가야금병창 단가 객래문아흥망사 비교연구

초록

This study aims to examine the genre identity and musical diversity of gayageum byeongchang by analyzing the narrative structure, performance style, and musical characteristics of the danga piece “Gaekraemunaheungmangsa.” This piece is a danga-style reinterpretation of a passage from the pansori repertoire Sugungga. The analysis is based on phonograph recordings and scores of five master performers－Kim Gap-ja, Kim Geum-ok, Shim Sang-geon, Kang Sun-yeong, and Kang Jeong-yeol. Key analytical categories include the structure of the narrative text and its rhythmic deployment, the use of naedeureum (introductory phrases), cadential formulas, the form and placement of instrumental interludes, vocal range and ornamentation (sigimsae), and tonal modulations. The results reveal that, although based on the same piece, the performances exhibit significant variation in structural organization and expressive interpretation, reflecting each performer’s individual musical perspective. Kim Gap-ja emphasized brilliance through a higher vocal range and frequent interludes; Kim Geum-ok presented a restrained expression with simple rhythmic patterns characteristic of the Seokhwaje style. Shim Sang-geon offered a minimalist interpretation by reducing gayageum accompaniment, thereby centering the vocal delivery. Kang Sun-yeong’s performance was notable for its decorative style, employing diverse sigimsae and descending melodic contours. Kang Jeong-yeol enhanced the musical completeness of the piece through modulations between pyeongjo and gyemyeonjo modes and the insertion of repeated interludes. By comparing these five interpretations, this study argues that gayageum byeongchang danga has evolved beyond simply appending gayageum accompaniment to existing pansori pieces. It has developed into a distinct and independent musical form within the byeongchang genre. This has both academic and practical implications for the preservation and reinterpretation of the gayageum byeongchang repertoire, suggesting the importance of singer-centered musical interpretation, flexibility in repertoire composition, and the creative use of diverse performance techniques.

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