한림대학교 태동고전연구소 소장 『海東歌謠』의 특성과 가곡사적 위상

Abstract

This paper examines the characteristics of 『Haedonggayo』, a collection of songs held at the Taedong Center for Eastern Classics, Hallym University, and its historical status in Gagok(歌曲). Haedonggayo(Taedong version) is a newly discovered collection of songs that has not yet been introduced to the academic world. It is a small-scale collection of songs containing 127 sijo poems, and was produced within the sphere of influence of 『Haedonggayo』, compiled by Kim, Sujang(金壽長). The editor is unknown, and it is believed to have been compiled in 1817. The composition of 『Haedonggayo』(Taedong version) consists of a total of 12 songs, which fully reveal the characteristics of songs from the early 19th century. Although Isakdaeyeop(二數大葉) only included lyrics without revealing the author’s name, the Isakdaeyeop organization of a collection of songs in the late 18th century is internally discernible. Sadeabu(士大夫) and Yeohangin(閭巷人)’s works are scattered in various places. It was understood that this was a transitional aspect that appeared in the early 19th century during the process of converting a collection of songs into a comprehensive music composition, and was preparing for the differentiation of ujo and gyemyeonjo. Of the five songs included in Samsakdaeyeop(三數大葉), three were not previously called Samsakdaeyeop. Since the mid-18th century, a collection of songs has been composed of works interpreted by their own era, and these are exactly those beings. In the section where Sogagok(小歌曲) is included, the differentiation of Nong(弄), Nak(樂), and Pyeon(編) in the early 19th century is clearly revealed. Mansakdaeyeop(蔓數大葉) and Manhyeong(蔓橫) are Nong-type music pieces. All three songs included in Mansakdaeyeop are short-form sijo. This shows that Manhyeongcheongryu(蔓橫淸類) was influenced by Sakdaeyeop(數大葉) and developed a music composition system as Gagok. Among the 11 sijo poems included in Manhyeong, five were works by Lee, Jeongbo(李鼎輔) that were included in the Isakdaeyeop of 『Haedonggayo』. Naksijo(樂時調) is placed after Mansakdaeyeop and Manhyeong. In a collection of songs from the 18th century, it appeared after Samsakdaeyeop. However, in the process of Manhyeongcheongryu establishing the music system of Gagok, its position was moved behind Manhyeong and placed at the center of Sogagok. Among a collection of songs, this aspect was first captured in 『Haedonggayo』(Taedong version) and 『Byeongwagagokjip(甁窩歌曲集)』. The lyrics included in Naksijo can be largely divided into three types. First, it is a case in which singing in Nakshijo has continued since 『Cheongguyeongeon(靑丘永言)』(edited by Kim Cheontaek). Second, there are cases where things that were called Manhyeongcheongryu were included in Naksijo. Third, in the early 19th century, it was newly incorporated into Naksijo, but was later sung as a different song. Except for Pyeonrak(編樂), we cannot find any derivative songs of Naksijo such as Gyeraek(界樂), Urak(羽樂), and Eolrak(言樂). This is because the lyrics were included, but they have not yet been given a name. Among these, the fact that only Pyeonrak appears stands out. Pyeonrak is a song sung in Pyeonjangdan(編長短), a 10-point, 10-beat rhythm. It is much faster and more cheerful than the traditional Gagok rhythm of 10-point, 16-beat. For this reason, it was included separately. The reason why a song sung in Pyeonjangdan was derived was because in order to raise the mood in the final part of Gagok Hanbatang, a song with a different, faster tempo was needed. It is believed that Pyeonrak appeared first, and then Pyeonjangdan was derived as the demand for Pyeonjangdan increased. In a collection of songs, lyrics were first included under the name of Pyeonsakdaeyeop in 『Haedonggayo』(Taedong version) and 『Byeongwagagokjip』. As described above, 『Haedonggayo』(Taedong version) contains the singing situation of songs in the early 19th century. It is a song collection produced during the transitional period when a collection of songs was converted to a comprehensive music composition. Authors’ names were omitted and only lyrics were included according to the singing format of the songs. This transitional characteristic is more clearly revealed in Sogagok. It has the basic songs of Sogagok and is arranged in the order of ‘Nong → Nak → Pyeon’ as it is now. However, it does not have the derivative songs of Nong, Nak, and Pyeon. The lyrics are included but have not yet been given a name. The derivative songs are closely related to the differentiation of Ujo(羽調) and Gyemyeonjo(界面調). In 『Haedonggayo』(Taedong version), the differentiation of Ujo and Gyemyeonjo is not yet confirmed. Considering these characteristics, the Gagok historical coordinates of 『Haedonggayo』(Taedong version) are clearly revealed. It is a collection of songs produced at the time when the differentiation of Ujo and Gyemyeonjo was just beginning, along with 『Byeongwagagokjip』. However, the differentiation of Ujo and Gyemyeonjo is partially confirmed in 『Byeongwagagokjip』. Therefore, 『Haedonggayo』(Taedong version) is located right before 『Byeongwagagokjip』. Through the above discussion, the period of differentiation of Nong, Nak, and Pyeon, which had been vaguely assumed until then, has been clearly revealed. The basic structure of Nong, Nak, and Pyeon was established around 1820, and it was completely established in Gagok Hanbatang around the 1830s when the differentiation of Ujo and Gyemyeonjo was finally completed.