부산대학교 도서관

This study compares and analyzes the musical characteristics of the Saseolsijo(scaling composition, jangdan(長短), sigimsae and melody structure) among the Sijos of the Wit- Naepoje, so called ‘Seopanje’, and the aesthetic characteristics based on the results. It proceeded with the goal of inferring. This is summarized as follows. The scale composition of the Wit-Naepoje basically consists of four notes :黃(e♭), 太(f), 仲(a♭), 林(b♭), and in addition to this, 姑(g) is newly added in the middle of the song. This sound composition is distinguished from song style of other provinces(他制), including the Gyengje(京制:黃․仲․林) centered on three notes and the Arat-Naepoje (黃․仲․蕤). In principle, the rhythm is composed of three points five beats(3點 5拍) and five points eight beats(5點 8拍). However, in the case of the Wit-Naepoje and the Arat-Naepoje, the five beats rhythm is five points five beats(5點 5拍) and eight points eight beats(8點 8拍), which means that there is no emptiness, and this method of performance is different from Seogamje(石巖制) including Gyengje(京制). It can be seen as the unique characteristics of the two inclusion agents. On the other hand, in the method of playing the jangdan(長短), the “Yulyeo Sangjobeop(律 呂相助法)” of Seogamje is applied to the Arat-Naepoje. However, it can be seen that the Wit-Naepoje maintained the old form before Seogamje. Based on the above theory, the results of comparative analysis of melody are largely summarized into the following four. First, in the ‘vibrant sound,’ the Wit-Naepoje system is relatively wider than that of the Gyengje or the Arat-Naepoje system, so that it is expressed in a round shape as if drawing a circle. This gives a relatively sparse and warm feeling. Second, in the sound progression at intervals of 4 degrees (“黃→仲” or “仲→黃”), the Wit-Naepoje is differentiated in that it proceeds with a smooth melody at intervals of 2․3 degrees by adding a 太(f) between 黄(e♭) and 仲(a♭). This gives a relatively docile feeling. Third, in the jongji-type(終止形), style of the other provinces(他制), including the Arat- Naepoje, drop into “仲→黃” and descend 4 degrees. On the other hand, the Wit-Naepoje shows a distinct difference in that it smoothly connects with “仲太－(黃太)黃－” and proceeds sequentially, and then vibrate it with ease and leaves a lingering sound. This can be said to be the unique ending method of the Wit-Naepoje, and this gives a relatively docile and relaxed feeling. Fourth, in the editorial sijo of Wit-Naepoje, it adds a new 姑(g) to the monotonous melody, and at the same time creates a melody (“黃仲姑仲”) that boosts and pulls the tempo. It can be said that it is a unique characteristic of Wit-Naepoje. From the above, it was confirmed that the editorial Sijo(時調) of the Wit-Naepoje was markedly different from that of the Arat-Naepoje, which was the same inclusion, in various and unique sigimsae, melody structure, and singing. One of these factors is believed to be due to the adherence to the old system, which was called Seosan in the 1940s, before Seogamje(1960s), which newly applied the yullyeosangjobeop(律呂相助法) to the existing Sijo music. At the present time when the fragrance is becoming uniform, it is expected that the unique characteristics of the Wit-Naepoje Sijo, which have not been well known, will be discovered newly.