Earticle

초록

영어

This study examines the transmission and transformation of Panyeombul, a representative repertoire of sadangpae (itinerant female entertainers), from the late nineteenth century to the early twentieth century. Although the sadangpae as a performance group gradually disappeared with the collapse of the traditional social order, Panyeombul continued to circulate on modern stages through changing groups of performers. Drawing upon contemporary newspapers, commercial songbooks (japga-jip), and early broadcasting records, this article traces how the performers of Panyeombul shifted from premodern itinerant troupes to urban-based professional singers such as Park Chun-jae and the Pyeongyang naltangpae ensemble. The analysis of songbooks published between 1914 and 1918 reveals that while Panyeombul initially remained a part of the stage repertoire, its Buddhist incantation section (the yeombul text) gradually disappeared, and the remaining sancheongyeonggae and sarang texts were reorganized under the title Nollyang. This shift coincided with the institutionalization of kisaeng training, where Nollyang— already widely accepted as an old folk song (Joseon-koga)—could be accommodated, whereas Panyeombul was increasingly excluded due to its stronger association with sadangpae ritual functions. The study further demonstrates that while Nollyang gained prominence in modern media such as commercial records and folk-song anthologies, Panyeombul survived only sporadically, appearing, for example, in a 1937 Kyeongseong Broadcasting program on “Old-Style Kyeonggi Folk Songs” and reemerging in the 1951 expanded edition of Musang yuhaeng shin-gu japga. These patterns reveal that the disappearance of Panyeombul was not a linear process of extinction but rather a non-linear trajectory in which discontinuation, marginalization, and partial revival coexisted. By situating Panyeombul within the broader reconfiguration of santaryeong repertories and the evolving performance culture of early twentieth-century Korea, this study illuminates how traditional musical elements were selectively preserved, renamed, or omitted in response to changing social perceptions and media environments. The findings contribute to a deeper understanding of the dynamic mechanisms that shaped the modern reception of premodern vocal genres.

한국어

본 연구는 사당패 소리로 불리던 <판염불>이 20세기 초 잡가집과 방송ㆍ출판 자료 속에서 어떠 한 집단을 통해 전승되었는지를 통시적으로 고찰하고, 그 가창이 지니는 음악사적ㆍ공연문화사적 의미를 살피는 데 목적이 있다. <판염불>은 전통사회에서 사당패가 부르던 대표적 레퍼토리의 첫 악곡으로 알려져 있으며 사당패 집단의 해체 이후에도 20세기 초까지 다양한 집단에 의해 가창되었 음이 확인된다. 먼저 잡가집을 통해 사당패 해체 이후 <판염불>을 계승한 가창 주체를 검토하였다. 그 결과 박춘 재를 비롯한 평양 날탕패창가부 등 구체적인 <판염불>의 가창 집단을 확인하였다. 나아가 이들의 활동 양상과 가창 방식의 특징을 정리하였다. 이어 경성방송국 국악방송곡목록 등 방송ㆍ출판 자료 를 분석함으로써 <판염불>이 전승의 주체를 상실하고 공연 레퍼토리에서 탈락하게 되는 과정을 확 인하였다.

목차

【국문초록】
1. 머리말
2. 잡가집에 수록된 <판염불>의 가창 양상
3. <판염불>의 명칭과 염불 사설의 탈락 과정
4. 맺음말
참고문헌
【ABSTRACT】

키워드

저자

• 이은비 [ Lee, Eun-Bee | 서울대학교 박사과정 ]

참고문헌

발행기관

간행물

표지보기 관심저널 등록

• 간행물명

  동양음악(구 민족음악학) [Tongyang Ŭmak]

• 간기

  반년간

• pISSN

  1975-0218

• eISSN

  2713-6809

• 수록기간

  1977~2025

• 등재여부

  KCI 등재

• 십진분류

  KDC 670 DDC 780