• Sijohaknonchong
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• v.25
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• pp.145-174
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• 2006

The purpose of this study is to research the correlation of Sijo with Akjang. In Joseon Dynasty, the contact of folk music and court music was brisk. Although they had some political premises, many Jeongjaes presented in the royal court parties accepted Gagok, one of the representative folk song genres. It was an eye-opening matter. The song words sung by Gagok music accompaniment were the lyrics of Sijo. We can give Sijo that was used in diverse royal court parties as an typical example about introduction of folk music to the court music. A lot of Goryeo Dynasty's Jeongjaes were introduced to Joseon Dynasty nearly as they are. Naturally so most Sokak-gasas were. Bukjeon was sung to Jinjak tune which Jeong-gwajeong was sung. Bukjeon in the music book Akhak-Guebum is a long song, but instead Bukjeons in the music book Geumhapjabo and Yang'geum-sinbo are short. It suggests that the poetic form of Sijo was introduced to the Lyric of royal court music from a point of time in the early Joseon Dynasty. Especially, Bukjeon had been continued to the late Joseon Dynasty after exchanging to the lyric form of Sijo. Bukjeon had been used In the royal court to the first half of Joseon Dynasty It became established in the repertory of Gagok after spreading to people out of court. Turnover from the long Bukjeon to the short was a result that the folk music influenced royal court music. Bukjeon. song words praying King's longevity. was used in the diverse situations such as a small royal parties, royal archery, and King's outing. It can be a clue that the Korean song words continued to late Joseon Dynasty were used for the lyric of royal court music. In the correlation of the poetic form of Sijo and Akjang, we can find out some characteristics different from our common sense to distinguish royal court music from folk music.

• 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).