earticle

영어

Three of the current 12 Gasa(歌詞), that is, Sangsabyeolgok(相思別曲), Cheosaga(處士歌), and Yangyangga(襄陽歌) are quintuple beat, which discriminates these 3 Gasa from the rest. In this study, two issues were discussed. In chapter Ⅱ, the derivative relationship of Sangsabyeolgok, Cheosaga, and Yangyangga was investigated. And in chapter Ⅲ, the relationship between these 3 Gasa and Sijo(時調) was looked into. Here is the summary of the contents discussed in this study. First, there were two opening melodies in Sangsabyeolgok of Samjukgeumbo(三竹琴譜); The left melody led up to the current Sangsabyeolgok, and the right melody led up to the current Cheosaga. Second, according to the study on the 19th century's songbook, Cheosaga in Geumbo(琴譜) was recorded with man's melody and Yangyangga in Ayanggeumbo(峨洋琴譜) was recorded with woman's melody, basically sharing the same melody. Third, Sangsabyeolgok in Samjukgeumbo recorded in sixtuple beat has changed into quintuple beat due to the influence of Sijo. In addition, the opening melody and the ending part of Sangsabyeolgok also have changed into those of Sijo. Forth, the melody of the first phrase of Cheosaga, taking over the right melody of two opening melodies of Sangsabyeolgok in Samjukgeumbo, adapted the melody of the first phrase of Sijo. And the last phrase of Cheosaga newly added a lyric similar to the last phrase of Sijo. Therefore, the musical structure of Cheosaga became the same structure of Sijo and this structure leads to the present time. Finally, Yangyangga which shares the melody with Cheosaga, doesn't use the phrase similar to the last phrase of Silo and this aspect discriminates Yangyangga from Cheosaga. From the results of this study, the relationship among these 3 Gasa became clearly established, and the fact that these 3 Gara were strongly influenced by Sijo was found out for the first time.