• Sijohaknonchong
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• v.24
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• pp.139-171
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• 2006

'Geumokchongbu' that is Gajib(a book of songs) is composed only the works of An Minyoung. Ahn Minyoung was not only an editor of Gajib and also Musician that is a kind of singer, Because of his works, he is the one who should be studied for the history of literature of Sijo in the latter period of Chosun, especially in 19th century. Through the studies on 'Geumokchongbu' that is the Gajib edited by Ahn Minyoung. his excellent musical talent could be confirmed. 'Geumokchongbu' which is another Gajib in compared to 'Gagokwonryu' was produced under his careful musical consideration. The tunes shown on Gajib reflected the situation of Gagok just as it was sung and played in that period. Generally, the system of Gajib which was edited in that period Including 'Geumokchongbu' was continued on nowaday's tradition of singing and playing the Gagok. Nevertheless lots of studied results about Ahn Minyoung, the editor of Gajib. was reported. his personal aspect still was not explained for many detailed part. The introduction o( the background of works and various explanation was recorded for each work in 'Geumokchongbu'. The written year of works was found in the introductions. and some of Ahn Minyoung's life could be traced through the chronicle. It could be confirmed for his broad knowledge about music and detailed reality of active correspondences with many loyal family including Daewongun, Lee Haeung and artists in that period. The existence of a type of singing and playing which takes any part of specific tunes shown on Gajib was confirmed. For example, Hachuksi, a blessing poem, dedicated for Daewongun or loyal family was created for supposing singing and playing thoroughly. Accordingly, Hachuksi dedicated to specific persons might be sung and played at the same place, and in the same bundle. Through the study, the way of singing and playing the Gagok was much various, and the variety was confirmed concretely.

• Sijohaknonchong
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• v.26
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• pp.93-123
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• 2007

Ahn Minyoung's editorial work of gajib(songbook) was the work for realization of artistic ability which had been a pursuit for his life. According to recent excavation of 'Seungpyeonggok' that is another gajib editted by Ah Minyoung, it is found that his editorial work of gajib was began in earlier days. 'Seungpyeonggok' composes 12 pieces of works, and it arranged each piece of work with melody of gagok, respectively. For the size, it is evaluated to 'the smallest gajib' among the left gajib at present. This gajib was composed to celebrate the gathering of Seungpyeonggye which led by Ahn Minyoung. There is Preface which was written by Ahn Minyoung, and the content of preface could be similar to the one in his another gajib 'Geumokchongbu' except some omission, variation, or alternation of content and phrase partly to fit for the character of each gajib. The names of Seungpyeonggye's members are shown in the preface of 'Seungpyeonggok', so it is important material for studying the appearances and activities of the members at that time. The purpose and intention of Seungpyeonggye's gathering was clarified in the preface of 'Seungpyeonggok' was composed to the repertoir of gagok sung at the celebration party. All the collected works are related to Daewongun directly or indirectly in their contents. Because the celebration party of Seungpyeonggye was designed for Daewongun, all the contents are dedication for Dasewongun easily. And the works of 12-pieces previously discussed were found as playing repertoir, 'type of pyeon-ga' which was composed to 8-pieces and 4-pieces identically.

• Sijohaknonchong
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• v.26
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• pp.187-222
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• 2007

Out of total 39 documents to research musial theory appearing in the introduction of ancient score and anthology in 19th century, ancient scores including introduction were $\ulcorner$GeumboJeongseon(琴譜精選)$\lrcorner$ $\ulcorner$ChilhyeonGeumbo(七絃琴譜)$\lrcorner$ $\ulcorner$HyeongeumOeumTonglon(玄琴五音統論)$\lrcorner$ $\ulcorner$HyeongaGuebeom(絃歌軌範)$\lrcorner$ and $\ulcorner$JukchwiGeumbo(竹醉琴譜)$\lrcorner$ and anthologies were $\ulcorner$GyobangGayo(敎坊歌謠)$\lrcorner$ $\ulcorner$SeungpyeongGok(昇平曲)$\lrcorner$ $\ulcorner$GagokWollyu(歌曲源流)$\lrcorner$ and $\ulcorner$GeumokChongbu(金玉叢部)$\lrcorner$. The results of this study are summarized as followings ; First, the introduction of ancient score reads that musicians should have inherent character and right mind and harmonious sound exerts influence on human being. It emphasized that the proper expression of music is the stabilized mind and right idea. Second, the introduction of anthology lays stress on proper meaning, that is, lyrics that is not indecent nor loose. It asserted that right lyrics should not be pressing nor frivolous, but rather slow. Lastly, the introduction of both ancient score and anthology commonly present 'recovery of ancient music'. It was confirmed that the ultimate purpose of intellectuals and musicians in 19th century was to aim at slow, but harmonious and right music.

• (The) Research of the performance art and culture
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• no.38
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• pp.143-191
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• 2019

This research argues that Pansori had patrons in its development. Patrons are commonly discussed aspect of history of any art form. Pansori is no exception. While Pansori originally began as the art of the common people, Yangban class became the primary audience. This paper examines the role of royal family of Choson dynasty in development of Pansori. Heungseon Daewongun (흥선대원군) in particular was a Pansori aficionado. The record around Daewongun's involvement to Pansori proves that heavy monetary investment was made. He hosted Pansori competitions and sponsored creation of Pansori tradition, Boseong Sori (보성소리) and Gangsanje (강산제). Also the aspect of Pansori patronage lies not just in Yangban class, but also in Jung'in class, which is roughly analoguous to European bourgeois in that they were not of Yangban class, but had gained monetary status, and had aesthetics of both Yangban and commoner class. I argue that Heungseon Daewongun's ties to the Jung'in class is reflected in his actions towards Pansori artists. The traditions he had sponsored have important characteristics, including sophisticated lyrics heavily utilizing Classical Chinese poetry, highly artistic musical composition, and conservative Confucian ethics. Those characteristics indicate that the Pansori traditions sponsored by the royal patrons have changed to cater to their artistic taste and philosophy. This paper conducts a textual comparative analysis between Gangsanje Pansori Jeokbyeokga (강산제 판소리 적벽가), Dongpyeonje's Pansori Jeokbyeokga (동편제 판소리 적벽가), and Seopyeonje Pansori Jeokbyeokga, who share the same plot yet offers a stark differences in tone, philosophy, and sense of humor. Daewongun was a primary sponsor of Pansori, which proves that Yangban class and the royal family have played important role as patrons of Pansori.