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The Process of Transmisson in P'ansori, Korean Vocal

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The Process of Transmisson in P'ansori, Korean Vocal ABSTRACT Title of Thesis: THE PROCESS OF TRANSMISSON IN P’ANSORI, KOREAN VOCAL MUSIC, FOCUSSING ON HǓNGBOGA Min A Chun, Master of Arts, 2004 Thesis directed by: Professor Robert C. Provine Division of Musicology and Ethnomusicology School of Music The purpose of this study is to describe the transmission process of p’ansori, a form of Korean dramatic musical storytelling. Since p’ansori has been handed down by word of mouth, it has undergone various changes and variations. The socio-historical context surrounding p’ansori since its birth in the eighteenth century has had a great influence on the transformations of p’ansori over three hundred years. P’ansori performers, trained in a tradition of apprenticeship, have recreated and varied their materials, as well as continued what was transmitted to them in a particular school or master’s singing style, known as che/je. These constant complex interactions between change, as flexible variation and individual creation, and stability, as sameness, have produced the p’ansori of today. THE PROCESS OF TRANSMISSON IN P’ANSORI, KOREAN VOCAL MUSIC, FOCUSSING ON HǓNGBOGA By Min A Chun Thesis submitted to the Faculty of the Graduate School of the University of Maryland, College Park, in partial fulfillment of the requirements for the degree of Master of Arts 2004 Advisory Committee: Professor Robert C. Provine, Chair Professor Robert Ramsey Professor Carolina Robertson © Copyright by Min A Chun 2004 TABLE OF CONTENTS Table of Contents ........................................................................................................... ii List of Figures ................................................................................................................iv Explanatory Note.............................................................................................................v Chapter I: Introduction.................................................................................................1 1. Purpose and Proposal of Thesis .............................................................................1 2. Methods and Range of Research............................................................................3 Chapter II: Description of Performance of P’ansori....................................................7 1. Components of P’ansori Performance: Singer, Story, Accompanist, Audience.......8 1.1. Vocalist: Sori, Aniri, Pallim..........................................................................8 1.2. Stories........................................................................................................12 1.3. Drummer ...................................................................................................16 1.4. Audience....................................................................................................18 2. Musical Characteristics: Changdan and Cho........................................................19 2.1. Rhythmic Patterns: Changdan (長短).........................................................20 2.2. Melodic Mode and Type: Cho/jo (調).........................................................22 Chapter III: Socio-historical Background of P’ansori ...............................................27 1. Discussion of the Origin of P’ansori Performance...............................................27 2. Kwangdae as P’ansori Performer ........................................................................31 3. Evolution of P’ansori from the Eighteenth Century to Present Time....................34 3.1. The Eighteenth Century as the Period of Formation....................................35 3.2. The Nineteenth Century as the Period of Development and Change ...........39 3.2.1. The First Half of the Nineteenth Century...........................................39 3.2.2. The Latter Half of the Nineteenth Century ........................................43 3.3. The Twentieth Century as the Period of Change and Preservation ..............49 3.3.1. The Period of Colonization and War .................................................49 3.3.2. Period Following the Japanese Occupation and the Korean War........58 3.4. The Twenty-First Century as the Period of a New Generation.....................64 Chapter IV: Genealogy and Creativity Che/je ...........................................................66 1. Discussion of Che/je: Various meanings of che/je in different contexts................66 1.1. Che as Yup’a (流派), p’a (派) [a school] ....................................................68 1.2. Che as padi (바디) [a style or sub-school]..................................................69 1.3. Che as Tǒnǔm (더늠) [individual innovation].............................................71 1.4. Che as cho (調) [melodic mode].................................................................72 2. Genealogy of Hǔngboga......................................................................................74 2.1. Formation and Transmission of Hǔngboga.................................................74 2.2 Song Man’gap’s Style (che) Genealogy and his Hǔngboga..........................77 Chapter V: Analysis of Comparison Between Singers...............................................81 1. Texts ...................................................................................................................85 1.1. Repetition ..................................................................................................90 1.2. Omission....................................................................................................91 1.3. Addition.....................................................................................................92 1.4. Creation .....................................................................................................93 2. Rhythm ...............................................................................................................94 2.1 Rhythmic Similarity....................................................................................95 ii 2.2. Independent Rhythm..................................................................................97 3. Melody................................................................................................................99 3.1. Structure of Tone........................................................................................99 3.2. Same melodic pattern...............................................................................101 3.3. Similar melodic pattern............................................................................102 3.4. Independent melodic patterns...................................................................104 Chapter VI: Conclusions...........................................................................................109 Appendix 1: The Korean Version of Pak T’aryǒng Text..........................................114 Appendix 2: Transcriptions of Pak T’aryǒng ...........................................................116 Bibliography ..............................................................................................................125 Discography ...............................................................................................................139 iii LIST OF FIGURES Figure 2.1. Twelve p’ansori madang in Kwanuhǔi.........................................................12 Figure 2.2. The Scene where Hǔngbo is expelled from Hǔngboga, performed by Pak Nokchu ..........................................................................................................24 Figure 2.3. Ujo mode as suggested by Paek Taeung .......................................................24 Figure 2.4. P’yǒngjo mode suggested by Paek Taeung ...................................................25 Figure 2.5. The Part where Nolbo goes to find the swallow, as performed by Pak Nokchu. .......................................................................................................................26 Figure 4.1 Kim Ch’anghwan che Hǔngboga [Hǔngboga in Kim Ch’anghwan’s style] in the Western school .........................................................................................71 Figure 4.2 Genealogy of Hǔngboga in the Eastern school..............................................79 Figure 5.1 Genealogy of Song’s Hǔngboga in the Eastern school...................................82 Figure 5.2 Comparisons of Pak T’aryǒng Texts of Four Singers ....................................86 Figure 5.3. The Four Singers Versions of “Eyǒru, Pull the gourd” 에여루, 당그여라 in Pak T’aryǒng .................................................................................................95 Figure 5.4 Phrase of “Does living a life of affluence and living in poverty depend on where the ancestral tomb is located?” 잘살고 못살기는 묘 쓰기에(으) 매였(었)느냐 in Pak T’aryǒng of Song and Kim ..........................................96 Figure 5.5 Comparison of “Eyǒru, Pull the gourd” 에여루, 당그여라 in Song’s performance ...................................................................................................97 Figure 5.6 Phrase of “Dear wife! Do your part quickly, sing the response” 여보게 마누라! 어서 어서 톱 소리 맞소 in the four singers performances. .........98 Figure 5.7 Phrase of “After sawing the gourd, let’s boil and eat the core of the gourd” 이 박을 어서 타서 박속은 끓여먹고 in the performance of Song, Pak, Kang98 Figure 5.8 Kyemyǒnjo of Pak T’aryǒng........................................................................100 Figure 5.9 Phrase of “Please bring a bowl of
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