『영화초(詠和抄)』 수록 여창가곡의 특성

Abstract

This paper aims to explore the direction of 『Yeonghwacho』 in the early 20th century by considering yeochanggagok hanbatang in 『Yeongwhacho』. Its characteristics are as follows. It includes ‘Hwangyerak(還界樂)’ newly discovered in the late 19th century. The fact that perfectly coincided with yeochanggagok, 『Sigayogok(詩歌謠曲)』, 『Haedonggabo(海東歌譜)』(housed in Jeonbuk Univ.) is found. Through this, we can find that 『Yeonghwacho』 has the aspect of yeochanggagok hanbatang in the early 20th century. 『Yeonghwacho』 revises 48 collecting 1 to 5 by tune in various yeochang lyrics. It is script widely sung in actual stage to song actually, which typical feature of yeochanggajip in the early 20th century. The early 20th century is significant junction of yeochanggagok. First of all, division of tunes of hanbatang is complete and it remains. Because of increase of singing yeochang in the late 19th century to the early 20th century, yeochanggagok is going to go to classy. Hwangyerak is the fruit of its situation. Division of tunes of hanbatang is complete by Hwangyerak. Yeochanggagok completed the structure of hanbatang of 15 songs. Significant change is establishment of representative lyrics group. Hanbatang includes about 50 songs per 1 to 5 in tune. These are representative lyrics organizing point of yeochanggagok. Various process pass down yeochanggagok hanbatang organized with about 70 songs. Representative lyrics, from the 19th century, customarily organized by works that is concreted as yeochang lyrics. Lyrics added by Park, Hyogwan is rarely included. Representative hanbatang is anchored focused on works that are ultimate in aesthetic of yeochang.