동편제, 서편제와 함께 판소리 세 가지 유파 중 하나인 중고제 판소리는 충남 논산 강경의 김성옥을 위시로 한 금강유역권과 서산 해미의 고수관, 방만춘, 방진관 등을 위시로 한 내포문화권에서 크게 발달하였는데, 주로 양반상류층의 애호 속에 담담하고 고아古雅한 가곡풍으로 발전해온 것으로 보인다. 극도의 노력으로 성가를 이뤄 심청가를 완성한 방만춘은 조선 전기8명창 중 한사람으로 판소리사에 큰 업적을 세운 인물이며 가계를 이은 손자 방진관은 방응교와 동일인으로 일제강점기 신제판소리가 유행할 때에도 끝까지 중고제 전통을 지켰고, 그 정통성이 음반과 방송을 통해 확인되고 있다. 음반에 전하는 방진관의 소리 <군사설움>대목의 악조 분석을 통해 현행 민속악이나 동,서편제 소리와 다른 계면조의 평조적 표출, 구성음의 차이, 붙임새와 선율의 단조로움과 반복, 가곡풍의 창법 등의 특징을 확인할 수 있으며 이러한 사실들은 방진관의 판소리가 다른 중고제 명창들의 소리와 유사성이 많으며 이는 동, 서편제에 비해 보다 앞선 시기 고제판소리의 특성으로 볼 수 있다. 허흥식 소장본 심청가 소리책은 내포제의 고장 서산지역에서 전해진 것으로 방진관의 SP음반에 남겨진 판소리 사설 부분과 일치함을 확인하였다. 이를 통해 이 소리책이 조선창극사에 기록된 방만춘의 심청가 사설로 방진관을 거쳐 가계에 전해지던 필사본이 아닌가 면밀히 연구해볼 가치가 있다. 판소리의 古調를 고수해온 방진관의 중고제 판소리는 이제 전승이 끊긴 매우 희귀한 소리가 되었다. 통속성의 결과로 갈수록 설움조로 계면화되고, 유파나 바디를 떠나 하나같이 소리의 깊이와 다양성이 사라지고 있는 현실에서 방진관의 소리는 판소리 미학의 다양성을 보여주는 매우 귀중한 자료이다. 이제 방진관, 이동백, 김창룡, 심상건, 조학진등 중고제 명창들의 이채로운 소리제에 대한 학술적 연구와 함께 실기인들의 활발한 복원 작업을 체계화해야 한다. 이를 통해 단순한 복원을 넘어, 대동소이하기만한 현대 판소리의 음악관을 더 폭넓게 하고 장차 새로운 현재적 전통을 창조하고 수립하는데 확고한 내적 근거와 자산으로 삼아야 할 것이기에 중고제 판소리의 부활은 매우 긴요하다.

Junggoje as one of three pansori schools, along with Dongpyeonje and Seopyeonje has been much developed in the Qeum River Basin with Kim seong-ok in Ganggyeong-eup, Nonsan-si, Chungcheongnam-do and in the Naepo cultural area with Go su-gwan, Bang man-chun, and Bang jin-gwan, Haemi-eup, Seosan-si, Chungcheongnam-do. It seems that it has been loved by the upper class of yangban, aristocrat and developed into calm and graceful aria style. Bang man-chun, one of 8 great singers in the Joseon Dynasty who had collected hymns ? and completed Simcheongga with great efforts, performing a feat in the history of pansori. His grandson Bang jin-gwan, an identical person to Bang eung-gyo took over the family business and protected the tradition of Junggoje to the end even under the popularity of new pansori. Its legitimacy has been verified via albums and broadcasting. Through the tone analysis on Bang jin-gwan's pansori, 'A Soldier's Lamentation' from an album, we can identify the characteristics such as an expression like Pyungjo of Gyemeonjo different from the present folk music, Dongpyeonje, and Seopyeonje, differences of composing notes, monotonous and repetitive Buchimsea (attachment for effectiveness in drumming method) and melodies, and a singing method with an aria style. These kinds of facts have made us justify that Bang jin-gwan's pansori has lots of similarities to other master singers' songs of Junggoje and that it shows properties of old pansori earlier than Seopyeonje. Heo heung-sik's collection of a sori book Simcheongga has been handed down in the region of Seosan, the hometown of Naepoje and checked as it is identical to the story part of the pansori left in Bang jin-gwan's SP album. Based on this information, it is worthwhile to research in detail if the sori book as Bang man-chun's story of Simcheongga recorded in the history of changgeuk of the Joseon Dynasty is the manuscript succeeded in his family by Bang jin-gwan or not. Bang jin-gwan's Junggoje pansori which has adhered to the old tone ? of pansori has become a precious sori, without handed down more. His sori is a very valuable material showing the diversity of aesthetics of pansori under the present situation when it has become Gyemyeonjo as the tone of sadness as a result of the popularity, and when the depth and diversity of sori are disappearing regardless of schools or Bodi. Now, it is time to research on the diverse Junggoje master singers including Bang jin-gwan, Lee dong-baek, Kim chang-ryong, Sim sang-geon, and Jo hak-jin and also systematize performers' activities for the enthusiastic restoration. By doing that, we will be able to widen the viewpoint of the pansori music which is not at present, leading to consider it as the solid internal basis and property in creating and establishing the new present tradition. Therefore, it is very essential to resurrect Junggoje pansori.

