전남지역의 대표적인 굿으로 무형문화재로 지정된 진도씻김굿을 꼽는다. 그리고 그동안의 연구들도 문화재로 지정된 진도 지역의 씻김굿에 집중되는 경향을 보이고 있다. 따라서 이 글에서는 전남지역에 전승되고 있는 씻김굿의 장단을 중심으로 지역적 차이와 다양성을 찾는 동시에 장단의 음악적 구조와 특성을 드러내고자 한다. 연구 내용을 요약하면 다음과 같다.첫째, 각 지역별 무녀들은 씻김굿에 사용하는 장단이 조금씩 다르게 나타난다. 씻김굿의 삽입가요에 사용하는 장단은 판소리의 장단들로서 지역적 차이가 크지 않다. 반면 풀이형 무가에 사용되고 있는 장단들은 지역에 따라 다르게 사용되는 양상을 보이고 있다.둘째, 씻김굿의 장단 가운데 신의 내력을 풀어내는 ‘풀이’형 무가에는 동살풀이(흘림), 풀이살, 엇모리(대학놀이, 업중모리)의 세 가지 유형이 사용되고 있다. 이장단은 동살풀이와 엇모리를 같은 용도로 임의적으로 바꾸어가며 사용하고 있으며, 채정례는 흘림과 풀이살을, 유점자는 동살풀이와 엇모리를, 박경자는 동살풀이를 주로 사용한다.셋째, 외장구와 외징으로 연주되는 굿거리와 악곡들은 굿의 시작부분의 조왕과 맨 마지막의 종천처럼 악사 없이 연행해야 할 경우, 오구풀이처럼 긴 서사무가를 구연할 경우, 조왕경, 명당경, 살경과 같은 경 종류를 읊는 경우의 세 가지이다.넷째, 진양조는 네 무녀가 공통적으로 선부리와 제석맞이, 긴염불의 세 곡에서 사용한다. 세 곡은 가사에 있어서도 큰 차이를 보이지 않아 매우 정형화된 모습으로 존재한다. 다섯째, 중모리는 중염불과 노적청, 하적소리, 상여소리 등에서 공통적으로 사용된다. 그러나 전남서부지역 무녀들의 중모리가 판소리 중모리 장단형과 유사한 것에 비해, 전남 동부지역의 무녀인 박경자의 경우 세마치형으로 반주하는 점이 독특하다.여섯째, 중중모리와 자진모리는 구조가 같고 속도만 다르기 때문에 선택적으로, 혹은 연결하여 사용하는 모습을 보인다. 일곱째, 굿거리는 네 명의 무녀 모두 성주풀이와 춤반주에서만 사용하고 있다. 성주풀이는 남도삼현굿거리라는 기악곡에서 나온 것으로 추측된다.

