대한제국기 여창 가곡 연구

Abstract

This paper examines the female vocal Gagok(traditional Korean lyric song) of the Korean Empire period, which served as a bridge between the 19th and the 20th centuries. All the recorded Gagok from 1906 were female pieces, belonging to the kind of Sogagok, Gyeongmyeon mode, and Pyeonsakdaeyeop-type songs. Then this paper investigates the performing style and musical structural characteristics of female Gagok preserved on American SP recordings in 1906. The female Gagok of the Korean Empire period showed similarities to the present-day form but also displayed significant differences. For instance, in 1906, songs were performed by cappella quartets or solo singers accompanied by Gayageum, Haegeum, Daegeum, and Janggu. The Gagok performed by quartets aligns with 19th-century in 19th-century literature. Moreover, the accompaniment in the 1906 recordings was a chamber ensemble, unlike the 19th century, and the kind of zither included was the Gayageum. Additionally, the musical structure of the 1906 recorded female Gagok differs from the current pieces. In the case of “Hwapyun” recorded in 1906, the Yeoeum is attached to each section, making it difficult to distinguish the Jungyeoeum, and the Daeyeoeum is attached to the end of the fifth section, unlike the current practice. Furthermore, the Gyeongmyeon mode of female Gagok in 1906 had "E♭ -A♭-B♭" as the main notes, similar to the present, and shared the same lyrics and singing techniques (such as Soksori and Eodanseongjang). However, the use of constituent notes, as well as the methods of utilizing rhythm and Jangdan, were different. For example, the 1906 female vocal Gagok used non-constituent tones like A(Yubin) to increase musical tension within the limits of not disrupting the tonal logic of the mode. Moreover, the method of word placement in the 1906 female Gagok differs from the current practice, except for the third section of Pyeonsakdaeyeop. Generally, it deviates from a regular rhythmic structure, emphasizing the beginning or the second beat of a phrase to divide musical phrases, and follows a natural breathing pattern.