Junggoje as one of three pansori schools, along with Dongpyeonje and Seopyeonje has been much developed in the Qeum River Basin with Kim seong-ok in Ganggyeong-eup, Nonsan-si, Chungcheongnam-do and in the Naepo cultural area with Go su-gwan, Bang man-chun, and Bang jin-gwan, Haemi-eup, Seosan-si, Chungcheongnam-do. It seems that it has been loved by the upper class of yangban, aristocrat and developed into calm and graceful aria style. Bang man-chun, one of 8 great singers in the Joseon Dynasty who had collected hymns ? and completed Simcheongga with great efforts, performing a feat in the history of pansori. His grandson Bang jin-gwan, an identical person to Bang eung-gyo took over the family business and protected the tradition of Junggoje to the end even under the popularity of new pansori. Its legitimacy has been verified via albums and broadcasting. Through the tone analysis on Bang jin-gwan's pansori, 'A Soldier's Lamentation' from an album, we can identify the characteristics such as an expression like Pyungjo of Gyemeonjo different from the present folk music, Dongpyeonje, and Seopyeonje, differences of composing notes, monotonous and repetitive Buchimsea (attachment for effectiveness in drumming method) and melodies, and a singing method with an aria style. These kinds of facts have made us justify that Bang jin-gwan's pansori has lots of similarities to other master singers' songs of Junggoje and that it shows properties of old pansori earlier than Seopyeonje. Heo heung-sik's collection of a sori book Simcheongga has been handed down in the region of Seosan, the hometown of Naepoje and checked as it is identical to the story part of the pansori left in Bang jin-gwan's SP album. Based on this information, it is worthwhile to research in detail if the sori book as Bang man-chun's story of Simcheongga recorded in the history of changgeuk of the Joseon Dynasty is the manuscript succeeded in his family by Bang jin-gwan or not. Bang jin-gwan's Junggoje pansori which has adhered to the old tone ? of pansori has become a precious sori, without handed down more. His sori is a very valuable material showing the diversity of aesthetics of pansori under the present situation when it has become Gyemyeonjo as the tone of sadness as a result of the popularity, and when the depth and diversity of sori are disappearing regardless of schools or Bodi. Now, it is time to research on the diverse Junggoje master singers including Bang jin-gwan, Lee dong-baek, Kim chang-ryong, Sim sang-geon, and Jo hak-jin and also systematize performers' activities for the enthusiastic restoration. By doing that, we will be able to widen the viewpoint of the pansori music which is not at present, leading to consider it as the solid internal basis and property in creating and establishing the new present tradition. Therefore, it is very essential to resurrect Junggoje pansori.

, , , , , , , , , , , , , , , , , , , , , , , , , ,

Bang man-chun, Bang jin-gwan, Junggoje, Seosan, Ganggyung, classical song style, Woojo, Pyongjo, Sorichaek, Joseon changgeuk history, Gyemyeonjo, Naepoje, Kim seong-ok, Kim Chang-ryong, Lee dong-baek, Lee seon-yu, Go su-gwan, Han seong-jun, Sim jeong-sun, Kang so-chun, Jo hak-jin, Shim Chung ga, Goje, Jeok byeok ga, military sorrow song. five pansori series