Earticle

본 연구는 19세기 후반 사당패 음악이 지녔던 사회문화적 위상을 다각도로 고찰하고자 하였다. 이를 위해 지식인층의 문헌 기록, 시정 경제 속 유통과 상품화, 판소리 음악문화권에서의 수용이라는 세 가지 층위에서 논의를 전개하였다. 첫째, 지식인층의 문헌에 나타난 사당패 음악에 관한 이중적 시선을 검토하였다. 정현석은 사당패 음악을 도덕적으로 비판하면서도교방가요의 공연 목록에 수록하였으며, 기완별록의 저자 역시 왜사당의 외형을 희화화하면서도 그 소리에 대한 감탄을남겼다. 이러한 지식인층의 사당패 음악에 관한 이중적인 태도는 사당패 음악이 당대 공연문화 속에서 배제하기 어려운 실질적 존재감을 지니고 있던 음악이었음을 시사한다. 둘째, 시정 경제의 발달과 새로운 음악 소비층의 등장에 따른 사당패 음악의 상품화 경향을 살펴보았다. 한양을 배경으로 한 게우사와 전라도를 배경으로 한 신재효의 <박타령>에서 사당패 소릿값이 동일한 값으로기록된 점은 사당패 음악이 일정한 시장 가치를 지닌 공연 상품으로 통용되었을 가능성을 보여준다. 또한 아양금보에 사당패 음악이 수록된 사실은 사당패 음악의 대중적 친숙함과 선율의 인기가 민간 기층을 넘어 풍류방에서도 해당 악곡을 수용하여 연주할 만큼 성행했음을 보여준다. 셋째, 판소리 음악문화권 안에서 이루어진 사당패 음악 수용의 맥락을 짚어보았다. 신재효의 판소리 사설에서 사당패 소리가 구체적으로 모사되고, 신방초 또한 사당패 음악을 개작의 토대로 삼았다. 이러한 사실은 판소리가 대중적 호응과 친숙성을 확보하기 위한 공연 음악인 만큼 이미 민간에 널리 알려진 사당패 소리를 전략적으로 수용한 결과로 해석된다. 결론적으로 19세기 후반 사당패 음악은 유교적 규범 담론 속에서 비판의 대상이었음에도 불구하고, 실제 공연 현장에서는 다양한 계층에 의해 소비되고 수용된 당대의 대중적 음악 언어였음을 확인하였다. 본 연구는 이러한 평가와 소비 사이의 간극에 주목함으로써, 기존 연구가 사당패 음악을 집단의 역사나 개별 악곡의 계보 중심으로 다루어온 것과 달리, 19세기 후반 공연문화의 다층적 맥락 속에서 그 사회문화적 위상을 통합적으로 고찰하였다는 데 의의가 있다.

This study examines the sociocultural status of sadangpae music in late nineteenth-century Korean performance culture, focusing on three contextual frameworks: the dual perspective of the intellectual class, the development of the urban market economy, and the expansion of the pansori musical sphere. Until the eighteenth century, sadangpae music was consistently condemned within Confucian normative discourse as vulgar and licentious. By the late nineteenth century, however, it came to be received simultaneously across multiple layers of performance culture. This transformation was not the result of a single cause but rather the product of three overlapping contextual forces. First, members of the intellectual class criticized sadangpae music on moral grounds while simultaneously recording it in their writings. In Gyobang gayo, Jeong Hyeon-seok classified sadangpae music as vulgar yet retained it within the performance repertoire; in Giwanbyeollok, the author mocked the performers’ appearance while expressing undisguised admiration for their music. This shared pattern of condemnation coupled with documentation suggests that sadangpae music possessed a cultural presence too pervasive to be ignored or excluded from the record. Second, the growth of the urban market economy and the emergence of new music-consuming classes led sadangpae music to acquire independent exchange value as a commercial commodity. The inclusion of Sadangnoryang in Ayang geumbo suggests that sadangpae melodies had spread widely enough to enter the instrumental repertoire of refined musical circles. Furthermore, the fact that both Geusa— set against the urban entertainment culture of Hanyang — and Sin Jae-hyo’s Baktaryeong— reflecting the musical world of Jeolla Province — record the performance fee of sadangpae performers at the identical figure of one hundred nyang per person suggests that a consistent price convention may have been in circulation across different regions. Third, although sadangpae performers occupied a lower position in the economic hierarchy of professional entertainers, Sin Jae-hyo’s detailed portrayal of sadangpae songs in his pansori librettos and Sin Bang-cho’s adaptation of existing sadangpae melodies into a new composition indicate that sadangpae music functioned as a widely shared musical resource. Given that pansori was a performing art directed at popular audiences, its absorption of sadangpae music may be understood as a strategy for securing familiarity and broad appeal. Throughout all three contexts, a consistent structure is apparent: sadangpae music was repeatedly dismissed as vulgar within Confucian normative discourse, yet simultaneously consumed and absorbed across multiple levels of performance culture, from government officials to the merchant class and professional performers. The gap between official evaluation and actual consumption represents the most defining characteristic of sadangpae music’s sociocultural status in late nineteenth-century Korea.

본 연구는 판소리계 소설『게우사』분석을 통해 조선후기 도시 국악공연 형태를 알아보고 당시 연주된 국악곡과 국악기 구성 내용을 현재와 비교 고찰하는 것에 목적이 있다. 내용은 민간 국악공연의 공간과 참여자, 국악곡 구성으로 구분하여 분석하였다. 그 결과 현재 국악공연 형태는 시대에 맞게 변형 되어졌지만, 음악과 악기는 조선후기와 비슷한 구성으로 전승되고 있음을 알 수 있었다. 문헌을 통한 국악 분석은 정확한 선율을 확인할 수 없다는 한계를 가지고 있다. 그러나 옛 공연문화 모습의 확인은 현재 전통문화 예술발전에 직·간접적인 자료가 되어줄 것이며, 나아가 조선후기 공연문화 예술형태를 이해하고 현재의 문화예술양상과 비교 고찰할 수 있는 초석이 될 것이다.

