이 글은 황해도 무가의 가창방식인 만세받이 무가를 살펴본 글이다. 먼저 그동안 이루어진 황해도무가의 채록상황과 연구성과를 검토하여, 황해도 무가의 연구가 많이 이루어지지 않았음을 지적했다. 다음으로 황해도무가의 가창방식을 만세받이와 타령, 놀이무가로 나누어 살폈고, 특히 만세받이 무가를 만세받이, 긴만세받이, 자진만세받이로 나누어 양상을 제시했다.만세받이 무가는 서두→청신→기원의 3단 구성이다. 시간과 장소에 대한 언급을 서두 부분에 포함시킨다면 만세받이 무가는 전형적인 청신무가로 청신과 기원으로 구성된다. 만세받이 무가 구송 후 무당은 곧장 신을 몸에 실어 굿을 진행한다. 다양한 공수가 이어지고, 빠른 장단에 맞추어 연풍을 돌며 신을 놀린다. 여러 무복을 갈아입으며 다양한 신격을 불러 모시고 재가집에게 연이어 공수가 내린다. 타령이 이어지고 굿거리에 따라서는 다양한 굿놀이가 연행된다. 황해도 만세받이 무가는 오신과 공수를 주기 위한 사전 준비단계의 의미를 가진다. 황해도 굿음악 중 장단의 정형성을 가진 것이 만세받이 장단임을 고려하면, 만세받이 무가는 청신의 의미만을 가질 뿐 굿 전체에서 차지하는 비중은 약하다. 따라서 황해도 지역에 서사무가가 발달하지 않은 근거는 만세받이 무가에 있다고 할 수 있다. 말로 된 무가는 청신의 기능만을 수행하고 신의 여러 행동은 주로 춤과 놀이, 타령으로 보여주기 때문에 신의 유래에 대한 긴 내용을 굳이 말로 나타낼 필요가 없기 때문이다.

The purpose of this study is to investigate the Shamanic-songs in Hwanghawgut. The following are the detailed problems and the finding of the study. I indicated the Shamanic-song in Hwanghawdo had not been studied well after examining the result of research and recording situation of the Shamanic-songs in Hwanghawgut that had done all the while. Next, I calssified the Shamanic-songs in Hwanghawgut into mansebagi, taryung and gut nori and suggested the aspects that mansebagi is divided as gin-masebagi, zazzin mansebagi. The mansebagi consists of calling god and the invocation as a the 3 stages typical shamanic song making up of the opening, calling the god and invocation. After singing the mansebagi shamanic song, a shaman goes forward with gut having her god instantly. The diverse gong-su were continued and a shaman makes the god move and play and turn around yeon-poong to fast piping. Changing shamanic costumes shaman calls, summons various divinity and gives gong-su to zaegazib continuously. Taryung is continued and the various gut nori comes along according to gut geori. The Shamanic-songs in Hwanghawgut means a preparatory stage in order to give the gong-su and giving play to god. It was a mansebagi why shaman epic didn't developed in Hawanghae province area. It is not necessary that explains the long details of origin about god, because many actions of god shows dance, play, taryung

The purpose of this study is to investigate the Shamanic-songs in Hwanghawgut. The following are the detailed problems and the finding of the study. I indicated the Shamanic-song in Hwanghawdo had not been studied well after examining the result of research and recording situation of the Shamanic-songs in Hwanghawgut that had done all the while. Next, I calssified the Shamanic-songs in Hwanghawgut into mansebagi, taryung and gut nori and suggested the aspects that mansebagi is divided as gin-masebagi, zazzin mansebagi. The mansebagi consists of calling god and the invocation as a the 3 stages typical shamanic song making up of the opening, calling the god and invocation. After singing the mansebagi shamanic song, a shaman goes forward with gut having her god instantly. The diverse gong-su were continued and a shaman makes the god move and play and turn around yeon-poong to fast piping. Changing shamanic costumes shaman calls, summons various divinity and gives gong-su to zaegazib continuously. Taryung is continued and the various gut nori comes along according to gut geori. The Shamanic-songs in Hwanghawgut means a preparatory stage in order to give the gong-su and giving play to god. It was a mansebagi why shaman epic didn't developed in Hawanghae province area. It is not necessary that explains the long details of origin about god, because many actions of god shows dance, play, taryung