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초록· 키워드
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This thesis aims to investigate the transmission aspects and actual conditions of funeral-rite folk songs in Namhae Goon on the basis of the process of the funeral rite. The funeral-rite folk songs of Namhae Goon can be largely divided into two kinds. One is 〈Sang-yeo-so-ti〉 which is sung during the process of moving the coffin with the departed in it to the burial site, and the other one is 〈Gwaeng-yi-so-ri〉 which is sung during Seong-boon, which means burying the dead body and making a grave mound.
First of all, with the result of classifying those songs according to the refrains of the subsequent part, the basic refrains of 〈Sang-yeo-so-ri〉 all belong to the category of 'Oe-heo Oe-yi-ga-ri Neom-cha' which is part of the tune-typed refrain. Besides, According to the geographical features in which the movement of the bier is conducted, the refrains of funeral songs vary. For instance, when the coffin is moved along narrow and rough ways, 'Na-moo-ah-mi-tah-bool' is chanted, which is the Bulmyungho-typed refrain (Bultoyungho means calling Buddha's name.), and near uphills or graveyards, the category of 'Oe-heo Neom-cha' is chanted, which the tune-typed refrain. On the other hand, there are also some places where 'Ah-eu-nim (the loved one leaving) Bo-sal' is chanted, meaning 'Please take good cate of the loved one leaving' in the event of someone's passing by, which is the significance-typed refrain. 'Ah-eu-nim Bo-sal' is a transformation of 'Gwan-eum-bo-sa!', the Bulmyungho-typed refrain, and the original meaning seems to have broadened afterwards and settled as a leave-taking chant as it is now.
Interestingly, the chant of burying the dead body has been banded down only in Changsun Region in Namhae Goon, and only 〈Gwaeng-yi-so-ri〉 chanted as 'Oe-hoe-rang-sang Gaeng-yi-ya' exists as a single form, which is named since the main tool used to build grave mounds is Gwaeng-yi, meaning a hoe in English.
The following step was to investigate the ritual would of the local people shown in the funeral-rite folk songs by classifying all the stages of the funeral process, such as carrying the coffin out of the house, leave-taking, son-in-law riding, moving the coffin to the burial site and Sung-boon, which is burying the dead body, while examining the role of each stage, mainly focusing on the lyrics.
The day before carrying the coffin out of the house, people rehearse the stage of carrying the coffin out of the house in the exactly same way they are supposed to do while lifting the empty coffin and going around the village. At this point, this study found there is a variation in the process of carrying the coffin out of the house, depending on areas. In some areas, the preceding chanters necessarily play Gweng-ga-ri, (A kind of Korean traditional musical instrument, looking like a small gong) while making leading chants, bot in other areas, they don't. With the reference to documentary records, it was a custom to play Gwen-ga-ri in the whole area of Namhae long ago, bot as time went by, it hasn't been banded down as some of the preceding chanter failed to learn how to play Gwen-ga-ri from the previous generations, resulting in such a regional variation as it is now.
In the chant of leave-taking, the preceding chanter plays a role as a mediator between the dead and the living by asking and answering questions. The chant includes the sorrow of separation caused by bodily mortality and the spirit reincarnation based on the belief in spirit immortality while reflecting people's present world-oriented and community-focused ideas on the basis of the present lives and existences. Especially, the community-focused idea appears through the mouth of the dead asking fur the community harmony and bond, which indicates the expression of what one should do, internalized in the local people's lives, and a means of making their lives harmonious in isolated and hardscrabble environments.
Moreover, in the case of the last port cf leave-taking or crossing the bridge, 'Son-in-law Riding' is conducted in Namhae Goon. Each son-in-law should ride on the bier in turns, insert money into the straw ropes tied to the bier and even romp about while standing on the bier and giving leading chants. The custom, which is done fur propitious mourning, has been handed down all over the area of Namhae Goon since a long time ago, and its purpose is to tum the tire of sorrow into a lighthearted festival and lessen the people's sorrow.
The study also investigated the types of 〈Sang-yeo-so-ri〉, song during the process of carrying the coffin to the burial site, according to geographical features. While 〈Sang-yeo-so-ri〉 on the p1ain roads has ceremonial properties, in the tough roads or uphills, the function of labor folk song is reinforced with the ceremonial properties weaker. In the port of dealing with the function of ceremonial properties, chants in the kinds of 'Hwe-shim-gok' (remorse song) are mostly song, which is the combination of folk beliefs and Buddhism, describing and dealing with repentance about not reciprocating their parents' affection and favors, lives in vein and lamentation of aging, mortality of lives, offering a prayer for long-term illnesses, uselessness of all kinds of medicines, configuration of the world of the dead and appearance of psychopomp, and taking the dead compulsively to the other world. In the content of the chants, the present and unspiritual-oriented thinking ways are embodied on the basis of experience of this life. In 〈Saog-yeo-so-ri〉 whose function of labor folk song is reinforced, the directional lyrics informing the others of geographical circumstances are mostly used by the preceding chanter, and the refrain is also simplified to the tempo of Jabot used to catty the bier because consistent and cooperative movements are more important than focusing on the rite itself.
