• Sijohaknonchong
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• v.24
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• pp.223-258
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• 2006

This Research is about the classification of 'Sijochang', or the Korean ode narrative song, in terms of music. Contrary to the literature classification by the number of letters, sijochang varies with the melody. Literally, the classification is generally made as Dansijo(or short ode) Jungsijo(or medium ode) and Jangsijo(or lengthy ode) but the sijochang is normally divided into 'Pyongsijo' (or plain ode), 'Jirumsijo and Saseolsijo'. As while the same Sijochang is called under the different names, the different type of sijochang is also called as the same name, it needs the discussion about its name. Some Korean classical musicians have attempted to define it but they are trying to do it without the specific reasoning about its concept. As a result, the systematic research is required. This study designs to streamline the currently confusing and complex names and set up the sijo's classification system. After reviewing the ancient music note, current sijo score and the traditional theory, I largely classified it into 3 types: Pyongsijo, Jirumsijo and Saseolsijo. And then, 1 analyzed on to which type the sijochang which is presently called belongs, based on several principles. The 67 names of the sijo which I have investigated about are classified with them sharpy reduced into 16. Among the current sijo names. there are some which are of same type yet of different phonetics and there are others which are of different phonetics yet of same type. To avoid such complex and troublesome names, I have orchestrated them as follows, taking the literary and music concept into account. 1) Pyongsijo type : Pyongsijo, Joongherisijo, Wujosijo and Payeonkok 2) Jirumsijo type: Jirumsiro, Namchangjirumsijo(it refers to Jirumsijo sung by male ), Yeochangjirumsijo (it refers to Jirumsijo sung by female), Banjirumsijo(it refers to half the Jiumsiro), Onjirumsijo (it refers to the whole Jirumsijo), Wujojr\irumsijo, Saseoljirumsijo and Whimorisijo) 3) Saseolsijo type : Saseolsijo, Bansaseolsijo(it refers to half the Saseolsijo, Gaksijo or Pyongsiro There are still lots of things to musically streamline, in the fields of disposition of Sijo letters, its form, musical scale and influences on other genre. etc. and as such. the accumulation of theory on them is urgently required. Those musical elements need an in-depth review and study by the experts and the Korean traditional musicians. Later research is expected to play a role of exploring it.

• Sijohaknonchong
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• v.30
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• pp.263-300
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• 2009

Adoration for nature constitutes one of the primary subjects that literature has tackled since the origin of human history. Nature expressed through a poet's subjective imagination is the internalized and reorganized nature. This study examines the view on nature enacted in Ch'o-Jung's three-verse poems (sijo) in light of the traditional views on nature implicated in the ancient three-verse poems (koshijo), which is in line with the long-established Oriental view on nature. To dignitaris(sadaebu) in the Chosun Dynasty, nature appeared as the idealistic subject for moral culture ($shims{\breve{o}}ngsuyang$), which also becomes the literary space where the purity and justice of the world view of Neo-Confucianism(Sungrihak) is contained in the form of the three-verse poem, the lyrical poetic space where the "I" is united with nature by way of "enjoying of wind and moon"($umpungnongw{\breve{o}}i$) and "living in quiet retiremen"($yuyuchaj{\breve{o}}k$), and the object for the poetical perception of the surrounding world. Ch'o-Jung' s three-verse odes are found in Reed pipe ($Ch'oj{\breve{o}}k$), Sixty Five Pieces of Three-Verse Odes (Samhaengshi-$yukshipopy{\breve{o}}n$), Autumn Fragrance ($Hyangginam{\check{u}}n-ga{\check{u}}l$), and The Words of Zelko va Tree ($N{\check{u}}tinamu{\check{u}}i-mal$). This study analyzes 212 pieces of Ch'o-Jung' s three-verse poems chosen from theses books. In Ch'o-Jung's poems, the traditional view on nature expressed in the ancient three-verse poems is rendered in such a way that metaphysical understanding of nature is indirectly transmitted through the objective correlatives found nature. Nature is no longer the object of straightforward utterance, but transformed, displaced, and removed: that way, nature gets objectified to form a complicated and multi-layered structure. In conclusion, the view on nature manifested in Ch'o-Jung's three-verse poems is based on traditional metaphysics. Second, nature is the object of lyrical nostalgia and adoration. Third, nature is imbued with the fundamental affection for parents. Fourth, nature is associated with organic life. Fifth, the nature in Ch'o-Jung's poems reveals the beauty of stillness endorsed in Lao-tse's and Chung-tze's philosophy. And last, nature is the agent for self-realization and meditation.