일제강점기 가야금 산조의 전승양상에 관한 연구

Abstract

This study investigated, concerning the aspect of Kayageum sanjo(solo) transmission, its situation of performance and education during the Japanese occupation (1910~1945). Under the Japanese occupation, masters were educated and produced through Kwonbeon(Kisaengs' guild) rather than institutes that are equipped with music education facilities, and the role of Kwonbeon might be crucial. Their active radio broadcasting, record and education activity might give Sanjo the opportunity to be popularized. Kayageum sanjo, during the Japanese occupation, was broadcasted through radio by masters, and some of them were found out to be skillful with Kayageum and with Byeongchang or other instruments. On radio air during the Japanese occupation, the Kayageum sanjo was performed by Kisaeng as well as other masters of the age and came to settle down as a popular music. Concerning the Kayageum sanjo, after the first recording of Nipbonohong K505 and K506 by Hae-Seon kim in 1925, masters like Tae-Hong Kang, Sang-Geon Sim, Seong-Gi Han and Jong-Gi Kim recorded Kayageum sanjo. The recording by them agreed with the form of Sanjo that follows current tempo, suggesting that the Sanjo in current form was formulating at the time when the masters were producing records. During the Japanese occupation, Kayageum was educated at all 4 Kwonbeons (Kisaengs' guild) including Kiseong Kwonbeon, Joseon Kwonbeon, Kwangju Kwonbeon and Dongnae Kwonbeon, suggesting that the Kayageum, out of musical instruments, was actively educated at Kwonbeons. As such, the Sanjo education and other various activities carried out at Kwonbeons during the Japanese occupation have contributed to keeping itself alive until present, and the broadcasting activity by artistic Kisaengs, who were trimmed by education, expanded the layer of the receptive.