ScholarWorks@숙명여자대학교

초록

This article examines the origin of the sijo form based on the traditional Korean music scores such as mandaeyop ((sic), fifteenth to sixteenth century music) and chinjak 1 ((sic), twelfth to fifteenth century music) and estimates that sijo originated in the late fifteenth to sixteenth centuries. It is commonly believed that sijo originated in hyangga or Koryo kayo and has been sung and enjoyed since the late Koryo dynasty ((sic), 9181392). However, this common perception lacks empirical evidence. Sijo is a sung form and its music originated from the mandaeyop (sic) song, so an examination of its musical background is necessary to provide solid evidence to determine its origin. Some researchers have argued that the first sijo song, mandaeyop (sic), originated from chinjak 3, but have not provided specific evidence of the relationship between the two compositions. This research investigates the derivation of mandaeyop from chinjak 1 (sic) rather than chinjak 3 (sic) on the basis of clear similarities in form and melody between the two types of composition. Because mandaeyop shows such concrete influences from chinjak 1 in Taeak hubo (sic), a collection of popular songs during King Sejo's reign ((sic), r. 1455-1468), readers have inferred that the time of derivation of mandaeyop is close to that of chinjak 1. In fact, mandaeyop scores did not emerge before King Sejo's reign, during the late fifteenth century, but appeared continuously after his reign. Looking at the problem from a literary perspective, sijo poems initially emerged in munjip (sic), or literati's private collections, and their poetic form is intricately connected with the mandaeyop score. This consistent evidence clearly shows that the sijo form originated and developed under the influence of mandaeyop scores around the late fifteenth century.

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