• Sijohaknonchong
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• v.42
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• pp.7-28
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• 2015

This article defines sijo's musicality in two ways and verifies how musicality is shown in modern sijo with some examples. First, the first metre of a song's fourth part, that is, the sijo's jongjang, should include a reverse of its poetic image. A song consists of five parts. Each part is sung as a part of the song, that is, the sijo's dimetre, trimetre, or tetrametre, but its fourth part is sung as the monometre which is the first metre of its jongjang. This is because the first metre of a sijo's jongjang forms the axis of the reverse in its poetic image, and when this works properly, it can maintain musicality as a sijo. Second, a sijo's tetrametre and sijo-chang's gak should correspond as the same value along with the completion of its meaning. If a sijo does not keep the metre, each part's completion of meaning and also the sijo-chang's gak become problematic, so it is impossible to perform sijo-chang. Only when each part's completion of meaning and the gak of the metre correspond to each other as the same value, the sijo can maintain its musicality. Next, the study verifies how musicality is shown in modern sijo. This was examined through the examples of gyeol-metre and yangjang-sijo in dan-sijo that cannot form any tongsa madi, arrangement of syllable units beyond metres, or the examples of loose reverse of meaning in a transitional phrase. The two kinds of musicality presented by this author have already been proved with old sijo. However, modern sijo has been created mainly centering around its image, so such musicality has been ignored and sijo's identity has been damaged seriously. In sijo, musicality gives life. If modern sijo is created mainly around its image, it can never be called as sijo unless it has musicality. Although modern sijo is not performed as music, it should be equipped with the form to be performed as a chang. This is how sijo can maintain its musicality. It is thought that now is the time to recognize modern sijo as the matter of communication between sijo-chang and sijo literature, not just as the combination of sijo-chang and sijo literature.

• Sijohaknonchong
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• v.19 no.1
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• pp.5-35
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• 2003

A usual approach of lyric poetry education emphasizes musicality of prosody that takes the format of singing lyric poem or reciting that involves reading with one's eyes and contemplating through one's consciousness, both with are quite remote from reality. In order to achieve an effective education, traditional lyric poetry education should focus on the recitation format that involves natural respiration. The current study specified theoretically the A study of contents in traditional Korean lyric poetry recitation. recitation. method through understanding rhythm and prosody that are basic principles of recitation. The study also attempted creating contents through three-dimentional image built on a theoretical foundation of systemic poetry recitation method in order to amplify the impression and creation of the traditional Korean lyric poetry. This was done as an effort to manifest an aesthetic nature of traditional lyric poetry and also as an effort to advance one more step in public understanding and appreciation of traditional poetry.

• Sijohaknonchong
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• v.30
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• pp.219-240
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• 2009

Jasan An Whak did research on the essence of Sijo to show that Sijo has some features as a literature. I tried to show the formation process of Sijo theory in 1930s through Jasan's Sijo theory. As a preparatory step for it, I introduced Jasan's Sijo theory released in early 1930s and examined the characteristic aspects of it. Jasan recognized a literature as a directing post that reveals the history of our national spirit. He thought a literature as a foundation for satisfying new age. Also, he recognized the essence of a literature as a emotional expression. He emphasized that a new literature in Joseon age should have not only particularity of Joseon literature but also universality of modern literature. Jasan studied style of Sijo. Because he was at the time of modernization, he used the term, 'style', instead of 'poongkyeok', which had used before modern time. He tried to show linguistic artistry of Sijo through the series of his works about the style of Sijo. Jasan tried to find formal beauty of Sijo in the aspect of rhythm instead of rhyme. And he claimed that poetic words can be lengthened or shortened to be harmonious with the melody of Sijo. In other words, it is possible to change the words of Sijo for harmonizing with a tune. Jasan recognized that the words of Sijo have a musical function as well as a semantic function.

• Sijohaknonchong
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• v.30
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• pp.165-188
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• 2009

This paper is an analysis about Ahn, Jasan's theory of Sijo. He comprehended that Korean classical poetry is not a literary genre written in letters but a music genre sung orally, because he minutely investigated old books under the situation without preconceptions. Ahn, who had a thorough knowledge on our native music or literature, had an exact recognition about Sijo. He had analyzed existence of Sijo after commenting Sijo's true nature, whenever he discuss. His attitude was possible for his recognition like that. The first step of Ahn, Jasan's theory of Sijo is source of Sijo searched for identity of Sijo. Generic source, metrics, poetical idea, and history are written well in the paper. Establishment of Sijo's poetic identity is second step's discourse about Ahn's theory of Sijo, the contents are integrated in his book Poetics of Sijo poetry. He became to discuss Sijo as a regular poetry, even in this book. Especially a minute discussion about theory of Sijo's phrase and lines was accomplished in this time, theory of metrics based on meter and rhythm was a core discussion of this time too. Although his scholarly opinions are not refined comparing to the scholars of later ages, we can say that his opinions clearly worked a role of exemplary precedent. His opinions were other scholars ahead, nevertheless he had been neglected by researchers for not belonging to major group against his will. For this reason, I think Ahn's status in history of Sijo study has to be readjusted.

