대구시 무형유산 음악 종목의 현황과 전승 활동의 문제점 연구

초록

This paper examines the status of designation and transmission, focusing on the music field, among the intangible heritage entertainment items in Daegu, and examines the aspects and problems of performance in some of them that are not traditionally intended for performance. In particular, a number of problems were found through performance in the fields of Nongak, Nongyo, Gagok, and Sijo, and the contents are as follows. First, in the case of Nongak, as they performed pangut as a performance to the public, it became a typical aspect of Nongak to show a certain set of events at a limited time. Nongak, which was a village culture enjoyed together in the traditional society, has been established as a closed performance culture. In particular, as they tried to adapt to the solemn performance culture, education and practice focused on performances became the main transmission activity to strengthen their skills. However, in the case of Gosan Nongak and Wooksu Nongak, it is a relieved situation that they are continuing the tradition of Dongje and Jisinbapgi in an effort to restore the essence. Second, in the case of Gagok and Sijo, they are transformed into a new organization for performance, which acts as a limit to revealing the original singing form and charm of Gagok and Sijo. Performances in large performance halls do not match the original appearance and singing method of Pungryubang music, and are not appropriate to deliver the unique singing method of Jeongga to the public. To overcome these limitations, it is necessary to focus on continuing the tradition and introducing it to the public through individual performances or performances rather than in the form of joint performances. In addition, Gagok is accompanied by several instruments, and there is no support or protection system for instrumental accompanists, which eventually acts as a difficulty in transmitting Gagok. Performer support for at least 3-4 instruments is required. Third, the case of Nongyo reflects a more serious situation, and the biggest question is how to revive the sound that has already left the field and lost its vitality in modern times. The process of introducing about 10 songs for 2-3 minutes by adding props and movements became the duty of the Nongyo group, and as this was fixed, the previous improvisation and open structure of folk song disappeared. While folk song has continued for a long time by creating new lyrics and expressing many things in people's minds, the meaning of transmission has now faded in a situation where it is all about repeatedly singing a few stuffed pieces of music. If so, it seems necessary to recognize various editorials and improvisational elements when designating a folk song, and to provide comprehensive guidelines for other folk songs and sites linked to transmission. In addition, groups that pass on folk songs can restore the farming field and continue promotional and activities related to agricultural culture. In order to solve these problems in the future, it is necessary not only to voice awakening, but to surface and organize related problems, suggest them to the intangible heritage management authorities, or ask for continuous support. To do this, various stories must be conducted within the preservation society, such as in-depth understanding and discussion of the transmitted items, reflection, and plan preparation, so that they are no longer trapped in the system of intangible heritage and lose their essence.

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