The aspects of the Pansori's popular pieces into popular songs and its meaning : Mainly on the poetic structure of the songs <Ssukdaemeri>, <Tsuwolmanjeong> and <Soldier sorrow song>

In this study, how the complete epic song of (Wanchang) Pansori with the narrative structure separated and converted into the popular song in the form of short song with intensive poetic structure is observed through the songs <Ssukdaemeri>, <Tsuwolmanjeong> and <Soldier sorrow song>. After 1920s, the Pansori faced the new situation by the sale of the phonographic records. Until then, the people only could listen to Pansori of long narration lasting 3 to 5 hours by a single singer at the site but people started focusing on the lyrical pieces lasting around 3 minutes by the production of phonographic records. As thus, the emergence of phonographic record had a profound relation with the formation of popular pieces of the Pansori. The popularity secured by the Pansori and the change of time in the form of 3 minutes made by the phonographic records opened the new era for the Pansori. The substantial time restriction eventually leaded to secure lyrical character, which was about the common human emotions such as 'waiting for parted lover', 'yearning for parted father' and 'thinking of family in hometown of far away', rather than delivering the epic contents. This poetic lyric character is the common sentiment of Koreans who has crossed the ages of 'sorrow' and 'lamentation' but is the 'general' human emotions which appear commonly regardless of time and places. The popular piece of the Pansori engraved lyric character in the form of popular song, which the popularity of the Pansori brought, was spread wide not only by their musical making but by the related capability of performers. The emotion of lamentation and the melody of mode based on ‘gyemeonjo’ out of rhythms of the Pansori penetrated deep into the people's hearts and in addition to that, the related commercial factors changed the aspects of the Pansori. In other words, the historical significance of the popularization of Pansori is that the Pansori, which existed as the structure of motional story telling-oriented narrative structure, has reborn with the static lyrical structure, that is, the poetic structure expressing the emotions such as the love, the separation, the yearning, the waiting, and the yearning for home, after advent of phonographic record. Now, the Pansori is presented in front of the public through the phonographic records of which each independent piece and content is converted into single song melody. This may be welcoming change for the public but worrisome phenomenon for related minority group of artists and the historian of the literature.