지원사업
학술연구/단체지원/교육 등 연구자 활동을 지속하도록 DBpia가 지원하고 있어요.
커뮤니티
연구자들이 자신의 연구와 전문성을 널리 알리고, 새로운 협력의 기회를 만들 수 있는 네트워킹 공간이에요.
초록· 키워드
오류제보하기
It is judged that noraekarak in Seoul Kut is sang after Chungbae or Mansubaji to serve as a function of pleasing the spirits, but in certain situations, instead of Chungbae or Mansubaji, it is sang in the beginning part of the song, which calls upon and attends to the spirits. In Kut, the function of noraekarak is very important, calling upon the spirits to attend them and please the attended.
This thesis submits a question by asking if a mudang noraekarak is a narration that is like a shijo poem given a fixed form, then will jangdan indeed be irregular like it has been mentioned in many previous researches, and the analysis of the words made and jangdan of noraekarak in Kyong-gi folksong is provided initially to compare it to the analysis of mudang noraekarak of Seoul Kut taking place in Seoul area.
By especially analyzing a mudang noraekarak, whichis called irregular mixed rhythm of five-part time and eight-part time, the thesis examines if it reallyis irregular like it in many of the explanations given regarding rhythm of mudang noraekarak so far, and also studies what kind of differences there are between a shijo poem given a fixed form, and noraekarak of a folksong.
According to the research results, the jangdan of a shijo poemis : first verse 5,8,8,5, 8 ㆍmiddle verse 5,8,8,5,8ㆍlast verse 5,8,5,8,and for jangdan of noraekarak as Kyong-gi folksong, we can see that there are the first verse 5,8,8,5,5ㆍmiddle verse 5,8,8,5,5ㆍlast verse 5,8,8,5,5 and first verse 3,8,8,5,5ㆍmiddle verse 5,8,8,5,5ㆍlast verse 5,8,8,5,5, and it is sang in the form of first verse 3,8,8,5,5ㆍmiddle verse 3,8,8,5,5ㆍlast verse 5,8,8,5,5.
Especially for a mudang noraekarak, the beginning of the first verse is eight-time part, so that it confirms that the first stanza is first verse 8,8,5,3ㆍmiddle verse 5,8,8,5,3ㆍlast verse 5,8,5,3 and from the second stanza to the last, it is first verse 8,8,8,5,3ㆍmiddle verse 5,8,8,5,3ㆍlast verse 5,8,5,3. Also the last stanza ends first verse 8,8,8,5,3ㆍmiddle verse5,8,8,5,3ㆍlast verse 5,8,5,5, and from here it was able to be confirmed that the five-time part of the last phrase of last verse gives the effect of a certain finishing, with a different jangdan from before.
This thesis submits a question by asking if a mudang noraekarak is a narration that is like a shijo poem given a fixed form, then will jangdan indeed be irregular like it has been mentioned in many previous researches, and the analysis of the words made and jangdan of noraekarak in Kyong-gi folksong is provided initially to compare it to the analysis of mudang noraekarak of Seoul Kut taking place in Seoul area.
By especially analyzing a mudang noraekarak, whichis called irregular mixed rhythm of five-part time and eight-part time, the thesis examines if it reallyis irregular like it in many of the explanations given regarding rhythm of mudang noraekarak so far, and also studies what kind of differences there are between a shijo poem given a fixed form, and noraekarak of a folksong.
According to the research results, the jangdan of a shijo poemis : first verse 5,8,8,5, 8 ㆍmiddle verse 5,8,8,5,8ㆍlast verse 5,8,5,8,and for jangdan of noraekarak as Kyong-gi folksong, we can see that there are the first verse 5,8,8,5,5ㆍmiddle verse 5,8,8,5,5ㆍlast verse 5,8,8,5,5 and first verse 3,8,8,5,5ㆍmiddle verse 5,8,8,5,5ㆍlast verse 5,8,8,5,5, and it is sang in the form of first verse 3,8,8,5,5ㆍmiddle verse 3,8,8,5,5ㆍlast verse 5,8,8,5,5.
Especially for a mudang noraekarak, the beginning of the first verse is eight-time part, so that it confirms that the first stanza is first verse 8,8,5,3ㆍmiddle verse 5,8,8,5,3ㆍlast verse 5,8,5,3 and from the second stanza to the last, it is first verse 8,8,8,5,3ㆍmiddle verse 5,8,8,5,3ㆍlast verse 5,8,5,3. Also the last stanza ends first verse 8,8,8,5,3ㆍmiddle verse5,8,8,5,3ㆍlast verse 5,8,5,5, and from here it was able to be confirmed that the five-time part of the last phrase of last verse gives the effect of a certain finishing, with a different jangdan from before.
목차
Ⅰ. 서론
Ⅱ. 시조의 사설붙임과 장단
Ⅲ. 경기민요 노랫가락의 사설붙임과 장단
Ⅳ. 서울굿 노랫가락의 장단과 사설붙임
Ⅴ. 맺음말
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