• Sijohaknonchong
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• v.44
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• pp.57-74
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• 2016

This these studies on SiJo to be published Dongkwang magazine. Dongkwang magazine was published from 1926 to 1933 but in the concrete it proceeded for three years two month. It was published a little SiJo and SiJo would reflected a phenomenon of society and a character of literature. A representative characters of the Si-Jo in substance at that time was summed up three. First it described a warmth of farm village. Expecially make full use of a sensuous description expressed a landscape of farm village. Otherwise it revealed a life of austerity in farming area. Second it reflected a phenomenon of return to their home village. People who was familiar with their country loved to come back their old home. To relax their mind and body they came back home and they pursuit romantic life. Third it was a poetry of historical retrospect. Although their country was colonial situation they longed fot their country's independence. Because of this anxiety they expressed their heart by means of old sijo. Mainly using old castle, ring, historic site they revealed a hidden feelings thst they had. It was a sorrow, an eager, remembrance etc. In spite of a poor surroundings they sang hope, romance, an possibility of independence. and so SiJo reflected the phases of the times.

• Sijohaknonchong
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• v.19 no.1
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• pp.85-106
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• 2003

Recently, the sonnet and the shijo, each representing French and Korean formal poetries, are tend to be read with the eyes only, as were more accustomed to written literature. But even after almost three millennia of written literature and increased use of digitalized poems, poetry retains its appeal to the ear as well as to the eye. To read a poem only by eyes might be wrong because it is designed to be read aloud by mouth and understood by ear, and will decrease the aesthetic sense otherwise. It is essential to find the right way to recite a poem in this dramatically changed society, and is especially important when many shijos are changing into digitalized forms to adapt the new wave of our society. The sonnet and the shijo emphasize the importance of the harmony of sounds and rhythms with certain structure, and have their own prosodies. The emotions of the speaker in poems are expressed with words. When they are pronounced. each phoneme has its own phonemic characteristics. When comparing the The Broken Bell(Baudelaire) and Chopoong ga (Jong Seo Kim) in terms of prosody and phonetics. the speakers emotions are closely related with the phonetic structure of each word. In The Broken Bell, the phonetic value of rhymes, repeated phonemes, concentration of front and back vowels. rhythms of onesyllable words shape the overall image of this poem describing the productivity of bells as appose to the sterility of the soul. Chopoong ga also shows the determined and strong will of the speaker by frequent glottalized sounds. distribution and concentration of certain vowels. and frequent use of plosives. As you see in these examples, phones, beats, and rhythms are not the mere transmitter of meaning but possess their expressive values of their own and should be the first to be considered when reciting a poem.

• The Journal of the Korea Contents Association
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• v.15 no.2
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• pp.163-176
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• 2015

This study aims to decode newly 'Mojookjirangga' of the Sillian songs on higher viewpoint that is to integrate previous decodings; furthermore to discuss a musical composition of the Sillian song. So to speak, when we read 'hoe(廻)' as 'gam(감)-' instead of 'dol(돌)-' in the song 'Mojookjirangga' which was written in Chinese Characters, such a decoding contributes largely to grip the deep meaning-structure of the elegiac song. Consequently we are able to sing that 'Mojookjirangga' according to the characteristics of national music. However the characteristics of national music are 1) the length of a phrase makes a rhythm, 2) the first beat is strong beat and becomes more and more weak, 3) there are shaking sounds on the long rhythm and changing vowels, 4) there is deep and great dignity in those national music songs. Then we can find those characteristics easily at Sijo-songs. In fact, the Sillian songs and Sijo-songs of Chosun period are more popular music. Then we are going to sing 'Mojookjirangga', referring to the method of Sijo-song and the characteristics of national music. Nowadays such an attempt is to contribute to enrich our national culture and to make the global Korean-stream more abundant.

• Sijohaknonchong
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• v.44
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• pp.7-28
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• 2016

Music was made popular through the modern mass media. Nonetheless, if a period of high standard performances and appreciation by a minority of culture connoisseurs can be qualified with the expression "gentrification of culture", then a period when anyone can access culture through the mass media can be qualified with the terms "popularization of culture" and in this period the reorganization of performance culture can only be driven by the public. In fact, the Jabga, which is a type of traditional song that received strong public adhesion by means of phonograph records and radio broadcasts at the time, stands as a typical example to it. Gagok and Sijo up until the 1920s and even the 1930s are believed to engage actively in the changing media environment and the new modes of music enjoyment and transmission. The Album recording of faster rhythm music and the inclusion of the Sijo, Jabga, and folk songs in one broadcast programme can be seen as reflecting such an effort. However, it can only be hard for the Sijo and Gagok to challenge the predominance of the Jabga which made its lyrics more popular and the new songs written in accordance with the new media environment. Until the 1930s in this changing environment of music enjoyment, Gagok and Sijo performers rather sought to distinguish themselves from the existing popular song style by reproducing traditional forms. The album recording and broadcasting of Lee Wangjik Aakbu, the beginnings of local singers, the participation of male performers not only contributed to the diversification the enjoyment culture of songs and sijo, but also made the 'difference in standard' with the popular songs even more salient.

