나손본 <가사>의 성격과 시가사적 의미

Abstract

Although research of Song Book has now been significantly accumulated, the focus of research on Gagokchang-Song Book in the late Joseon Dynasty was on Song Book. The reason is that the system of Gagokchang-Song Book is very well maintained compared to Sijochang-Song Book. Although research on Sijochang-Song Book was conducted through Namhun Taepyeong-ga, the research is very simple compared to Gagokchang-Song Book. Moreover, the Song Book of the late 19th and early 20th centuries tend to include both Gagokchang and Sijochang. In particular, even though the number of works of Sijochang accounts for a larger number than that of Sijochang, it is common for research to be conducted around Sijochang, even with Gagokchang and Sijochang. The reason for this is that although the system, including the writing of songs, is complete, there is little information in the case of the Sijochang-Song Book. However, the appearance of about 200 types of Song Book currently in existence is very diverse. While there are Song Book that appear in a well-organized way, such as Gagokwonryu, there are also small Song Book that record only a few editorials without musical symbols. In the meantime, the part of the Sijochang has not received much attention in the Song Book study, especially the Sijochang part of the Sijochang in the Sijochang study, which contains both Gagokchang and Sijochang. As the Gagokchang-Song Book was systematized in the late Joseon Dynasty, focusing on Gagokchang-Song Book, Gagokchang-Song Book was inevitably excluded from the field of research. However, the compilation, which contains both Gagokchang and Sijochang, contains information on the compilation of compilers and other compilers compared to the general sijochang, and contains information on the site of performance in the late Joseon Dynasty as vividly as the songwriting part. Since the song singing part was intended to vividly reproduce the scene of the Yeonchang, it is more likely to contain the repertoire sung at the scene than many editorials. Likewise, the traces of efforts to capture the reality of the performance in the Sijochang part are revealed through the variation pattern of the editorial. This is the case with the Nasonbon’s GaSa introduced in this article. This Song book consists of three parts: Gasa, Sijo and Geumbo. In the case of the Gagok part, a song is contained, but half-leaf is not visible and female song are not separated. It can be said that the song of Nasonbon Gasa shows a transitional aspect that does not have a complete system. The Sijochang section contains a variety of works with various versions, and “fluid music,” a characteristic of the Song book in the late 18th century and the mid-19th century, is included under the name of “Bujo”.