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
Music, song, and dance are the foundations of traditional art and the beginnings of shaman songs. In the modern era, shaman songs have been put down due to the current trend of always taking a globalized view. However, in the ancient times, shaman songs were the most sacred songs, and they were also a form of mainstream literature.
Kut, a ceremony of shamanism, provided the psychological support for the peasants as they went through their day to day hardships. In addition, shamanism had a large influence in the development of kut into a traditional art form. The kut music used in the southern regions has provided to be important roots for not only southern music but traditional folk music as well.
Kut is a composite expression of shaman songs. The kut music performed during a kut is music in which the people enjoyed; they believed that this music was in harmony with the people. The ssitkim ceremony in a kut originated from human beliefs that the soul either reincarnats or enjoys immortality in the afterlife while the physical body decays. Therefore, it is important for the process of kut to evoke festivity as well as causing the people to become in harmony with gods.
Shaman songs have been long known as the origins of pansori, first discussed by No-Shik Chung during the Japanese occupation. Afterwards, it gained many supporters and is now currently considered the most persuasive argument.
The evidences that pansori is from the shamans from a region called shinawi are as follows; first, the distribution of pansori and pansori singers is similar to the distribution of the shaman songs of shinawi. Second, various characteristics of pansori, such as rhythm or the construction of melody, are identical to the shaman songs of this region. Third, the shinawi shamanswere professionally trained within their families and the job was handed down from one generation to the next, and many of the pansori singers were not only from a shaman family heritage but their jobs as singers were handed down within the family as well. Finally, the content of the pansori is similar to the shaman songs.
Analyzing what is known about the Jindo ssitkim kut, especially the music and pansori of the jaesuk kut, the following can be concluded:
1) The Jindo ssitkim kut and pansori are similar in their festive personalities
2) The Jindo ssitkim kut is a hereditary ceremony, taught and trained from one generation to the next, just as many professional pansori singers were also hereditarily trained
3) The shaman songs' rhythm or the construction of its melody is very similar to pansori; in addition, both the shaman songs and the pansori are sung in a husky voice
4) The exchange of verbal comments, encouragements, and responses to the shaman's words is similar to the relationship between the drummer and the singer in pansori
5) The actions and the dances in shaman songs are similar to those of pansori
After thorough comparision of the rhythms and melodies jaesuk kut, which is present in the ssitkim kut, to the various other rhythms and melody constructions of songs of the southern region, the shaman music clearly contains the characteristics which are prevalent in pansori. This effectively shows that there exists a musical relationship between shaman music and pansori.
Kut, a ceremony of shamanism, provided the psychological support for the peasants as they went through their day to day hardships. In addition, shamanism had a large influence in the development of kut into a traditional art form. The kut music used in the southern regions has provided to be important roots for not only southern music but traditional folk music as well.
Kut is a composite expression of shaman songs. The kut music performed during a kut is music in which the people enjoyed; they believed that this music was in harmony with the people. The ssitkim ceremony in a kut originated from human beliefs that the soul either reincarnats or enjoys immortality in the afterlife while the physical body decays. Therefore, it is important for the process of kut to evoke festivity as well as causing the people to become in harmony with gods.
Shaman songs have been long known as the origins of pansori, first discussed by No-Shik Chung during the Japanese occupation. Afterwards, it gained many supporters and is now currently considered the most persuasive argument.
The evidences that pansori is from the shamans from a region called shinawi are as follows; first, the distribution of pansori and pansori singers is similar to the distribution of the shaman songs of shinawi. Second, various characteristics of pansori, such as rhythm or the construction of melody, are identical to the shaman songs of this region. Third, the shinawi shamanswere professionally trained within their families and the job was handed down from one generation to the next, and many of the pansori singers were not only from a shaman family heritage but their jobs as singers were handed down within the family as well. Finally, the content of the pansori is similar to the shaman songs.
Analyzing what is known about the Jindo ssitkim kut, especially the music and pansori of the jaesuk kut, the following can be concluded:
1) The Jindo ssitkim kut and pansori are similar in their festive personalities
2) The Jindo ssitkim kut is a hereditary ceremony, taught and trained from one generation to the next, just as many professional pansori singers were also hereditarily trained
3) The shaman songs' rhythm or the construction of its melody is very similar to pansori; in addition, both the shaman songs and the pansori are sung in a husky voice
4) The exchange of verbal comments, encouragements, and responses to the shaman's words is similar to the relationship between the drummer and the singer in pansori
5) The actions and the dances in shaman songs are similar to those of pansori
After thorough comparision of the rhythms and melodies jaesuk kut, which is present in the ssitkim kut, to the various other rhythms and melody constructions of songs of the southern region, the shaman music clearly contains the characteristics which are prevalent in pansori. This effectively shows that there exists a musical relationship between shaman music and pansori.
목차
Ⅰ. 서론
Ⅱ. 이론적 배경
Ⅲ. 진도 씻김굿의 무가 中 제석굿에 나타난 음악과 판소리와의 관련 분석
Ⅳ. 결론
참고문헌
참고문헌 (0)
참고문헌 신청함께 읽어보면 좋을 논문
논문 유사도에 따라 DBpia 가 추천하는 논문입니다. 함께 보면 좋을 연관 논문을 확인해보세요!
-
21C 판소리 수용자에 대한 조사 연구
낭만음악
2006 .10
-
1900년대 창극의 생성에 대한 연구
한국연극학
2009 .01
-
굿춤의 형식적 의미
스포츠과학논문집
2001 .12
-
중국 무속복식의 유형에 관한 연구 : 이통박물관 살만복식을 중심으로
한복문화
2018 .03
-
영동지역 世襲巫와 巫舞
우리춤과 과학기술
2010 .01
-
판소리 음악 연구의 유형별 특징 분석
국악교육
2014 .06
-
초등 국악교육을 위한 유희요의 음악적 특성과 분포 연구
한국민요학
2005 .12
-
공연-미학적 관점에서 본 판소리 연구사 검토와 판소리 연구의 새로운 방향
한국민요학
2015 .08
-
시베리아·중앙아시아와 한국 중부지방 무속복식의 비교연구
한국의류산업학회지
2005 .01
-
체험적 삶의 생명사상-흰그늘
민족미학
2005 .06
-
북한가요의 모범이 된 ‘사향가’ 연구: 혁명가요와 타 장르로 확산된 획일화
음악과 문화
2015 .01
-
일제시대 유성기 음반 곡종의 실제와 분류
한국민요학
2007 .12
-
전래동요 ‘놀리는 노래’의 음악 분석 연구
한국민요학
2005 .12
-
서사무가의 편입가요 수용양상연구
한국민요학
2003 .12
-
당악정재 「헌선도」를 통해 본 고려, 송시대 악무(樂舞)교류
무용예술학연구
2002 .01
-
고등학교 음악 교과서 민요에 관한 연구 : 제5ㆍ6ㆍ7차 교육과정을 중심으로
한국민요학
2009 .04
-
아시아 민요의 구조 분석: 다문화적 수업을 위한 활용가능성의 추구
음악과 문화
2007 .01
-
김창룡 심청가 곽씨부인 대목 고찰
국악원논문집
2018 .01
이 논문의 저자 정보
이 논문과 함께 이용한 논문
최근 본 자료
댓글(0)
0
UCI(KEPA) : I410-ECN-0101-2010-679-001461052