가람본『靑丘永言』을 중심으로 한 ‘樂時調’ 의 쟁점과 향유 양상

Abstract

The term Naksijo first appeared in the Chungzin(1728), an anthology of Sijo. During the late Joseon period, it was used as one of the most influential style of Sijo including musical tone or melody. In taking all the related evidences into consideration, Naksijo in the Chungzin was certainly used as a type of musical compositions ('akgok'), not a kind of musical key or mode ('akjo' or 'Seonbeob'). For most pieces of Naksijo, writers remained unknown. It might be because a focus of the pieces was put on merrymaking or pleasure and entertainment rather than writers' conscious worlds. This became more remarkable in the Chungka. But the Chungka also represented its own characteristics. That is, Naksijo was believed to be one of the main musical pieces in Sijo and to be widely applied to the broader spectrum ranging from Pyong-Sijo to Saseol-Sijo. During the post-Chungka, Naksijo was intimately associated with Saseol-Sijo, which was a response to the change of poetic sentiments throughout the 18th century. In short, Naksijo, despite its incomplete musical features, had a great significance in the historical trend of Sijo from the early 18th century and gave a clue relevant to understanding the world of Sijo.