水宮歌 중 "泛彼中流" 音樂的 特徵에 관한 硏究 : 사설, 음계, 붙임새 중심으로

다국어 초록 (Multilingual Abstract)

Abstract

A Study on musical characteristic of “Beompijungnyu” in Sugung-ga
- On the basis of Saseol(lyrics), Umgye(scale), Buttimsae(rhythm) -

Sugung-ga (SGG) of Dong-Pyun-Je (DPJ, east regional style of Korean folk song) is located in a very important position in folkloric transmission since the mot present folk songs are composed of DPJ type; i.e., a singers, Bong-Sul Park in Man-Gap Song style, 4 singers, Yun-Soo Kim, Cho-Wol Park, Bang-Wool Lim, Kwang-Soo Jung in Seong-Jun You style. One exception is Eung-Min Jung (aka, San-Je Kang) who is a Seo-Pyun-Je (SPJ, west regional style) singer.
Because it may be relatively abundant references, many researches have focused on the songs in Seong-Jun You style, discussing in particular, musical characteristics, lyrics, and casting in the climax part (also called as “nun” in traditional Korean) of the songs.
However, rare was academically studied in Bum-Pi-Jung-Ryu (BPJR), one of “nuns” in Soogung-ga which may be adopted from Simchung-ga, and might be considered as less important as others in term of musical composition and tradition. We propose that the SGG might be different from the SCG since either have different origins of styles.
Therefore, in the dissertation the BPJRs of 5 DPJ and 1 WPJ singers are comparatively analyzed in view of lyrics, tone styles, mode change, and lyric fusing with musical codes.
First, lyrics in DPJ and WPJ have different composition. The lyric of Bong-Sul Park is similar to Chinese tranditional poem, Saoshang-Pal-Kyung (SSPK, eight fascinating sceneries in Saoshang Province), which is older than Seong-Jun You’s. He inserted parts of SSPK in his BPJR, and transferred to his 4 successors and currently remained as DPJ references.
Second, scales of the BPJRs varied. Bong-Sul Park used 3 different scales, i.e., Pyungjo-gil(scale), Gyemyun-gil, and Woojo-gil where the last was his the most preference.
Yun-Soo Kim sung with Pyungjo-gil and Gyemyun-gil, in generally. Sometimes, he also sung with monotonous scales but mainly Gyumyun-gil. Since frequent usage of ‘Deo-Eum-Chung’, his song was not in sorrow mode.
Cho-Wol Park as similar to Yun Soo Kim, sung with Pyungjo-gil and Gyemyun-gil. However, his song was different from Yun Soo Kim because of variation of original tones and frequent use of Pyungjo-gil.
Bang-Wool Lim used all 3 scales. Woojo-gil, Pyungjo-gil and Gyemyun-gil in frequency as a row. It is unique that his song often used P4 (perfect 4, le-sol, and sol-do).
Kwnag-Soo Jung, apart from the above three singers, used Woojo-gil that occupied in half. Use of more than 3 octaves in his song is characterized.
Finally, the lyric fusing with musical codes also have occasional differences with singers. The lyric fusing of the DPJ style have Daemadi Daejangdan (6 measures in Jinyang-jo), cross-linking, Wanja-guli, and GyodaeJuk. Kwang-Soo Jung and Yun-Soo Kim put in more variation than others through lyric fusing. Bang-Wool Kim mostly used 6 measures in Jinyang-Jo, which was over 90 %.
It was aroused that the BPJR in the DPJ styled Soogung-ga is located in a core position from its transmission to current establishment of “Badi”, which is a fusing state of various individual additives of respective successive singers from original styles of their teachers.

국문 초록 (Abstract)

