18세기 초 전환기 시조 양식의 전변과 장르 실현 양상 －珍本『靑丘永言』의 가집체계를 통하여－

Abstract

This paper has examined, through the Gajip(歌集) ‘anthology’ system of Cheongjin(靑珍), features of Sijo(時調)’s styleshift and aspects of genre realization in the period of transition in the early 18th century. As a result, we can explicate through aspects of Gajip edition that Cheongjin is a center of Sinjo(新調) ‘the novel tune,’ and is a masterpiece-oriented song collection As for the features of formal shift and genre realization revealed through the order system of works, we can find out from the collection’s somewhat confused order in its detailed system that while in the case of ‘Jeongseong(正聲)’ ‘the orthodox sound,’ Isakdaeyeop(二數大葉) found its place as a representative song, ‘Manhoingchoengryu(蔓橫淸類)’ in a pre-from not yet stylized as a short song did not have a complete form enough to be promoted as an item in the list of independent musical pieces. As for the features of Sijo’s shift in the period of transition, we can identify that the shift did not make so rapid a change to trigger a paradigm shift but did reach the level at which it reflected urban tastes of enjoyment on the basis of the tradition. That is to say, the genre realization of Eot-sijo(엇시조) and Saseol-sijo(사설시조) in Sijo just showed changes within its basic frame through extension, rather than lying in free destruction of the traditional form. It is a characteristic of Sijo’s shift in the period of transition to change a Bongagok ‘original song’into a kind of Sogagok(小歌曲) ‘small song’ by mixing a few spots (means of interweaving shown in folksongs and shamanist songs), to enjoy Sinjo ‘the novel tune’ by giving slight changes to the melodies and rhythms of Gojo(古調) ‘the old tune’ in accordance with the contemporary tastes, and to enjoy Sinjo by giving charm-adding changes to it in such a way that singers inserted their own Sigimsae(시김새) or grace notes; i.e. to show aesthetic orientation responding to new contemporary changes while being based on the transition.