earticle

영어

Chesok-kut, in which a shaman epic is recited, is performed in the first part of two-part scheme in the ssikkim-gut, the washing ritual for the dead in Chindo island. Among all the ritual sequences of ssikkim-gut, ches?k-kut is the longest(one hour) and the most complex one. Chindo sikkim-gut in general, and ches?k-kut in specific, have been considered poor in the textual integrity. In terms of its musical quality, however, they have shown very high standard. Especially the ches?k-kut, being one of the longest of all, contains a complex musical construction. Ches?k-kur is performed to invite and entertain ches?k, a god of fortunes and in return to receive many blessings, this-worldly fortunes from him. Its ritual procedures are in some sense contained in a series of individual songs, all connected. Each is complete in its own terms, having its poetic and musical characteristics. Each, having its own characteristics, is well articulated and thus gain independency as a piece. From the musical point of view, thus, it can be considered as a suite, which contains various styles in its parts. Its stylistic varieties are revealed in its form, changdan(rhythmic cycle), tempo, melodic style, performing style, performing media, and from these various songs in chesok-kut, we can connect to more specific concepts of musical style, such as strophic, through- composed, call-response, variation, improvisation, unison, heterophony, recitative, sprachstimme, counter-melody, synchopation, polyphony, monophony, and so on. In spite of the variety, we can categorize the songs of ches?k-kut three types, one being strophic song with call-and-response, variation, and heterophony style, second song in recitative or sprachstimme style, and third through-composed song with improvisation and polyphony. These three types of songs rake turns each other and dance music, making this one-hour-long ritual sequence interesting, complex, and dynamical. From the analytical approach to ches?k-kur, we observe not only its beauty out of complexity and variety, but also the stylistic idiosyncrasy of the performers (shaman). They keep the order and content well according the tradition, but show difference in detail, and artistic quality. Especially in the song of improvisational style, the performers are differentiated in their virtuosity and expressional fluency.