• 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.125-149
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• 2007

Until the late 19th century, $\ulcorner$Gagogwonryu(歌曲源流)$\lrcorner$ was a collection of songs which had powerful influence on Gagog tradition. However, its role on Gagog(歌曲) tradition since then is less well known. Generally, it is presumed that Gagog tradition might disappeared by giving way to modern song genre. So this article question that $\ulcorner$Gagogwonryu$\lrcorner$ became extinct rapidly between the late 19th century and early 20th century, and follow $\ulcorner$Gagogwonryu$\lrcorner$ tradition of early 20th century. Gagog instruction for beginner had a clue to answer this question. This instruction was written by Ha Son-il(河順一) who was a teacher and singer in a private music institute. named 'ChoyangGurakbu(調陽俱樂部). Accordingly, this article has processed two phases in order to find out this question. First of all, this article analyzed Gagog instruction that Ha soon-il edited. As a result, it found out that Gagog instruction included the whole $\ulcorner$Gagogwonryu$\lrcorner$'s contents in the 19th century and was transmitted actively until the early 20th century. Second, this article found out $\ulcorner$Gagogwonryu$\lrcorner$ tradition of the early 20th century by analyzing character of ChoyangGurakbu. And also this article discovered ChoyangGurakbu had been managed by an vigorous aid association. Gagog instruction for beginner written by Ha Son-il had spreaded from strength to strength in the early 20th century.

• 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.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.