단가와 장가 곡조의 시대적 변천 및 상호 관계

Abstract

There have been two types of songs in the history of korean classical poetry. The one is short songs and the other is long songs. This paper explores the historical transition in the melodies of two types and the corelation between them. The summary is as follows. As verified by the precedent research, the melodies of Gagok(歌曲), the representative genre of short songs in Joseon(朝鮮) dynasty changed from Mandaeyeop(慢大葉) to Jungdaeyeop(中大葉), Sakdaeyeop(數大葉) and various variations of Sakdaeyeop. And the repertory of Gagok increased and its tempo got faster gradually with the change of the melodies. It was made certain in this paper that some names of the melodies which have been explained as appeared in relatively late period in Joseon dynasty until now turned out at the beginning of the 19th century(correctly speaking, around 1822), and that Eotpyeonlak(엇編樂), a new melody of Gagok which has been never discovered before in the history of classical poetry until now turned out at the same age. And it was also made certain in this paper that there existed many pieces of works that were performed through singing besides the 12Gasa(12歌詞) -12 well known pieces of Gasa which were performed through singing-, and that not only the songs made in Korean but also the songs made in Chinese were sung widely, and that various genres such as Goryeogayo(高麗歌謠). Akjang(樂章), Gasa(歌詞), Japga(雜歌) had close relations one another. It is possible that there existed affinities between some individual melodies which were included in two types(short and long song), such as between Mandaeyeop(慢大葉) and Goryeogayo(高麗歌謠)․Akjang(樂章), between Jungdaeyeop(中大葉)․Sakdaeyeop(數大葉) and Gasa(歌詞), between Sijo(時調) and Japga(雜歌). Additionally two types share the similarities that are characterized as accumulating way and popularizing course in the process of historical change.