잡가(雜歌)는 민중 혹은 대중들이 즐겨 부르던 긴 노래를 총칭하는 것으로 광의(廣義)의 잡가는 경기도의 12잡가, 산타령, 휘모리잡가, 서도 지방의 초한가, 공명가, 전라도의 화초사거리, 보렴 등의 긴 소리와 각 지방의 민요까지도 포함하여 잡가라고 하며, 협의(狹義)의 잡가는 각 지방의 민요를 제외한 직업적인 소리꾼들이 부르던 화초사거리, 산타령, 12잡가 등 긴소리를 말한다(장사훈, 1984:663). 이와 같은 잡가는 민(民)의 생활 속에서 발양된 노래이면서 민요와는 구별된다. 민요는 누구나 쉽게 부를 수 있는 것 이라면 잡가는 전문소리꾼들이 부르고 백성들이 즐기는 전문예능인의 노래이다. 즉 민요는 전승과정 없이도 구전(口傳)이 가능하지만 잡가는 학습과정을 요구하는 전문적인 노래이다(최태현, 2007:94). 경기 잡가는 일명 경기좌창(京畿坐唱), 12잡가, 긴잡가 라고도 하며, 경기 잡가는 경기도 지방의 긴 노래를 통칭하는 말로 사용한다.
The analysis content centered on the sigimseh of a small Chun-hyang song of a Jeon Suk-hui's method among 12 Gyeonggi folk songs was an account content, kinds of sigimseh and melody progress and an interval relationship, and the analysis results are as follows. The small Chun-hyang song among 12 Gyeonggi folk songs is composed of total 63 rhythm, and the total content of the account is sound that Do-ryeong Lee and Chun-hyang Seong are singing emotion of love and affection each other, and the detailed situation is composed of the shape that Chun-hyang lets Do-ryeong Lee know the location of the house of Chun-hyang herself and the content that Do-ryeong Lee express his love and affectionate & honest feeling to Chun-hyang.
It can be understood that the kinds and the number of appearance the sigimseh used in a small Chun-hyang song of a Jeon Suk-hui's method is divided into total 20 kinds of sigimsehs such as 151 times of bent-down voice, 66 times of pulling voice, 55 times of normal voice, 39 times of rising and falling voice, 37 times of finely trembling voice, 28 times of picking-up voice, 23 times of beating voice, 21 times of coarsely trembling voice, 20 times of bent-up voice, 17 times of rising voice, 15 times of pressing-out voice, 14 times of shouting voice, 13 times of winding voice, 13 times of rolling voice, 12 times of pushing-out voice, 12 times of trembling-up voice, 8 times of digging voice, 7 times of inside voice, 6 times of drawing voice and 6 times of flowing voice, etc.
The bent-down voice starts from Eb, C, Bb, G sound in melody progress sigimseh of a small Chun-hyang song of a Jeon Suk-hui's method, and the interval progress uses going-up and down of 3 degrees of short interval, going-up of 4 degrees of complete interval, going-down of 2 degrees of long interval and without melody progress. The pulling voice starts from G, C, F, Bb, Eb, G sound, and the interval progress uses going-down of 2 degrees of long and short intervals. The normal voice starts from C, Eb, F, G sound, and the interval progress uses a case with no melody progress and going-up of 2 degrees of long interval and 3 degrees of short interval.
The rising and falling voice starts from C, G, Bb sound and uses going-up of 3 degrees of short interval, going-up and down of 3 degrees of short interval and going-up and down of 2 degrees of long interval. The finely trembling voice starts from Bb, C, Eb, F, G sound, and the interval progress uses a case with no melody progress and going-up and down of 2 degrees of short interval and 3 degrees of long interval. The picking-up voice starts from F, C, G sound, and the interval progress is used without melody progress.
The beating voice starts from C, Eb, Bb, G sound, and the interval progress uses a case with no melody progress and going-down of 3 degrees of short interval. The coarsely trembling voice starts from C, F, Bb, G sound and uses a case with no melody progress and going-up of 2 degrees of long melody. The bent-up voice starts from C, Bb, F, G sound, and the melody progress is carried out with going-down of 3 degrees of short melody, going-up of 4 degrees of complete melody and going-up of 2 degrees of long melody after going-up of 3 degrees of short melody and going-up of 2 degrees of long melody.
The rising voice starts from Eb, G, C sound, and the interval progress is used without melody progress. The pressing-out voice starts from Bb, C, Eb, F, G sound, and the interval progress uses a case with no melody progress and going-down of 3 degrees of short interval. The shouting voice starts from Bb and G sound, and the interval progress uses going-down of 3 degrees of short interval and a case with no melody progress.
The winding voice starts from C, F, G, Bb sound, and the interval progress uses going-up of 2 degrees of long interval, going-down of 3 degrees of short interval and going-down of 5 degrees of complete interval again after going-down of 4 degrees of complete interval, going-down of 2 degrees of long interval, going-down of 2 degrees of long interval and going-down of 2 degrees of long interval.
The rolling voice starts from G, Ab sound, and the interval progress uses melody progress including going-up of 2 degrees of long interval again after going-down of 3 degrees of long interval as well as going-up of 2 degrees of long interval again after going-down of 3 degrees of short interval. The pressing-out voice starts from C, Eb sound, and the interval progress is used without melody progress.
The trembling-up voice starts from C, F, Bb, Eb, G sound, and the interval progress uses going-down of 2 degrees of long interval and a case with no melody progress. The digging voice starts from C, Bb, G sound, and the interval progress is used without melody progress. The inside voice starts from G, Bb, F sound, and the interval progress uses going-up of 3 degrees of long interval and a case with no melody progress. The drawing voice starts from Bb and G sound, and the interval progress is used without melody progress. The flowing voice starts from Bb, Eb, F sound, and it can be found that the interval progress goes down to 2 degrees of long melody after going-down of three degrees of short melody as well as goes down to 3 degrees of short melody after going-down of 2 degrees of long melody.
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