이은상 시조를 가사로 한 홍난파·현제명 가곡의 피아노 반주 분석

초록

This study analyzes the musical characteristics of piano accompaniment in early Korean art songs composed during the Japanese colonial period, focusing on works by Hong, Nan-pa and Hyeon, Je-myeong that set to music the sijo poetry of Yi, Eun-sang. While the piano in 19th-century German Lieder often functions not only as accompaniment but also as an equal expressive agent conveying the poem’s mood and emotion, early Korean songs were largely influenced by hymns and changga (early Western-style Korean songs), resulting in piano accompaniments that were harmonically simple and subordinate to the vocal line. However, some works by Hong and Hyeon deviate from this model, using the piano to express shifts in poetic imagery or highlight key poetic words. Notably, the independence of the piano part becomes more evident in sections without vocal lines—such as introductions and interludes—forms absent in traditional hymnody. Whereas early Korean ga-gok typically reused fragments of vocal melodies in prelude, interlude, and postlude sections, these composers often used original musical material to evoke central poetic images or to express contrasting content through independent piano lines, thereby exceeding the constraints of the traditional sijo form. This study examines the gradual transformation of piano accompaniment from a hymn-influenced, subordinate role to an independent and expressive musical element. In doing so, it re-evaluates the historical and artistic significance of early Korean ga-gok as foundational to the development of a uniquely Korean art song tradition.

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