• Sijohaknonchong
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• v.20
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• pp.197-215
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• 2004

In this paper, I reexamined the word 'Sijo-samjang(시조삼강)' and gave a new meaning of it. In addition, I proposed the new concept of 'Sijo-samjang' which meant the characteristic of a Pyon'ga(편가) in Sijo-chang(시조창). For a long time, 'Sijo-samjang' was regarded as a word which indicated the three sections of a Sijo. It was because of the fixed idea that a Sijo was always composed of a form separated by three parts. Unlike the fixed idea, I found the fact that 'Sijo-samjang' meant singing successively three different Sijos which adapted three different music by reexamining the actual uses of the word in the texts of the days. Thus, I could come to a conclusion that 'Sijo-samjang' was the word indicating a specific music system of a Sijo-chang(singing a Sijo) corresponding to a Pyon'ga of a Gagok(가곡). 'Sijo-samjang' seemed to be molded up while the music of Sijo-chang developed. Usually, a successive singing of the three different Sijos, such as Pyong-sijo(평시조), Chirum-sijo(지름시조), and Sasol-sijo(사설시조), was called 'Sijo-samjang'. However, some of the three could be omitted, and some of it could be substituted by a derived song. This kind of a usual and a derived form seemed to be settled as an important custom of singing a Silo after the 19 century. The main point of the development of music in Sijo-chang was having the characteristic of compilation which meant singing Pyong-sijo, Chirum-sijo, and Sasol-sijo successively. 'Sijo-samjang' was the concept which explained this kind of characteristic and was one of the key words to understand the development of Sijo-chang.

• 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.42
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• pp.29-68
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• 2015

This article focused on the development and current status of Sijo-chang, the Korean classical vocal genre, which is the text as a fixed form of Korean classical poems. Historically, Sijo-chang has originally emerged from Hyangga鄕歌 during Silla period (BC. 57- AD. 935). However, the current Sijo-chang has been developed from the latter of Joseon朝鮮 period(AD. 1392-1910) in 1800s. Since 1800s, Sijo-chang derived from the Gyeong-je Pyeong sijo京制 平時調, which was established in Seoul, was able to accelerate its musical types and regional characteristics among the Korean peninsula. By setting a clear division of two time periods between 1800s and those periods since 1900s to today, this article mainly explains how Sijo-chang has been developed historically. First of all, in order to appraise the musical styles and characteristics of Sijo-chang in 1800s, comparing the current musical types of Sijo-chang and those printed old score books which has its historical musical characteristics during 1800s is necessary. Secondly, this paper concentrated on the transmitted lineages of representative vocalists among the regional-based Sijo-chang from 1900s to today. During those periods, the Sijo-chang has formed its particular regional-based musical characteristics among the Korean peninsula such as Yeong-je嶺制 of Gyeongsang province慶尙道, Naepo-je內浦制 of Chungcheong province忠淸道 and Wan-je完制 of Cheolla province全羅道. Although it was not a type of regional-based Sijo-chang, as a creation with reference based on certain regional types of Sijo-chang in 1960s, this paper introduced the inheritance process of Seogam-je石菴制 which was made by Jung Gyeong-tae鄭坰兌 named Seogam石菴 as his pen name. Since Seogam-je has been singing as the most influential musical types of Sijo-chang through the mainly southern region of Korean peninsula and even in Seoul, it was highly significant to research it. In addition, this paper elaborately highlighted the developments of various Sijo-chang based on its historical performances, studies, and the composed pieces from the early 1900s or the mid-1900s. In conclusion, in order to set a vigorous development of Sijo-chang, this paper raised several concerns among the future of Sijo-Chang and the significance of its traditional value.

