영·호남 간 歌曲 교류의 端初 - 『曙峯 國樂譜』 소재 女唱歌曲 <平弄>을 중심으로 -

초록

This study aims to examine the transmission of Hyangje p'ungnyu(local refined music) Gagok(歌曲) in the Yŏngnam(嶺南) region—particularly in Daegu—after Korea’s liberation. Focusing on the Kyemyŏnjo(界面調) Yŏch'ang(女昌) Gagok <P'yŏngnong(平弄)> from Sŏbong Gugakbo(曙峯 國樂譜) , this research analyzes its musical characteristics. The Sŏbong Gugakbo , compiled by Heo Byeong-cheon(許丙天) based on the music manuscripts used by his father, Heo Sun-gu(許珣九), includes not only Chulp'ungnyu(줄風流: string ensemble music) but also accompaniments for Gagok, which makes it a note worthy source. This study compares the <P'yŏngnong> version in Sŏbong Gugakbo with those found in the Iwangjig Aakpu Osŏnbo(李王職 雅樂部 五線譜) , the Kŏmun'go Chŏngakbo , and Jeong Gyeong-tae(鄭坰兌)’s Gugakbo(國樂譜) as well as its corresponding audio recording. The analysis reveals that while Sŏbong Gugakbo ’s <P'yŏngnong> closely resembles Jeong Gyeong-tae’s recording, not able differences exist in the placement of Taeyŏŭm(大餘音) and in the modulated melodies of the fifth section. In particular, the accompaniment style in Sŏbong Gugakbo significantly diverges from the National Gugak Center(國立國樂院) genealogy,, showing distinct rhythmic divisions and performance techniques that suggest its roots in regional performance practices. Furthermore, the score provides an important reference point in analyzing the differences in Taeyŏŭm between male and female Gagok. These findings demonstrate that the Sŏbong Gugakbo serves not merely as a personal record but as a valuable source for understanding the post-liberation interaction between Gagok traditions in the Yŏngnam(嶺南) and Honam(湖南) regions. This study lays a foundation for further comprehensive research on the full range of Gagok pieces contained in the manuscript.

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