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영어

In recent months, one gramophone record of Chunhyang Song by the famous singer Kim Bong-i and one record of Daejangbuhan Song by Kim Bong-i (or Kim Chang-hwan) were exhibited in Independence Hall which keeps them. Also, the already known Ibyeol Song record by Kim Chang-hwan was exhibited. This paper examined these records, and found that Chunhyang Song by Kim Chang-hwan and Kim Bong-i (father and son), are considerably different from Chunhyang Songs of Kim Se-jong style and Jeong Jeong-ryeo style. Also, it was found that pansori (narrative song) by Kim Chang-hwan based on these records was considerably different from Daechunhyangjeon by Jeong Gwang-su known as Kim Chang-hwan style (1954), Chunhyang Song listed in Traditional Culture Five Song Collection (1982), and Chunhyang Song Version. Pansori by Kim Chang-hwan and Kim Bong-i, as listed in the gramophone records, were heavily influenced by or were relevant to classical style songs in terms of narration or singing technique, and take an old style aspect. The pansori Seopyeonje was known to be sung with plaintive notes. Kim Chang-hwan was known to be the maestro of Sepyeonje. Nonetheless, his songs from the records deliver very powerful, magnificent feeling. Judging by the records of Kim Chang-hwan and Kim Bong-i (father and son), the concept and recognition of Seopyeonje was not defined by plaintive note or plea style. Rather, Seopyeonje was characterized by the expression of delicate, ample emotions, colourful vocalization techniques, and detailed composition of melodies. Seopyeonje resulted from the historical development of old style, middle-old style, Dongpyeongje and Seopyeonje. Jeong Gwang-su song version or Baek Seon-hwan version known as Chunhyang Song of Kim Chang-hwan style are not a photographic transfer of Kim Chang-hwan style, but has little relevance to Kim Chang-hwan style or is a product after undergoing considerable changes. Thus, it is difficult to believe Chunhyang Song by Jeong Gwang-su and Baek Seong-hwan as the Kim Chang-hwan style.

한국어

본고는 새로 발견된 김봉이 명창의 춘향가 유성기음반 1장과 김봉이(혹은 김창환)의 단가 대장부한 1장과 기존에 알려진 김창환의 이별가 유성기음반을 근거로 하여 김창환-김봉이 부자의 춘향가는 현재 전승되고 있는 김세종 제, 정정렬 제 춘향가와는 상당히 다른 소리였음을 고찰하였다. 또한 김창환 제로 알려진 정광수의 『대춘향전』(1954)과 『전통문화오가사전집』(1982)에 수록된 춘향가, 백성환의 『춘향가 창본』이 김창환의 소리와는 상당한 차이가 있음을 밝혔다. 유성기음반에 나타나는 김창환-김봉이의 소리는 사설로 보나 창법으로 보나 가곡의 영향 내지는 상관성이 짙게 나타나며, 고제 판소리의 면모를 지니고 있다. 김창환의 소리로 보면 본래 서편제의 개념이나 인식은 계면조나 애원성을 두고 구분 짓는 것이 아니었다. 오히려 섬세하고 풍부한 정서의 표현, 다채로운 성음놀음이나 섬세한 선율 구성에 방점이 놓여야 한다. 서편제 역시 고제-중고제-동편제-서편제로 이행해 나온 역사적 산물이었다. 김창환 제 춘향가로 알려진 정광수 창본이나 백성환 본은 김창환 제를 사진소리 받듯이 전해진 것은 아니라, 김창환 제와는 관련성이 적거나 아니면 상당한 변모를 겪은 뒤의 산물인 것이다.