18세기 여창 가곡의 음악적 특성

Abstract

This study serves as a counterargument to the assertion that Yŏch'ang kagok (女唱歌曲) evolved from namch'ang kagok (男唱歌曲) during the late 18th to early 19th centuries. Through historical documents and musical scores, this study provides evidence that yŏgi (女妓) had already been performing significant repertoires at social gatherings before the emergence of 19th-century Yŏch'ang kagok. Based on this evidence, the study concludes as follows:Firstly, in the early 18th century, yŏgi were not restricted to singing specific pieces; instead, they sang a substantial portion of the kagok repertoire. Their performances gained popularity, leading to the inclusion of their songs in 18th-century kajip (歌集). Secondly, records from the early 18th century suggest that the lyrical content (sijo) of <Manhoengch'ŏngnyu (蔓橫淸類)> revolved around yŏgi, and they sang accompanied by orchestral instruments. However, by the mid-18th century, the focus of kagok shifted toward male kagaek (歌客), introducing a new performance style called kyodaech'ang (交代唱), in which male and female singers alternated. Third, these changes in singing methods had a significant impact on Yŏch'ang kagok after the 19th century. Before the 19th century, yŏgi sang to the accompaniment of p'yŏngjo (平調) and p'yŏngjo gyemyŏnjo (平調界面調). With the introduction of alternating male and female singers, it is presumed that female singers also sang ujo (羽調) and ujo gyemyŏnjo (羽調界面調) to match the key of the male kagaek. Before the 19th century, Yŏch'ang kagok had melodies with a pitch difference of about 5 degrees higher than namch'ang kagok, but with the introduction of the kyodaech'ang, Yŏch'ang kagok transitioned to singing songs an octave higher than namch'ang kagok, which is presumed to have occurred. Additionally, yŏgi developed their own song singing methods by introducing panubangye-style music such as <Hwan’gyerak (還界樂)>. Since the late 18th century, within the field of kagok led by male kagaek, the songs that female performers could sing were significantly limited. Nonetheless, yŏgi, with their extraordinary skill and talent, were able to utilize their falsettos to overcome the typical vocal limitations of women and perform long songs smoothly. As a result, Yŏch'ang kagok acquired the characteristics of an uninterrupted flow, soft and clear, and excellent artistic expression.