongcho-je places greater emphasis on dramatic expression of breath and emotion, even within the same jinyangjo jangdan.

Third, a comparative analysis of 30 jangdan with identical lyrics analyzed the distribution of pitch classes and types of melodic connection. The results show that identical melodies account for two jangdan, similar melodies for seven jangdan, and different melodies for twenty-one jangdan. The overall ambitus differs by approximately a minor third between the two singers Seong Chang-sun’s rendition uses seventeen distinct pitches, while Oh jung-suk’s uses eighteen. Seong Chang-sun primarily uses closely connected and gently descending melodic connections, whereas Oh jung-suk combines ascending and descending connections with leaps to create more varied melodic connection structures. These differences reflect the distinct structural principles of each lineage: Kangsan-je is characterized by stable melodic connections, while Dongcho-je features more fluid melodic connections.

This study sheds light on how lineage-specific interpretation and individual approaches to melodic practice shape musical form in pansori. Although the analysis is limited to two master singers representing the Kangsan-je and Dongcho-je lineages, it lays a foundation for future comparative studies that include other lineages such as Dongpyeonje, Seopyeonje, and Junggoje, as well as a broader range of performers. Through this, the study contributes to establishing a more systematic understanding of pansori’s lineage-based musical structures.

목차 (Table of Contents)

• I. 서론 1
• 1. 문제제기 및 연구 목적 1
• 2. 연구 범위 및 방법 2
• II. 강산제, 동초제의 전승 과정 및 음악적 특징 6
• 3. 강산제 6
• 4. 동초제 7
• 5. 성창순 8
• 6. 오정숙 9
• I. 심청가 중 ‘범피중류’ 비교 11
• 1. 사설 11
• 2. 장단과 붙임새 17
• 3. 선율 26
• I. 결론 48
• 참고문헌 50
• 부록 53
• ABSTRACT 73