• Sijohaknonchong
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• v.44
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• pp.197-236
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• 2016

The aim of this study is to discover the distinctive aspects of Sijo in the 17th Century through five old music scores, "梁琴新譜Yangqeumsinbo", "白雲庵琴譜 baekwoonamgeumbo", "增補古琴譜jeungbogogeumbo", "延世大學校所藏琴譜geumbo in Yonsei University", "琴譜古geumbogo", which were compiled in this time period. First, four Sijo works are found from the "梁琴新譜Yangqeumsinbo" and one of them is noteworthy because it was sung as 中大葉Jungdaeyeop, 初中大葉 Chojungdaeyeop, 二中大葉Yijungdaeyeop and showed signs to fit the Sijo format type since the 17th century. In "白雲庵琴譜baekwoonamgeumbo", there are three Sijo works (one has recorded music scores and two don't) and one of them is discovered with last phrase being omitted. In "延世大學校所藏琴譜geumbo in Yonsei University", there are 9 Sijo works performed with 中大葉Jungdaeyeop. In "增補古琴譜 jeungbogogeumbo", there are three works performed with 數大葉Sakdaeyeop and one of them is noteworthy as a clue about the relations between Sijo and Goryeosokyo because it is a modified work which adapted the Goryeosokyo "Gasiri" according to the Sijo format. In 琴譜古geumbogo, there are three works with high possibility that repertoire with 中大葉Jungdaeyeop were already set up at this time. Based on these five music scores, it can be mentioned that a lot of Geumbos were compiled in 17th century, not for the purpose of enlightening discourse at the national level but for referencing for music lovers by themselves to memorize songs individually. It is also discovered that Sijo was performed with only 平調pyeong-jo out of 羽調woo-jo, 羽調界面調woojokyemyen-jo, 平調pyeong-jo, 平調界面調pyeongjokyemyun-jo in early 17th century, but it was performed with other three and 數大葉Sakdaeyeop as well after the mid-17th century. On the other hand, despite the change in the musical tunes, lyrics do not show a significant change at this time because it is estimated repertoire with specific piece of music was already formed in 17th Century. However, performing itself would give a certain impact on change and loss of lyrics because it tends to focus on communication and emotional connection between singers and audience. Clarifying characteristics in Sijo from old music scores is meaningful in that Sijo can be understood better not only as written poetry but also as oral poetry and overcome bias of previous researches which have been proceeded mainly on Sijo lyrics collection(歌集).

• Sijohaknonchong
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• v.22
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• pp.143-171
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• 2005

Sip and Byul-Gok (New tunes), as folks musics, are musical concepts opposite to that of the Court musics. They have the tunes. typical and universal. and Byul-Gok for singing. has the words in which the properties of melodies in the structures of compositions are reflected harmoniously. The Song. or Shiga. in Koryo-Sa, History of Koryo. Acjee and Acjanggasa. named ByulGok. is divided into two types. according to the characteries of the forms.: Koryo Sokyo. or the folk songs in Koryo. such as Chengsanbylulgok. and Segyoungbyulgok. and Kyonggichega, or nobility songs in Koryo and Chosen Dynasty. such as Hallimbyulgok. Kwandongbyulgok. and Jucgyebyulgok. In addition. Gasa. or the nobility and folk songs in Chosen Dynasty. such as K wandongbyulgok. also has the title. Byul-Gok. Even though these types of the songs have the same tittle. Byul-Gok, it is not appropriate that Byul-Gok is used as a term described as a branch of the literature: in light of music. they have the properties in common in the sense that they are opposite to the Court music. but. in light of literature. their forms are very different from one another. Therefore, it is appropriate that they are classified according to the characteristics of the forms, winters, the ideology of people who enjoy them, and periods: Sokyo, Kyonggichega, and Gasa. Byul-gok means not only the folks songs opposite to the court musics, but also the songs by setting words to the melodies present. Orignal tunes and their new tunes are not different musical compositions, but the same ones with the melodies which Korean acquired transcendentally. It is general tendency, at those times, that after compositions were made, words are set to them. Such words represent the politic thought in which courtesy and music are considered important. and the spirit with which the ruler and the people enjoy together.