1910년대 국외 ‘애국창가’에 대한 음악학적 연구 –하와이판 "애국창가"(1916)를 중심으로–

Abstract

This paper surveys songs in the collections of various Changga centering on the Hawaii version of Aegug Changga (1916) and other changga preserved by Choishin Changa (1914) at the Gwangseong Middle School in Manchuria(1914), the Changazip hand copied by Shon Bong-ho (1910), Late Joseon Aeigug Changga in possession of An Su-san,  the Changgajip copied by Son Seung-yong and Sin-Changgajip at Myeongdong School(1910) as well as Sinhanminbo(Sinhan People’s Newspaper. The author compared the lists documented in Hawaii version of Aegug Changga(1916) with those of Choisin Changgazip(1914) and analyzed the repertoires of independent movement songs. As a result, the author found which  Aegug Changga was more popular one among the numerous songs archived in the aforementioned collections and studied the characteristics of the music genre appeared in them. The thematic characteristics of Aegug Changga  can be classified into three types. First, the key concept that appears most frequently in the text of Changga is mainly “the love for motherland with an emphasis of patriotic spirit, autonomy and independence: In aeguggka, jeongshinga, gugminga, bogugga, guggiga, dandgunga, habandoga, gyeongchuckga, gugminhoiga the Korean’s national identity can be confirmed. A second theme that can be found in the text of Changga is “education or enlightenment”: the texts of bumoeundeokga, saeui eunga, susinga, sanboga, undongga, jeonjinga, sonyeonnamjaga indicates how much Koreans were eager to advance their knowledge and education. The last thematic character appeared in the songs is a religious color. However, one common subject underlying the songs was the Koreans’ fervent desire for independence, freedom and liberation by regaining their sovereignty from the Japanese rule. This paper concluded that the Hawaii version of Aegug Changga(1916) must have been developed from Choishin Changgajip at Gwangseong School because 42 songs out of 77 songs in Aegug Changga are identical with the song appeared in Choishin Changga Collection(1914); moreover, there are 13 songs which used similar song titles or adopted the same melody, which means 55songs among 77 songs have a somewhat similar feature. Some Korean Changga was influenced by Japanese Changga as much the western music style of hymns. Cheoldo Changga(Train song) composed by Oono Umewaka has influenced Seonggyeongmogrogga hakdoga, Seonggyeongmogrogga, and Chinese hagdangagga to a substantial degree. <Beautiful Nature> composed by Tanaka Hozumi has been known as Manghyangga (Homesick Song) among Koreans, and it is interesting to see Aegug Changga(1916) adopted the melodies of the melodies of Manghyangga to the hymns, Gujuseongtanga and Gujujeonjangga. In conclusion, many of the Korean songs listed in the collection of Changgazip cannot be considered as original song but instead they were ‘remake songs’ with new texts using the existing melodies of hymns, Japanese Changga and/or western folk songs to boost the Koreans’ independence spirit and promote enlightenment. This study contributes to classifying the pre-modern songs in the early 1900s (folk songs, Changga and hymn style songs), so it can support the future research on musical transformation from the Korean traditional music to modern Korean music.