호남좌도농악 연구 = (A) study on Honam Jwado Nong-ak(the traditional farm music-performance in the East area of Honam province in Korea)

다국어 초록 (Multilingual Abstract)

This research examined the existing distribution and local property, historical process and peculiarity, performing types and methode, and the performing peculiarity of Honam Jwado Nong-ak introduced today, which is the subject of this study.
In chapter Ⅱ, I examined the existing process and the present condition of Honam Jwado Nong-ak. The following is the existing process of Honam Jwado Nong-ak.
First, I acknowledged that the Durae(a terminology for common work) existed in the farm region since the 15th century, the early era of the Joseon Kingdom. In accordance with it, I acknowledged that the Durae Nong-ak also existed in those days.
Second, the performers in charge of the praying rituals are shamans and Buddhist monks in general, but in the late era of the Joseon Kingdom Maeul Nong-ak groups also participated in the praying rituals in the form of playing Nong-ak.
Third, wordings that indicate Nong-ak existed in many names in the recordings of the intellectuals. The most noteworthy point is that the terminology 'Nong-ak' was recorded for the first time by the intellectuals in the late era of the Joseon Kingdom.
Forth, the changing process of the Korean Nong-ak into entertainment was principally advancded by the performers of Honam Nong-ak. The Nong-ak that had been performed in outdoor theatres and Hyoubyulsas by Namsadangpaes joined with Changkeukdans after the restoration of the independence of Korea. It was then developed into Pojangkeolrip Nong-ak which made Nong-ak as important performance text.
Fifth, In 1980s, the progressive intellectuals participated in Honam Jwado Nong-ak and opened the new era of popularization of Nong-ak.
In chapter Ⅲ, I examined performance types and units, organizable aspects of types, and the performance process of Honam Jwado Nong-ak. Honam Jwado Nong-ak can be separated into Maeul Nong-ak, Keolrip Nong-ak, and Pojangkeolrip Nong-ak depending on context, text, performance text and performer.
The performance of Nong-ak can be constructible in various configurations according to the performing surroundings and cases. The units that form the structure of Nong-ak can be separated into large units, medium units, and small units.
In chapterⅣ, I examined the peculiarity of performing elements and concluded as follows.
First, Budeulsangmonory is constituted of the interaction of the performer, accompanist and audience. They form tight interrelation among each other through the movement onclusion, performing music, foot motions of performer, the performing music and chuimsae of the accompanist, and the chuimsae and motions of the audience.
Second, we can observe the music of Nong-ak in two aspects, Jangdan and vocal music. Before observing Jangdan, Nong-ak arouses a common merry mood through the repetition of the drum sound. Progressing the repetition, circulation and accumulation of the drum sound, the body movement-excited by rhythm of drum music-becomes activated, strengthening the Jinbeop and dance. In performing of Honam Jwado Nong-ak, every performer makes and dissolves the regular formation through rhythmic movements.
Third, looking around the vocal music and words, the performers regard the playing instrument as secondary standing and the vocal music as first standing in stage of Noraegutl.
Forth, Japsaeknoreum is a kind of theatre, ritual and ceremony that appears in the Pan-gut of Nong-ak. The Japsaek of Nong-ak group is not only a performer but also a bridge that connects the performer and audience. He helps the performers and draws the audience's attention toward the stage, inducing them to applaud and shout for joy. Japsaeknoreum advances in Honam province.
In chapter Ⅴ, I examined the local quality of Honam Jwado Nong-ak and disclosed the quality of Honam Jwado by comparing it with its neighboring Nong-ak. The Nong-ak of the northeast area-the region among the mountains of Geumsan, Muju, Jinan, Jangsu and so on-is speedy, dynamic and masculine. On the other hand, the Jinbeop maintains its simple circular formation. The Nong-ak of the middle east area-the region among the inland such as Namwon, Gurye, Gokseong, Suncheon and so on-advance in the technique of Budeulsangmonory of kkwaenggwari gongs. The Nong-ak of the southwestern area- the area among the middle region such as Imsil, Sunchang, Damyang, Hwasun, have an intermediate quality neighboring with Honam Udo Nong-ak. The Nong-ak of the southern area-the region among the seaside region such as, Gwangyang, Yeosu, Goheung and so on, advance in drum play and masque play of Japsaek.
In comparing with Honam Udo Nong-ak, there are Chaegut, Mijigygut, Yeongsan in Pangut of Honam Jwado Nong-ak. Also the stage of Pangut is independent and subdividable. The Jangdan of Honam Jwado Nong-ak is organized by dint of the Sanjo form. Honam Jwado Nong-ak is controled by Witnoreum.
In comparing with Yeongnam Nong-ak, Honam Jwado Nong-ak is close upon Yeongnam Nong-ak than Honam Udo Nong-ak because performers put on Sangmo. In personal organization of Nong-ak performance, Jang-gu performers precede Nong-ak drummers in Honam Jwado Nong-ak while Nong-ak drummers precede Jang-gu performers in Yeongnam Nong-ak.rformers in Yeongnam Nong-ak.

목차 (Table of Contents)

• Ⅰ. 서론 = 1
• 1. 연구 목적 = 1
• 2. 연구 대상과 방법 = 3
• 3. 연구사 검토 = 9
• Ⅱ. 성립과 전승 = 23
• 1. 성립 과정 = 23
• 2. 전승 현황 = 55
• Ⅲ. 공연의 유형과 절차 = 74
• 1. 공연의 유형과 단위 = 74
• 2. 유형별 농악단의 편성 양상 = 80
• 3. 단위별 공연의 절차 = 86
• Ⅳ. 공연 요소 = 113
• 1. 신체 동작 = 113
• 2. 장단 = 123
• 3. 성악과 사설 = 132
• 4. 연희 = 150
• Ⅴ. 지역적 특성 = 154
• 1. 권역별 조망과 비교 = 154
• 2. 호남우도농악ㆍ영남농악과의 비교 = 157
• Ⅵ. 결론 = 184
• 〈참고자료와 문헌〉 = 192