1920년대 창작동요와 전래동요의 영향관계 연구

Abstract

This study aims to unveil tradition acceptance patterns in creative children’s songs during the 1920s by unveiling the influence of creative and traditional children’s songs which haven’t been able to draw much attention in studies on modern contemporary and modern children’s literature. As the Renaissance of ballad poems occurred due to the influence of folk songs in adult literary world, creative children’s songs also aggressively adopted the form and contents of traditional children’s songs in the early 1920s. In terms of the collectivism and oral tradition of traditional children’s songs, creative children’s songs sang personal emotions and grew into documentary literature. At that time, newspaper and magazine publishers collected folk songs and traditional children’s songs scattered across the nation in order to inherit traditional culture. In particular, ≪DongaIlbo≫ intensively covered traditional children’s songs through ‘Local Children’s Song’ and ‘Boys & Girls’ columns from August to December, 1923. In addition, ≪Eorini≫ and ≪Sinsonyeon≫ which were first published in 1923 introduced the definition and techniques of children’s songs through traditional children’s songs despite poor literary infrastructure and made juvenile writers play a leading role in the publication of the magazine. Even though there were some differences by magazine, ≪Eorini≫ with 7ㆍ5 rhyme and ≪Sinsonyeon≫ with traditional 4ㆍ4 rhyme accepted the patterns of traditional children’s songs. There was some confusion in the form or contents in both creative and traditional children’s songs until the mid 1925. With the introduction of diverse children’s song composition methods and participation of existing literary circles and juvenile writers, however, it evolved into creative children’s songs which sing children’s artistic values. Creative children’s songs actively accepted the diverse patterns of traditional children’s songs such as form, figure of speech and contents. In particular, they revealed a 4ㆍ4 syllabic meter and 2 feet just like ‘Suna-Suna, Gamak-Suna.’ Among the diverse patterns which are found in the repetition and parallel structure of traditional children’s songs, an ‘AAXA’ form just like ‘Baram-Baram, Gyeoul-Baram’ was most common. In terms of contents, there were many play songs such as Sullaejapgi (hide-and-seek), Dalmaji (greeting the moon), Byeolttagi and Geunetagi (swing riding). In addition, ritual children’s songs and nursery songs were found. Furthermore, many other contents from traditional children’s songs (ex: Scarecrow Song, Numeral Song, Sentimental Song, etc.) were accepted. As described above, creative children’s songs in the 1920s were born based on traditional consciousness. They functioned as literature which eased the sorrow and pain of the time for children who emerged as leading writers during the tragic period and were used as a tool to recognize national consciousness.