歌曲과 時調의 접점: 신발굴 가집 『歌詞』의 특성과 계보

Abstract

This thesis is written to introduce the newly discovered anthology, Gasa to the academic world. And another aim is to recheck the understanding of anthology in the late of Joseon Dynasty which are divided Gagokchang and Sijochang. Gasa which is introduced in this thesis, had been probably transcribed after the late of 19th century. It contains 392 pieces of Sijo and is the typical anthology in 18th century. The most important thing in Gasa is that the fourth segment in last line of a Sijo was omitted in 276 pieces of 392 pieces even though it got the formation of Gagokchang in 18th century. It was very unique aspect. The compiler of Gasa, who knew full well about Sijochang had changed from the words of Gagokchang to Sijochang according to his or her musical tastes. The attitude of editing and the characteristics of Gasa was clearly grasped through the comparison of Gajobyeolram(歌調別覽) and Siga(詩歌). Gajobyeolram and Siga are different versions and anthologies which was compiled around in the mid-18th century was transcribed in the late of 19th century. These have attracted public attention because these show the characteristics of unique category which is different from Cheongguyeongeon(靑丘永言) and Haedonggayo(海東歌謠). Gasa is considered an abridged edition of Gajobyeolram and Siga. Gasa is the anthology which contained compiler's musical experience and interest even though it is drastically abridged the original text. This anthology contained the interest in Sijochang and is based on the abridged the musical experiences and anthology's characteristics in 18th century. These characteristics of Gasa suggest many things about understanding anthology in the late of Joseon Dynasty. Whenever we see an anthology, we tried to figure out whether it is the anthology of Gagokchang or Sijochang till now. And we classified the history of Sijo into Gagokchang and Sijochang. There are anthologies like Gagokwonryu(歌曲源流) or Namhuntaepyongga(南薰太平歌) which are obviously planned to compile for Gagokchang or Sijochang. However we should not overlook the fact that compilers naturally reflect his or her musical taste and interest during the transcribing the original texts frequently. In 19th century the tendency that the anthology of Gagokchang actively accepted the words of Sijochang became clear. This is related to the expansion of Sijochang’ performance. I can find several cases that Gagokchang and Sijochang coexist in the same anthology besides Gasa. There's a high probability that we will find more various aspects in anthology through the overall examination of anthology’s genealogy.