• Sijohaknonchong
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• v.23
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• pp.33-48
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• 2005

In my paper, the discussion focuses on the fact that sijo is distinguished from free verse as a separate Identity in that it has its own formal beauty, and the works that deviate from this poetic rule are guarded against. In the past ancient sijo, in terms of both music and literature, was a major genre in harmony with chang(songs) ; and in modern times, sijo been created irrelevantly with chug. But my point is that it will not futile if sijo is accompanied with chang, and, therefore, the latter should be adjusted to a modern taste and go together with the former ; and that, to attain this goal, Korean musicans should cooperate with sijo writers. With English-version sijo works, there are some that are put in accordance with the formality of Engish poetry. This paper indicates that, in this case, foreign readers can't feel the nuances the source text of sijo works could produce, so it is not proper to translate sijo works in accordance with the formality of English poetry. But there are other translations where the 3-jang(statements)-6-gu(phrases) form of the original sijo text is reproduced within the limits of English expressions, with each of the two gu(phrases) in a ing(statement) having an almost equal number of syllables, so that each phrase could be recited within the same length of time. The conclusion is that the Korean-English translations of sijo works should begin with the reproduction of its original formal beauty; but, to do this, sijo writers should create works in accordance with it original formality first. Therefore for good translations of sijo works there should be a mutual efforts between sijo scholars and English poetry scholars.

• Sijohaknonchong
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• v.44
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• pp.105-138
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• 2016

Recently with the research function, "XML Digital collection of Sijo Texts in the Period of Modern Enlightenment" DB data is being provided through the Korean Research Memory (http://www.krm.or.kr) and the foundation for the constructing the contents of Sijo Texts in the Period of Modern Enlightenment has been laid. In this paper, by reviewing the characteristics and problems of Digital collection of Sijo Texts in the Period of Modern Enlightenment and searching for the improvement, I tried to find a way to make it into the content. This database has the primary meaning in the integrating and glancing at the vast amounts of Sijo in the Period of Modern Enlightenment to reaching 12,500 pieces. In addition, it is the first Sijo data base which is provide the variety of search features according to literature, name of poet, title of work, original text, per period, and etc. However, this database has the limits to verifying the overall aspects of the Sijo in the Period of Modern Enlightenment. The title and original text, which is written in the archaic word or Chinese character, could not be searched, because the standard type text of modern language is not formatted. And also the works and the individual Sijo works released after 1945 were missing in the database. It is inconvenient to extract the datum according to the poet, because poets are marked in the various ways such as one's real name, nom de plume and etc. To solve this kind of problems and improve the utilization of the database, I proposed the providing the standard type text of modern language, giving the index terms about content, providing the information on the work format and etc. Furthermore, if the Sijo database in the Period of Modern Enlightenment which is prepared the character of the Sijo Culture Information System could be built, it could be connected with the academic, educational contents. For the specific plan, I suggested as follow, - learning support materials for the Modern history and the national territory recognition on the Modern Age - source materials for studying indigenous animals and plants characters creating the commercial characters - applicability as the Sijo learning tool such as Sijo Game.

• 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.

• Journal of the Korean Society for Library and Information Science
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• v.10
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• pp.149-188
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• 1983

This study is about a literary man, Suheon Lee Jung Kyeung(AD. 1599-1678) and his poem 'Ohdae Eubuga' written in the language of the common people(RiEu) of Cho Seon dynasty. The outline of this study are as follows: 1) The work has been written at Ohdae, Cheongdo Gum, Kyeung-sang Do, in AD. 1656 that is the 7th year of King Hyo Jong of Cho Seon dynasty. 2) The work was written in the Korean and Chinese characters, in the form of the ancient Korean ode (Sijo). The twenty odes are composed of 'Eubuga' with 14 poems and 'Eububyeulgok' with 6 poems. The pleasureof his public life was well represented in these poems. 3) The work is included in his original manuscript 'Japhwewonjib' written in AD. 1664, the 5th year of King Hyeun Jong of Cho seon dynasty. 4) It seemed that the work has been mostly influenced by 'Mooyee Gugokga' of Joo Hee(AD. 1130-1200) of South Song dynasty, 'Eubusa' of Nongam Lee Hyeun Bo(AD. 1467-1555) and 'Dosan Sibyeegok' of Toegei Lee Hwang(A.D. 1501-1570) of Cho Seon dynasty.

