This thesis aims to elucidate the intergradational causes of poetic forms by analyzing the aspects of the combination of lyrics and songs in the case of siga (Korean poetic song) of the period of Korean enlightenment. This thesis consists of thre... This thesis aims to elucidate the intergradational causes of poetic forms by analyzing the aspects of the combination of lyrics and songs in the case of siga (Korean poetic song) of the period of Korean enlightenment. This thesis consists of three parts which are the preliminary study, full-scale analysis, and the characteristics and significances of the intergradation of aspects of the combination of lyrics and songs, Firstly, the bibliographical characteristics of main materials, The Collection of Latest Changas: Musical Grammar Appendixed, Hymns, The Collection of Japanese Changas, and The Songs of Koreans in the Soviet Period are summarized. This is the necessary task for the analysis of aspects of combination of the lyrics of siga and the song. In the part of the preliminary study, this thesis investigates the historical situation in which sigas were developed, forms and characteristics, and the musical basis of sigas of the time of enlightenment. Studying sigas it needs to inspect the social context in which new rhythms, poetical forms, and diverse variants of them appeared when lyrical texts were musicalized into songs. Next it investigates forms and characteristics of sigas, which is important because this work draws the criteria for the analysis of the new production and transformation of the rhythms and poetical forms afterwards. The study of the musical basis of this period is also succeeded by surveying the diverse combinational ways of lyrics and songs with which ways of writing lyrics, composition, and musical tuning are suggested. Based on this, the ways of associating stanzas including single stanza poem and songs, the compositional methods of durchcomponieren, strophic form, and A-B-B form, and the creative ways of practicing the combinational tuning are examined, which surveys the musical foundation to elucidate the causes of the appearance of new or altered rhythms and poetic forms in the time of enlightenment. This gives us the fundamental information for the elucidation of the situation in which new line forms of ‘8·7’, ‘9·9’, and ‘13·13’ syllables were made, and, on the other hand, new variant forms of rhythms and poetic forms were produced. In the full-scale analysis, the 3rd chapter, more concentrated analysis of the aspects of combination according to genres and rhythms is made in which 3 phases of investigation are practiced. Firstly, the way ‘gaewha gasa (gasa of enlightenment)’ as a lyrics, the representative siga of the enlightenmental period, is combined with song is examined. As a genre performing a prominent role in changa, gaewha gasa (gasa of enlightenment) is an important genre which can be helpful to analyze the influences of sajugokjong(lyrics are the main context and the songs are the sub-context) and gokjusajong(songs are the main context and lyrics are the sub-context), as well as corrections and adjustments, among the causes of change in siga of the enlightenmental time. Based on the this point, the causes of transformation is investigated as it is initially published as a fixed form of gasa, and then altered into changa with the addition of song. Secondly, ‘hymn’, the first form brought from the west, is the clue to the understanding of the characteristics of siga as there appeared diverse forms and rhythms in the process of combining the lyrics with the songs. The causes of various transformations of poetical forms appearing in the process of writing lyrics and singing hymns, such as breathing and incomplete bars, choruses and repeated verses, naturalization, and atypicality of original songs, are intensively analyzed. The analysis of hymns divided as three kinds of pure, folk, and patriotic ones, aims the investigation of the musical situation in which the new and varied rhythms of the lines of 8·7, 7·7 syllables appeared. If there is an original version, the combination of lyrics and songs of the version is firstly analyzed and then changes in the process of translation and influences on the Korean literary history are examined. Thirdly, changa, main genre of siga of the enlightenmental time, is analyzed in a concentrated manner with the diverse points of view. A changa sung by rewriting only the lyrics of hymns, which are fairly known as the nursery of changa, must display identical causes of the transformation of poetical forms that are displayed in the process of translating the hymns. Accordingly, a verification is made as to whether poetic forms, such as , and 9·9 syllables, are displayed in changa in an identical manner as hymns. Furthermore, the appearance of the transformation of the poetic forms due to the phonological property of the Korean language and the national emotions is analyzed. In addition, there is a provisional conclusion by analyzing the way the diverse rythms of 8·6, 8·7, and 7·7 syllables of changa appeared in what musical situation that the cause of the appearance of the new and the variants is the result made in the process of the combination of lyrics and songs. Furthermore, as one of the most hot issue, the issue as to whether the 7·5 syllable is affected by the Japanese changa is intensively examined and answered. Fourthly, the analysis of the combination between minor genres of traditional sigas like gaewha sizo-Korean poetry and the songs of national anthem, songs of independent army, and school song, is done. In chapter 4, the total summery and analysis of the characteristics and significances of the intergradation of lyrics which reveal literary feature of siga is made by synthesizing the phenomena drawn by the analysis of the aspects of the combination of lyrics and songs. In the first place, in the sense of the transition of the lyrics, the characteristics of rhythms, poetic forms, themes, and aesthetic consciousness are foregrounded. In the point of significance, the importance in the history of Korean literature is examined by analyzing the accomplishments and limitations established by siga of the time of enlightenment. As the above-mentioned, focusing on sigas of the age of enlightenment, the purpose of this thesis is to elucidate the causes of change and significance of siga in the history of Korean literature by revealing the process of the new changes of the rhythms and lines of the siga through analyzing the aspects of the combination of lyrics and songs. Until now, the discipline of the Korean literature has studied siga almost only as a written text and the scholars of music have focused on only its musical aspect like the import of the western music, theory of scale, and its domestication. But these two fields are not separated and should be studied as one object which cannot be divided. So it is very important to analyze simultaneously the process of the combination of literary lyrics and songs and this is an effective methodology to elucidate the characteristics of siga in the period of enlightenment in which there exist difficulties in the explanation of the causes of the new products and the variants. This is the point and specialty of this thesis. 참고문헌 (Reference) |