<국문초록>

동편제 수궁가는 판소리 전승사에 있어서 매우 중요한 위치에 있다. 이유는 현재 전하고 있는 박봉술 · 김연수 · 박초월 · 임방울 · 정광수 · 정응민(강산제) 등의 소리 중 강산제를 제외한 나머지 소리가 모두 동편제 계열의 소리이기 때문이다.
최근 이러한 중요성 때문에 유성준제를 중심으로 한 연구가 많이 이루어졌다. 이들 대부분은 눈 대목을 중심으로 한 음악적 특징, 사설, 인물 등으로 논의되어 왔다. 하지만 수궁가 눈 대목 중의 하나인 범피중류 대목은 심청가의 범피중류 대목에서 수용이 되었기 때문에, 이 대목의 음악적인 연구가 거의 이루어지지 않았다.
하지만 심청가는 현재 서편제 계열의 소리가 주로 전승이 되고 있으므로 그 음악적 특징이 동편제 계열의 소리가 주로 전승이 되는 수궁가와는 차이가 있을 것으로 보인다. 따라서 본고는 수궁가 눈 대목 중의 하나인 범피중류 대목을 중심으로 박봉술 · 김연수 · 박초월 · 임방울 · 정광수 등 5명의 창자의 사설과 악조유형 및 전조양상, 붙임새 등을 분석하고 비교하여 그 음악적인 특징을 살펴보았다.
첫째, 사설의 특징을 살펴보면 송만갑제와 유성준제가 완전히 다르게 구성되어 있다. 박봉술의 사설은 소상팔경으로 자리잡아가는 모습이며, 이것이 유성준제의 사설보다 더 고형(古形)임을 확인하였다.
이 소상팔경 대목이 현재 부르고 있는 범피중류 대목으로 변화 된 것은 은 유성준에 와서 이루어진 것으로 보이며, 이것은 유성준의 소리를 잇고 있는 김연수&#8228;박초월&#8228;임방울&#8228;정광수 등 4명의 창자들의 사설을 통해 확인할 수 있다.
둘째, 5명의 창자가 부른 범피중류 대목의 음계를 정리하여 보면 다음과 같다. 박봉술은 평조, 계면조, 우조의 선율을 다 사용하였으나 우조를 주로 사용한 음계이다.
김연수는 평조와 계면조를 사용하였으며, 본청의 변화 없는 변조 기법이 쓰였다. 소리는 평조로 시작하나 계면조가 주를 이룬다. 그러나 잦은 ‘더음청’의 사용으로 슬픈 느낌은 들지 않는다.
박초월 역시 김연수와 같이 평조와 계면조를 사용하였다. 그러나 본청의 변화가 있고, 계면조의 비중은 매우 적고 평조길이 주를 이룬다.
임방울은 우조, 평조, 계면조를 모두 사용하였다. 우조의 선율 진행이 많으나, 평조에서 볼 수 있는 두 개의 완전4도의 골격(레-솔, 솔-도)이 빈번히 보인다. 계면조의 비중은 매우 약하다.
정광수는 김연수ㆍ박초월ㆍ임방울에서 거의 드물게 보이던 우조의 선율진행이 곡의 전반을 차지한다. 세 옥타브가 넘는 음역대를 노래하고 있는 점은 정광수의 소리에서 나타난 현상이다.
셋째, 붙임새는 5명의 창자들이 동편제 판소리의 특징인 대마디 대장단을 주로 사용하는 것을 알 수 있다. 그리고 엇붙임, 완자걸이, 교대죽 등의 붙임새를 사용하였다.
창자별로 살펴보면 정광수와 김연수가 다른 창자들보다 다양한 붙임새를 통해 소리의 변화를 준 것으로 보인다. 임방울은 대마디 대장단의 사용 비율이 약 90%정도를 차지할 정도로 이 붙임새가 주를 이루었다.
동편제 수궁가는 판소리의 전승과정부터 지금의 주를 이루는 바디가 형성되기까지 매우 중요한 위치에 있다. 동편제 계열의 창자들의 소리는 송만갑과 유성준의 소리가 그대로 전승되는 것이 아니라 개인의 음악관과 자신만의 독특한 특징을 살려 다양하게 나타나고 있음을 범피중류 대목을 통해 그 일면을 확인하였다.

목차 (Table of Contents)

• 목 차
• Abstract ··········································································· 1
• 국문초록 ············································································ 3
• Ⅰ. 서론 ············································································ 5
• A. 문제제기 및 연구목적 ······················································ 5
• B. 연구범위 및 연구방법 ······················································ 7
• Ⅱ. 동편제 수궁가의 전승 양상 ················································ 9
• A. 동편제 수궁가의 전승계보 ················································· 9
• B. 창자별 활동 및 소리세계 ·················································· 10
• 1. 박봉술 ····································································· 10
• 2. 김연수 ····································································· 11
• 3. 박초월 ····································································· 12
• 4. 임방울 ····································································· 12
• 5. 정광수 ····································································· 13
• Ⅲ. 본론 ·········································································· 14
• A. 사설구성 ······································································ 14
• B. 선율의 유형과 전조양상 ···················································· 16
• 1. 박봉술 ····································································· 16
• 2. 김연수 ····································································· 19
• 3. 박초월 ····································································· 23
• 4. 임방울 ····································································· 28
• 5. 정광수 ····································································· 37
• C. 붙임새 ········································································ 41
• 1. 박봉술 ····································································· 42
• 2. 김연수 ····································································· 43
• 3. 박초월 ····································································· 46
• 4. 임방울 ····································································· 48
• 5. 정광수 ····································································· 50
• Ⅳ.결론 ·············································································· 56
• 참고문헌 ············································································ 58
• 부록악보 ············································································ 61