• Proceedings of the Korean Society for Noise and Vibration Engineering Conference
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• 2004.11a
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• pp.802-805
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• 2004

It is requures to understand the meaning of sound and cultural background of target spaces for soundscape design. The purpose of this study is to derive the general soundscape preserved in the mind of Korean people. Four kinds of traditional Korean songs, that is to say, Sijo (Korean verse), folk-song, Pansori (song for drama by Chang reciter), and popular songs, were used as tools of research subjects. That is because the sounds expressed in literature are very useful subjects for soundscape survey. Paragraphs containing description of sounds were selected from the lyrics of the songs. Then 11 sound categories were named, and 13 meaning categories were classified according to referential and emotional aspects, respectively.

• (The)Study of the Eastern Classic
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• no.59
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• pp.9-32
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• 2015

The purpose of this paper is to study the development process of our native verses from the Three Kingdoms Period to the Goryeo Dynasty. The contents of the discussion can be summarized as follows. Typical form of "Sanega" from the Three Kingdoms Period to the late Silla/ early Goryeo Dynasty is a well organized 3-layered structure representing the contents of enlightenment of a high priest. Sanaega has a poetic style characterized by distinct literary features compared to other native verses in the same era. The reason is that 10-line Hyangga improves its poetic level as it is aware of Chinese poetry. As it enters the Goryeo Dynasty, this literary composition starts to change. In other words, Sanega declines and quatrain emerges in the front of literary history. Unlike the Three Kingdoms Period ~ the late Silla/ early Goryeo Dynasty, development of quatrain results from that native verses enhances the characteristics of song rather than poem in the Goryeo Dynasty. Native verses form the mutually complementary relationship by adjusting the position as the song rather than competing with it as the poem as Chinese poetry becomes more common. In the Goryeo Dynasty, Sanaega declines and Sijo emerges in literary history, because native verses have been developed in the poetic form to freely express general emotion and to be more loved from the public. It is in the same vein as a native verse in the form of quatrain raises its vitality by enhancing the characteristics of the song through the adjustment of its position compared to Chinese poetry.

• Journal of Korean Classical Literature and Education
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• no.37
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• pp.5-45
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• 2018

Today, in the case of literary works such as modern poetry, novels, 'literature production : literature acceptance' are relatively simple as 'writing : reading'. However, in classical literature, there are ways of 'singing, chanting, narrating, performing, public reading, writing : listening, reading.' Modern literary works such as poetry and novels are sole arts made up only of literature, but classical literature have many complex arts accompanied by music, theater, etc. In order to understand the way classical literature, it is necessary to consider music, theater, etc. also. There are a number of subjects to research today in relation to the accepting method of classical literature. There are such things at Hyang-ga (향가), Goryeo Sog-yo (고려속요), Sijo (시조) and Gasa (가사) in of classical poetry. There is a public reading in classical novels. There is securing video materialㄴ for narrators in oral literature. And there are Si-chang (시창. 詩唱) and aloud reading in chinese proses. 'Listening literature', such as the oral literature needs to have the A. Lord's 'formular theory' - 'formular' (general words), 'themes' (general subject), and 'improvisation.' It is the opposite of contemporary poetry and novels that value ' special words', 'special contents', and 'original text.' Classical literature with a great deal of 'listening literature' besides ' reading literature' needs to have this 'formular theory' too basically. In the case of 'excessive pornographic' oriented events in Goryeo Gayo (고려가요) and Pansori (판소리), a vision is required to set up a space for the realization of literature. The haman basic elements like a man and woman's body subject can be evoked as a literature means at open place for anonymous people. Unlike modern poetry and novels, which are 'reading literature', and contain only literature, classical literature have 'listening literature' besides 'reading literature', and have complex arts - classical poetry (literature and music), and oral literature (literature, music, theater etc.) These aspects are available to research modern mass media literature, which are all 'listening literature,' and all complex arts - pop songs (literature and music), movies (literature, drama, image, music etc.) and TV dramas (literature, drama, image, music etc.). Thus, a proper understanding and consideration of the accepting method is very important in understanding, researching and educating classical literature.