판소리와 산조에서 우조와 평조의 개념수용에 관한 고찰

The Concepts of Ujo and P yŏngjo Perceived in P ansori and Sanjo : Its Problems and Solutions

The terms ujo (우조, 羽調, u mode/scale) and p yŏngjo (평조, 平調, p yŏng mode) were not originally used in p ansori (판소리) and sanjo (산조, 散調), but were used in other types of music, particularly in kagok (가곡, 歌曲), sijo (시조, 時調) and p ungnyu(풍류, 風流).These two terms have recently been introduced in p ansori and sanjo. In p ansori, ujo and p yŏngjo are interpreted as various concepts and this appears to have derived from the fact that their concepts were used in a variety of meanings at first in kagok and then in other types of musics. For instance, there are a number of examples of applying these two terms to p ansori and sijo: (i) concepts of melody or interval or mode: (ii) concepts of indicating a range of notes: (iii) concepts of signalling a mode/ scale that a major second is higher than the fundamental note: (iv) concepts of representing aksang (악상, 樂想, melody/ mode or aesthetics or musical ideas) such as a magnificent and bright melodies. These various concepts of the terms led master singers of p ansori to adapt it to their own interpretations on the basis of their own perceptions, particularly in certain phrases or cadences of the music. For instance, ujo in the p ansori chinyang (진양, one of the changdans) was applied to the two concepts of melody or mode or interval or aksang, while ujo which was applied to the concept of a mode which was higher than the fundamental note. sanjo chinyang, chodu ujo and sŏllŏngje in both p ansori and sanjo. Horyŏngjo (호령조, commending style) in p ansori is often called ujo, and sijomok (시조목, sijo style in the p ansori singing) as p yŏngjo denotes the adaptation to the concept of aksang, Thus I would suggest that these terms should be used after establishing their concepts without any ambiguities.