Generally, Jindo Ssitgimgut, which is designated as an intangible cultural asset, is thought to be the representative Gut in Jeonnam province. Following in suit, researches until now have tended to focus on Ssitgim Gut of Jindo region which has been designated as a cultural asset. Therefore, this article aims to look for the regional characteristics of Ssitgim Gut transmitted in Jeonnam province and reveal the musical characteristics of Ssitgim Gut rhythmic Structure. The researches summarizes as follows. Firstly, female shamans in each region show slightly different rhythmic Structure for Ssitgim Gut. The rhythmic Structure in the inserting songs are Pansori rhythmic Structure which do not bear significant regional differences. On the other hand, the rhythmic Structure used in unfolding songs show differences. Secondly, among Sitgim Gut rhythmic Structure, there are three types of “◦◦－puli’ types of songs:Dongsalpuli (Heulim), Pulisal, Utmori (Daehaknoli and Upjungmori). Lee Jang Dan arbitrarily uses Dongsalpuli and Utmori for the same purpose; Chae Jung Rye uses Heulim and Pulisal; Yoo Jum Ja uses Dongsalpuli and Utmori; and Park Kyung Ja mainly uses Dongsalpuli. Thirdly, Gutguri, a shaman song, and other songs played by Uijangu and Uijing rhythmic Structure are of three types:the performance without musicians such as Jowang in the beginning of Gut and Jongcheon at the end of Gut, the performance of a type of long chronicle shaman songs such as Ogupuli, and the performance of reciting buddhist scriptures such as Jowangkyung, Myungdangkyung, and Salkung. Fourthly, for Jinyangjo rhythmic Structure, four female shamans universally use it in three songs, namely, Sunburi, Jeseokmaji, and Ginyeonbul. The three songs do not show too much difference in their lyrics and they exist in remarkably standardized forms. Fifthly, Jungmori rhythmic Structure is universally used in Jungyeombul, Nojukchung, Hajuksori, and Sangyesori. However, Jungmori rhythmic Structure by female shamans in the western Jeonnam region is similar to Pansori Jungmori rhythmic Structure. Park Kyung Ja, a female shaman from Jeonnam eastern part, plays it uniquely in Semachi rhythmic Structure. Sixthly, Jungjungmori and Jajinmori have the same structure and only differ in their performance speed. They tend to be used selectively connected. Lastly, Gutguri rhythmic Structure is only used in the Sungjupuli and dance accompaniment in all of the four female shamans. Sungjupuli is conjectured to have been originated from a instrumental song called Namdo Samhyungut.

Generally, Jindo Ssitgimgut, which is designated as an intangible cultural asset, is thought to be the representative Gut in Jeonnam province. Following in suit, researches until now have tended to focus on Ssitgim Gut of Jindo region which has been designated as a cultural asset. Therefore, this article aims to look for the regional characteristics of Ssitgim Gut transmitted in Jeonnam province and reveal the musical characteristics of Ssitgim Gut rhythmic Structure. The researches summarizes as follows. Firstly, female shamans in each region show slightly different rhythmic Structure for Ssitgim Gut. The rhythmic Structure in the inserting songs are Pansori rhythmic Structure which do not bear significant regional differences. On the other hand, the rhythmic Structure used in unfolding songs show differences. Secondly, among Sitgim Gut rhythmic Structure, there are three types of “◦◦－puli’ types of songs:Dongsalpuli (Heulim), Pulisal, Utmori (Daehaknoli and Upjungmori). Lee Jang Dan arbitrarily uses Dongsalpuli and Utmori for the same purpose; Chae Jung Rye uses Heulim and Pulisal; Yoo Jum Ja uses Dongsalpuli and Utmori; and Park Kyung Ja mainly uses Dongsalpuli. Thirdly, Gutguri, a shaman song, and other songs played by Uijangu and Uijing rhythmic Structure are of three types:the performance without musicians such as Jowang in the beginning of Gut and Jongcheon at the end of Gut, the performance of a type of long chronicle shaman songs such as Ogupuli, and the performance of reciting buddhist scriptures such as Jowangkyung, Myungdangkyung, and Salkung. Fourthly, for Jinyangjo rhythmic Structure, four female shamans universally use it in three songs, namely, Sunburi, Jeseokmaji, and Ginyeonbul. The three songs do not show too much difference in their lyrics and they exist in remarkably standardized forms. Fifthly, Jungmori rhythmic Structure is universally used in Jungyeombul, Nojukchung, Hajuksori, and Sangyesori. However, Jungmori rhythmic Structure by female shamans in the western Jeonnam region is similar to Pansori Jungmori rhythmic Structure. Park Kyung Ja, a female shaman from Jeonnam eastern part, plays it uniquely in Semachi rhythmic Structure. Sixthly, Jungjungmori and Jajinmori have the same structure and only differ in their performance speed. They tend to be used selectively connected. Lastly, Gutguri rhythmic Structure is only used in the Sungjupuli and dance accompaniment in all of the four female shamans. Sungjupuli is conjectured to have been originated from a instrumental song called Namdo Samhyungut.

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