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    あ ぁ か が さ ざ た だ な は ば ぱ ま や ゃ ら わ ゎ ん い ぃ き ぎ し じ ち ぢ に ひ び ぴ み り う ぅ く ぐ す ず つ づ っ ぬ ふ ぶ ぷ む ゆ ゅ る え ぇ け げ せ ぜ て で ね へ べ ぺ め れ お ぉ こ ご そ ぞ と ど の ほ ぼ ぽ も よ ょ ろ を
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    예시)
    • 中文 을 입력하시려면 zhongwen을 입력하시고 space를누르시면됩니다.
    • 北京 을 입력하시려면 beijing을 입력하시고 space를 누르시면 됩니다.
    ㅥ ㅦ ㅧ ㅨ ㅩ ㅪ ㅫ ㅬ ㅭ ㅮ ㅯ ㅰ ㅱ ㅲ ㅳ ㅴ ㅵ ㅶ ㅷ ㅸ ㅹ ㅺ ㅻ ㅼ ㅽ ㅾ ㅿ ㆀ ㆁ ㆂ ㆃ ㆄ ㆅ ㆆ ㆇ ㆈ ㆉ ㆊ ㆋ ㆌ ㆍ ㆎ
    Α Β Γ Δ Ε Ζ Η Θ Ι Κ Λ Μ Ν Ξ Ο Π Ρ Σ Τ Υ Φ Χ Ψ Ω α β γ δ ε ζ η θ ι κ λ μ ν ξ ο π ρ σ τ υ φ χ ψ ω
    á à Á À é è É È ç Ç ê
    Ä Ö Ü ä ö ü ß
    ְ ֳ ֲ ֱ ָ ַ ֵ ֶ ִ ֹ ּ ֻ ׂ ׁ ּ פ ם ן ו ט א ר ק ף ך ל ח י ע כ ג ד ש ץ ת צ מ נ ה ב
    ‘ ’ “ ” 〔 〕 〈 〉 「 」 『 』 【 】 ＂ （ ） ［ ］ ｛ ｝
    ± × ÷ ≠ ≤ ≥ ∞ ∴ ♂ ♀ ∠ ⊥ ⌒ ∂ ∇ ≡ ≒ ≪ ≫ √ ∽ ∝ ∵ ∫ ∬ ∈ ∋ ⊆ ⊇ ⊂ ⊃ ∪ ∩ ∧ ∨ ￢ ⇒ ⇔ ∀ ∃ ∮ ∑ ∏ ＋ － ＜ ＝ ＞
    、 。 · ‥ … ¨ 〃 ― ∥ ＼ ∼ ´ ～ ˇ ˘ ˝ ˚ ˙ ¸ ˛ ¡ ¿ ː ！ ＇ ， ． ／ ： ； ？ ＾ ＿ ｀ ｜
    ½ ⅓ ⅔ ¼ ¾ ⅛ ⅜ ⅝ ⅞ ¹ ² ³ ⁴ ⁿ ₁ ₂ ₃ ₄
    Æ Ð Ħ IJ Ł Ø Œ Þ Ŧ Ŋ æ đ ð ħ ı ij ĸ ŀ ł ø œ ß þ ŧ ŋ ʼn
    А Б В Г Д Е Ё Ж З И Й К Л М Н О П Р С Т У Ф Х Ц Ч Ш Щ Ъ Ы Ь Э Ю Я а б в г д е ё ж з и й к л м н о п р с т у ф х ц ч ш щ ъ ы ь э ю я
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    § ※ ☆ ★ ○ ● ◎ ◇ ◆ □ ■ △ ▽ → ← ↑ ↓ ↔ 〓 ◁ ◀ ▷ ▶ ♤ ♠ ♡ ♥ ♧ ♣ ⊙ ◈ ▣ ◐ ◑ ▒ ▤ ▥ ▨ ▧ ▦ ▩ ♨ ☏ ☎ ☜ ☞ † ‡ ↕ ↗ ↙ ↖ ↘ ♭ ♩ ♪ ♬ ㉿ ㈜ № ㏇ ™ ㏂ ㏘ ℡ ＃ ＆ ＊ ＠ ª º
    ⅰ ⅱ ⅲ ⅳ ⅴ ⅵ ⅶ ⅷ ⅸ ⅹ Ⅰ Ⅱ Ⅲ Ⅳ Ⅴ Ⅵ Ⅶ Ⅷ Ⅸ Ⅹ
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    시조형의 기원 및 형성 = The Origins and The Formations of Sijo Forms

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    https://www.riss.kr/link?id=A75006074

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    다국어 초록 (Multilingual Abstract) kakao i 다국어 번역

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    한국어
    Sijo constitutes a main stream of korean classical lyrics. Although there have been many resarches on its origin, not much has been achieved. The reason is mainly becouse there have not been enough materials left in korea for studying korean classical lyrics.
    On the otherhand, japan has many materials for this. among those, there are materials closly related to Sanoyga. We can figure out the features of Sanoyga particularly by studying music books of japan in the late 10th century. We also see the later development of Sanoyga in HwuSanoyga, such as Cenggwaceng or Isanggok.
    Based on this development, we can show that lirics and rythms of HwuSanoyga, Which is a later development of Sanoyga, has developed to Sijo, by having been reduced three times in its forms. We claim that it is possible to build up a main branch of korean classical lyrics which originated in Hyangga and developed to Sijo.
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    Sijo constitutes a main stream of korean classical lyrics. Although there have been many resarches on its origin, not much has been achieved. The reason is mainly becouse there have not been enough materials left in korea for studying korean classical...

    Sijo constitutes a main stream of korean classical lyrics. Although there have been many resarches on its origin, not much has been achieved. The reason is mainly becouse there have not been enough materials left in korea for studying korean classical lyrics.
    On the otherhand, japan has many materials for this. among those, there are materials closly related to Sanoyga. We can figure out the features of Sanoyga particularly by studying music books of japan in the late 10th century. We also see the later development of Sanoyga in HwuSanoyga, such as Cenggwaceng or Isanggok.
    Based on this development, we can show that lirics and rythms of HwuSanoyga, Which is a later development of Sanoyga, has developed to Sijo, by having been reduced three times in its forms. We claim that it is possible to build up a main branch of korean classical lyrics which originated in Hyangga and developed to Sijo.

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    목차 (Table of Contents)

    • 목차
    • 1. 머릿말
    • 2. 感歎的 反復的의 有意語化
    • 3. 後사뇌가 後小節의 변화
    • 4. 時調形의 형성
    • 목차
    • 1. 머릿말
    • 2. 感歎的 反復的의 有意語化
    • 3. 後사뇌가 後小節의 변화
    • 4. 時調形의 형성
    • 5. 歌曲唱形의 형성
    • 6. 時調形과 歌曲形의 관계
    • 7. 맺음말
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