서울굿 음악의 전형성을 통해 살펴본 금성당제의 음악

Abstract

The Geumseongdang in Gupabal was opened as a shamanism museum in 2016 and Geumseong- dangjea has been restored and held every year. This article examined the typicality of Seoulgut music by examining the performance structure of Geumseongdangjea, which was performed 11 times. Afterwards, the musical composition was examined for the Spring Geumseongdangjea and Fall Geumseongdangjea in 2019, and 2022 and 2023. The above analysis can be summarized as follows. First, Geumseongdangjea is made of characterizing procedures such as Geumseongdaewanggut and Geumseongdaegungut, Honmaji, Dangdol, Jedangmaji, and Jedang Baewoong. Geumseongdanjea which include the procediures above include the typicality of Seoulgut music through shamanic songs, music, ceremony and Samhyeonyukgak. The musical characteristics are highly considered especially because the main spirit for Geumseongdangjea asks for “Noraetgarak” in seated performance and Sansanjangdan’s “Kinyeombul” for standing performance. “Andangmalmi” is believed to have been cut off from “Hwongjeapuri”, which is on the verge of extiction in Seoulgut. The fact that these are performed indicates that Geumseongdangjea intended to gain an unrivaled status, rather than simply reviving. The intention of provoking thoughts behind the existence of “Andangmalmi” itself is meaningful, because the singing of “Andangmalmi” has not been completed despite the fact that the performance of Seongjugut (including “Hwongjeapuri”) has been done well. Because Geumseongdangjea has held the position of doing gut for the country in the past, in its current performance, it still includes wishes and messages of peace for the nation and the citizens. In order to solidify the value and the musical reputation of Geumseongdangjea, improving the musical completion through the following is needed: rare shamanic dances in Seoulgut such as “Hwongjeapuri” and “Andangmalmi” and / or Samhyeonyukgak which is rare in typical Chonsingut such as “Jajinhanip” or “Gilgunak