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The development of p’ansori remains unknown with respect to its exact source, place, and time of origin. This study looks at the early stage in the development of eighteenth-century p’ansori: Its formation, style, and social background. In order to examine the popular elements of the genre, p’ansori texts and musical aspects are examined.2 The social reception of p’ansori at this time is discussed by viewing documents written by a few noblemen who came to appreciate the art, despite the disapproval of others. P’ansori is an art form which amalgamates the musical expression and religious
characteristics of the folk world of the late Chosŏ times. It features all religious, whether native or foreign, activities practiced by the populace during that time, and contains all types of music enjoyed by common people. They are muga (songs of shaman origin), chapka (secular songs), and minyo (folk songs). Religion-wise, Confucian teaching is the most prominent feature, appearing in p’ansori stories, as people during the late Chosŏ times were educated by the religion and by the ruling philosophy of that period. Current p’ansori is sung in modes used not only in folk music, but also those employed in upper-class music. It is regarded that certain musical modes, such as ujo and p’yŏgjo, were adopted from kagok (lyric song). The various rhythms that are used in contemporary p’ansori performances are also thought to have evolved during this time. In its early days, the main audience of p’ansori was the ordinary people, up until the latter part of the nineteenth century when number of upper-class noblemen
became to enjoy the art.