1970년대 일본 연구자 고이즈미후미오 자료 중 나금추 설장구 녹음 분석 (Analytical Research on a 1972 Recording by Koizumi Fumio of Na Geum-chu's Seoljanggu Performance)

서지정보

· 발행기관 : 서울대학교 동양음악연구소
· 수록지 정보 : 동양음악(구 민족음악학) / 41권 / 11 ~ 38페이지
· 저자명 : 가미노 치에

초록

본고는 세계각지에서 정력적으로 음악조사를 다닌 일본의 민족음악학자 고이즈미 후미오(1927~1983)가 1972년에 실시한 한국조사 수집자료 중 나금추의 설장구에 주목한 논고이다.
조사는 복수 도시에서 23일간에 걸쳐 행해졌고 그 중 전주국악원에서는 1950년대 말부터 1970년대에 여성농악단 상쇠로 활동한 나금추(1938~)의 설장구가 수록되었다. 이 설장구는 지금의 연주보다 훨씬 힘이 세고 빠르지만 건장하면서 장식성이 풍부한 면은 일관성이 있다. 또한 가락의연결부분에 있어서 현재와 다른 특징이 보임으로 나금추의 설장구가 항상 변화해 왔다는 것을알 수 있다. 본 연구를 통해 고이즈미 녹음과 같은 음원자료는 분석연구에도 농악 전승현장에서도매우 중요하며 앞으로도 수집, 정리, 분석이 필요하다는 점을 제시했다.

영어초록

This paper discusses the performance aspects of master singer contest by examining the performance types and performance contents as the scope of research of the 1930s, which have an organic relation with the early master singer contest, which was already revealed during the master singer contest held in folk music performance for a long time.
The master singer contests in the 1930s were nationally activated as the organizers of folk music performances across the country selected the title of performance preferentially. The performance type of the master singer contest at this time was divided into folk music organizations, newspapers, specific organizations in each region, and contest types that break out of the existing framework of pure concerts. Especially, frequent performances by newspapers and specific organizations were seen as the main factor driving the activation of the master singer contest in the 1930s.
The organizers of the 1930s master singer contest preferred Chosun Vocal Music Research led by the great master singers and the kisaeng of Gwonbeon across the country as performers for the guaranteed promotion. In Chosun Vocal Music Research, which most invited pansori master singers, pansori was a top priority for performance. It was estimated that the kisaengs of Gwonbeon would have 82 동양음악 제41집performed major repertoires consisted of Gyeongseodo vulgar songs, folk songs, and colorful traditional dances, and in some cases, additionally instrumental music and new folk songs and popular songs which were new genres From the mid-1920s to the 1930s, folk music performances used various performance names including master singer contest. However, as the master singer contest was regulated and activated as a term representing the folk music performance in the tacit social consensus according to the choice of many people distributed throughout the country in the 1930s, it was acting the folk music of the 1930s as the main driving force leading to the heyday.

참고자료

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