김창룡 심청가 곽씨부인 대목 고찰

Abstract

Kim Chang-ryong was a pansori master singer born in Seocheon, Jungnam, and is one of modern five master singers representing traditional music in the 20th century. Kim, whose position in pansori history is significant, continued the deep-rooted tradition of Junnggoje pansori being passed down from Kim Seong-ok to Kim Jeong-geun. His pansori style is definitely different from that of Dongpyeonje (Eastern style) and Seopyeonje (Western style) that were prominent in the Jeolla region in terms of lyrics and musical style. With this background, in this study, based on his performance of the Tale of Shimcheong, his pansori characteristics will be considered. Kim’s version of Shimcheong show lyric expressions that are different from that of Dongpyeonje or Seopyeonje and his lyrics feature unique characteristic. Some of his characteristics are similar to the body of work known as Junggoje Shimjeongsun, therefore his pansori has a definite identity with the Junggoje pansori. Musically speaking, it shows different rhythm play in that it frequently uses a fast jinyang rhythm with 2-weak beats within the 6-beat rhythmic pattern. In particular, in Kim’s pansori, he would not exactly arrange a four word lyric cycle with what should have been its four-beat rhythmic cycle; thus we can see that a characteristic of early pansori was singing freely, regardless of the rhythm. In many cases, the melody did not follow the normal conventions that were common to pyeongjo, ujo, or gyemyeonjo (various melodic modes); additionally, sol as well as re were sung with vibrations common to pyeongjo. Kim’s melody characteristics can be found in that of Shim Jeong-Sun and Shim Sang-geon, who were both 20th century Junggoje pansori singers, as well as the musical style of Gyeonggi (the area around Seoul), rather than the southern area as was more common. In brief, we could find unique characteristic in Kim Chang-ryong’s pansori in terms of general composition, lyrics, musical style and some of his uniqueness has a relation with characteristics of Junggoje of Gyeonggi as well as the Chungcheong region of old-style Pansori. That is to say, that the older style of his pansori is a valuable source for considering the genre’s characteristics in the middle to late 19th century that are hard to find in contemporary pansori.