The novel ‘Geusa’ has been studied continuously. However, from the perspective of Gugak, there is no research other than Pansori. Therefore, this researcher investigated the form of Korean traditional music performances in the late Joseon Dynasty through the pansori novel ‘Geusa’, which has a lot of contents related to Korean traditional music, and analyzed the composition of Korean traditional music and instruments played at that time. First, the space of the Gugak performance was divided into an indoor Pungryu Space(lit. the elegant music space) and outdoor natural space. The form of participants in Korean traditional music performances was also analyzed by dividing them into sponsors, audiences, and performers, and the contents of the music constituting these Korean traditional music performances were reviewed. As a result of this, it can be seen that the current form of Korean traditional music performances has been transformed according to the present era, but music and instruments have been preserved and handed down in a similar composition to the late Joseon Dynasty. The musical analysis of Gugak through literature has a limitation in that the melody cannot be confirmed. However, the confirmation of the old performance culture will be a direct data for the development of traditional art, and furthermore, it will be a cornerstone for understanding the form of performance culture in the late Joseon Dynasty and comparing it with the current performance culture.

"Geusa" has been understood as a narrative of "Taming a dissipated person." This study reads "Geusa" from a new perspective-women's management of property-and explores the role of women in a patriarchy society. Further, it examines the correlation between demands of the patriarchy and the needs of women. In this study, “Geusa” was compared with another Chinese-Character short story(漢文短篇) dealing with the subject of women managing property, which was written around the same time. Both are stories about women stably protecting their family's wealth and handling the responsibility of managing the family finances. These stories depicted women with outstanding abilities and moral integrity. Another thing these female characters have in common is that they are subject to heavy social demands. For example, even though Uiyang is a concubine, she had to manage property. This situation is problematic in that it transfers the responsibility for property management that has been demanded from the wife to the concubine. Uiyang had no choice but to comply with the unreasonable demands placed on her because she was in an unstable and vulnerable position. If she refused, she could have been kicked out of the family. Therefore, "Geusa" is a story in which the necessity of the patriarchal system and concubine who’s bet everything on the existence of the family matched. This study is meaningful in that it interpreted "Geusa" from a new perspective of women's management of property, rather than focusing on the themes that are generally explored in the study of this story. I believe that uncovering new themes such as women's management of property in "Geusa" could help readers find more meaning and depth in this work.

소설 <게우사>는 발견 이후 실전된 판소리 중 하나인 <무숙이타령>(왈자타령)의 정착본으로 받아들여졌고 연구가 진행되었다. 본고에서는 대방왈자로서 <광문자전>의 광문과 같은 무숙이라는 실제 인물이 있었을 것으로 추측하였다. 처음에는 왈자들의 행태를 다루었던 <왈자타령>이 더 구체적인 내용을 지닌 <무숙이타령>으로 발전했고, 의양을 중심으로 한 후반부 내용은 독서물로 정착되는 과정에서 덧붙었을 것으로 보았다. 소설 <게우사>는 19세기의 서울 시정, 특히 유흥계 주변의 세태를 적실하게 반영하며 왈자 계층의 문화 지향성을 보여준다는 점에서 19세기 중엽 세태소설의 대표작으로 가치를 갖는다. 또한 실전된 중고제의 대표 레퍼토리 중 하나로서, 중고제에 대한 연구 자료로서 그 의미가 있는 작품이다.

The novel <Geusa> is accepted to the novel version of pansori <Musugitaryeong>(Walzataryeong) and be advanced its study. In this study I guess that there must be a real person "Daebangwalza" called Musugi who like Gwangmun in <Gwangmunzazeon>. At first <Walzataryeong> is short and brief, and it became concreted <Musugitaryeong>, and the latter half of Uiyang the heroine of <Geusa> is added during the <Geusa> is transcribed to reading materials. The novel <Geusa> is valued that it showed the 19th century modern pop culture in Seoul and the cultural intention of Walza. <Geusa> is the one of the best in novels of manners. And as the one of the repertories of Junggoze, it is quite worthy of a study.

A novel "Geusa" vividly shows Joseon's social circumstances in the 19th century. There are three main characters in this novel:Kisaeng Yuiyang, Walja Moosook and Moosook's wife. The purpose of this study was to examine the awareness of the three characters on 'family' based on earlier discussions about this matter. As for Yuiyang's way of looking at family, she just sticked to the socially accepted contemporary paradigm and sought after life stability. Moosook was indifferent and irresponsible for his family though he must play the central role as the head of the family. His wife tried to manage her household, but she was just one of passive and ordinary contemporary women. Concerning the meaning of family for these characters, they placed significance on financial conditions as a means to establish and maintain family, and such a view was linked to the contemporary social circumstances of the 19th century. Basically,there was a vertically hierarchical order in family. The head came first, and then his wife and concubine respectively ranked second and third. In this novel, however, the hierarchical order was reorganized depending on their weight, namely how much each of them took the initiative in their family. Yuiyang was given the most weight as she was most active in managing their household, and Moosook was of the least significance. That was the reverse of the hierarchical order of contemporary family members, and it seemed that it was rooted in the change in values in the 19th century's Joseon Dynasty.