주의식 시조의 전승양상과 그 의미

Abstract

Joo’s works are included in several songbooks, including ‘Chunggu-yeongeon (CY)’. It is noteworthy that some works have been revised, added, deleted, or rearranged in later songbooks. For this reason, the number and arrangement order of the works are different for each songbook. This phenomenon is also commonly found in the works of other authors. In this paper, the meaning of these changes was examined in literary and musical aspects. The transmission pattern of his suite found in later songbooks is as follows. First, Joo’s works in all songbooks are divided into four groups [CY A(#222, #223), B(#224-227). C(#228-231), Haedong-gayo(HG); D(#270-272)] Second, additions, deletions, and rearrangements of works only occur within the group. This means that the contents and functions of the works differ from group to group. These characteristics are a phenomenon that appears in the ‘Gagok-chang’ suite, meaning that each group is combined with a specific tune. Since the tune is determined according to the order in which the works are arranged, addition, deletion, and rearrangement of the works mean changes in the tune combined with the work. Third, the order of some works (CY. #222, #223, #231) are fixed in all the songbooks. The ‘Gagok-chang’ suite is started 1st Sakdaeyep(#222) and ended Finale(歌畢奏臺, #231). In the ‘Gagok-chang’ suite, the 1st Sakdaeyep(#222) that can cover the entire theme of the suite is placed at the front, and the Finale(歌畢奏臺, #231) that sings a peaceful world is placed at the end. Fourth, group B was replaced with group D, which consisted of newly added works, in later songbooks. And group B was deleted or placed after <CY.#231>, and the order of the works was rearranged. That is, the suite of CY composed of A+B+C was changed to A+D+C in later songbooks, and B was deleted or made independent as a short suite. B and D are closely related to the theme of the entire suite. Since replacing B with D is to change the theme of the entire suite. On the other hand, there is a songbook with a work that uses the Gul-Won’s(屈原) story at the end. It seems that the tradition of ending the suite with a specific tune(數大葉 第四) was applied.