『고금가곡』의 〈만횡청류〉 고찰

• 영문명: A study on Manhoeingchungryu of Gogeumgagok
• 발행기관: 어문연구학회
• 저자명: 강재헌(Jae-heon, Gang)
• 간행물 정보: 『어문연구』語文硏究 第68輯, 181~204쪽, 전체 24쪽
• 주제분류: 어문학 > 한국어와문학
• 파일형태: PDF
• 발행일자: 2011.06.30

영문 초록

Gogeumgagok has not been well studied even though it was revealed from the early days of Korean literature study. Particularly, there has not been a proper study about Manhoeingchungryu, the collection of 34 sijo, despite its enormous value in Jang sijo study. The objective of the study is to find the specific characteristics of these 34 poems compare to Cheonggooyoungeon’s sijo collection that is the former time’s songbook having the same title as Manhoeingchungryu. Among poems from Gogeumgagok’s Manhoeingchungryu, 259, 265, 279 and 291 were not included in Cheonggooyoungeon, whereas all works except 291 were included in Byeongwagagokjip that is the latter time’s songbook. Since only 291 was included in Gogeumgagok, it would be suspicious about its creativity, and rest of works were included because they had gained popularity when appeared among singers after Cheonggooyoungeon. The melody of these works was firstly divided into Naksijo and Manhoeingchungryu in Cheonggooyoungeon, but became put together in Gogeumgagok. This indicates the melody integration in the time of Gogeumgagok mentioned later by Hyo-gwan Park. Compare to Cheonggooyoungeon, works of Gogeumgagok’s Manhoeingchungryu showed modified aspects in contents and forms that appeared as reduction and enlargement. What is commonly found in these works is that the purpose of the editor was reflected in these books. The author suggested that the reason for the change came from Confucian perspective toward ritual music. The collection had its meaning because Cheon-taek Kim complied Cheonggooyoungeon for the purpose of public use, whereas the editor of Gogeumgagok did the work for the purpose of private use for pleasure which would fit to his noble status, which resulted in bold modifications of obscene contents. The 34 poems are valuable resources in terms of literature and music to investigate the singer group’s aspects in those times, and to discuss the Sadaebu (noblemen)’s Confucian perspective toward ritual music. Further study would be necessary to examine overall aspects of Gogeumgagok.

목차

Ⅰ. 서론

Ⅱ. 〈만횡청류〉의 실재

Ⅲ. 『청진』 대비 작품 변개 실상

Ⅳ. 결론

참고문헌

Abstract

키워드

Gogeumgagok Manhoeingchungryu Cheonggooyoungeon jang sijo melody integration Confucian perspective toward ritual music