낭송조 음악 연구의 현황과 문제점

Abstract

Within Korea traditional vocal music, that which is recognized as ‘recitation’ has been dispersed into and passed down through diverse genres such as dokseoseong, sichang, songseo, gyubanggasa, shamanistic epics, Buddhist chanting, dokkyeong, yeondo, and parenting music. Recitation is a form of music and culture that has been recognized and enjoyed at all levels of traditional society such as in homes, at religious sites, and on the streets. Analysis of recitation music has been conducted from musical aspects in the world of musical science since the mid-1990s, but definitions have not yet clearly been made of the scope and concepts of recitation music or of its performance methods or musical terms. Common musical aspects and characteristics that have been recognized as ‘recitation’ in each genre and that have been revealed by researchers in their analyses were collected to analyze the characteristics of recitation music. This study attempts to look into the current state of previous studies related to recitation music and to discuss problems related to recitation music studies. First, there were problems with terms that describe the singing methods of recitation music. Researchers each used their own terms to describe the singing methods of recitation music or they comprehensively made references using the term “recitation" and this has caused confusion in the understanding of musical pieces of each genre. Therefore, it seems that it is necessary to use terms that are appropriate for the singing methods of each musical piece based on musical characteristics extracted from subdivided musical classifications. Through this, genre and musical piece characteristics may be understood better. Second, diachronic research of recitation music should be conducted. Research in musicology tends to be conducted in a way that is limited to the musical pieces of each genre and musical analysis research that focuses on the transition processes of recitation music seems to be needed. While the detailed origins of recitation music are unknown, it can sufficiently be assumed that the recitation of Chinese scriptures varied to become gasa, dokseoseong, novel readings, and songseo, so it is necessary to diachronically observe musical changes that occur flexibly due to situations of the times and performance subjects. This article examined studies related to recitation music and based on this, looked into current conditions to deduce and observe problems and limitations. While comprehension of the performance forms and musical characteristics of recitation music was gained through previous studies, it tended to be limited to each genre. It would be significant to broaden outlooks on recitation music to reflect on the history of recitation music that has macroscopically been expanded and reproduced with a focus on text and thus changed.