Seong Bun starts along with 〈Gwaeng-yi-so-ri〉 and is conducted as follows : announcing who is buried in the grave, claiming it is a quite propitious burial site on the basis of Poong-su-ji-ri-sul (the theory of divination based on topography) and making an invocation for the descendants, in all of which filial piety principles and rites for favorable changes in fortune co-exist.
Finally, the study looked into the funeral culture of Namhae Goon, which has rapidly changed due to the introduction of cinerary graves and cremation funeral while anticipating what may happen to Sang-yeo-so-ri which is disappearing in the funeral culture of Namhae Goon.
First of all, with the result of classifying those songs according to the refrains of the subsequent part, the basic refrains of 〈Sang-yeo-so-ri〉 all belong to the category of 'Oe-heo Oe-yi-ga-ri Neom-cha' which is part of the tune-typed refrain. Besides, According to the geographical features in which the movement of the bier is conducted, the refrains of funeral songs vary. For instance, when the coffin is moved along narrow and rough ways, 'Na-moo-ah-mi-tah-bool' is chanted, which is the Bulmyungho-typed refrain (Bultoyungho means calling Buddha's name.), and near uphills or graveyards, the category of 'Oe-heo Neom-cha' is chanted, which the tune-typed refrain. On the other hand, there are also some places where 'Ah-eu-nim (the loved one leaving) Bo-sal' is chanted, meaning 'Please take good cate of the loved one leaving' in the event of someone's passing by, which is the significance-typed refrain. 'Ah-eu-nim Bo-sal' is a transformation of 'Gwan-eum-bo-sa!', the Bulmyungho-typed refrain, and the original meaning seems to have broadened afterwards and settled as a leave-taking chant as it is now.
Interestingly, the chant of burying the dead body has been banded down only in Changsun Region in Namhae Goon, and only 〈Gwaeng-yi-so-ri〉 chanted as 'Oe-hoe-rang-sang Gaeng-yi-ya' exists as a single form, which is named since the main tool used to build grave mounds is Gwaeng-yi, meaning a hoe in English.
The following step was to investigate the ritual would of the local people shown in the funeral-rite folk songs by classifying all the stages of the funeral process, such as carrying the coffin out of the house, leave-taking, son-in-law riding, moving the coffin to the burial site and Sung-boon, which is burying the dead body, while examining the role of each stage, mainly focusing on the lyrics.
The day before carrying the coffin out of the house, people rehearse the stage of carrying the coffin out of the house in the exactly same way they are supposed to do while lifting the empty coffin and going around the village. At this point, this study found there is a variation in the process of carrying the coffin out of the house, depending on areas. In some areas, the preceding chanters necessarily play Gweng-ga-ri, (A kind of Korean traditional musical instrument, looking like a small gong) while making leading chants, bot in other areas, they don't. With the reference to documentary records, it was a custom to play Gwen-ga-ri in the whole area of Namhae long ago, bot as time went by, it hasn't been banded down as some of the preceding chanter failed to learn how to play Gwen-ga-ri from the previous generations, resulting in such a regional variation as it is now.
In the chant of leave-taking, the preceding chanter plays a role as a mediator between the dead and the living by asking and answering questions. The chant includes the sorrow of separation caused by bodily mortality and the spirit reincarnation based on the belief in spirit immortality while reflecting people's present world-oriented and community-focused ideas on the basis of the present lives and existences. Especially, the community-focused idea appears through the mouth of the dead asking fur the community harmony and bond, which indicates the expression of what one should do, internalized in the local people's lives, and a means of making their lives harmonious in isolated and hardscrabble environments.
Moreover, in the case of the last port cf leave-taking or crossing the bridge, 'Son-in-law Riding' is conducted in Namhae Goon. Each son-in-law should ride on the bier in turns, insert money into the straw ropes tied to the bier and even romp about while standing on the bier and giving leading chants. The custom, which is done fur propitious mourning, has been handed down all over the area of Namhae Goon since a long time ago, and its purpose is to tum the tire of sorrow into a lighthearted festival and lessen the people's sorrow.
The study also investigated the types of 〈Sang-yeo-so-ri〉, song during the process of carrying the coffin to the burial site, according to geographical features. While 〈Sang-yeo-so-ri〉 on the p1ain roads has ceremonial properties, in the tough roads or uphills, the function of labor folk song is reinforced with the ceremonial properties weaker. In the port of dealing with the function of ceremonial properties, chants in the kinds of 'Hwe-shim-gok' (remorse song) are mostly song, which is the combination of folk beliefs and Buddhism, describing and dealing with repentance about not reciprocating their parents' affection and favors, lives in vein and lamentation of aging, mortality of lives, offering a prayer for long-term illnesses, uselessness of all kinds of medicines, configuration of the world of the dead and appearance of psychopomp, and taking the dead compulsively to the other world. In the content of the chants, the present and unspiritual-oriented thinking ways are embodied on the basis of experience of this life. In 〈Saog-yeo-so-ri〉 whose function of labor folk song is reinforced, the directional lyrics informing the others of geographical circumstances are mostly used by the preceding chanter, and the refrain is also simplified to the tempo of Jabot used to catty the bier because consistent and cooperative movements are more important than focusing on the rite itself.
Seong Bun starts along with 〈Gwaeng-yi-so-ri〉 and is conducted as follows : announcing who is buried in the grave, claiming it is a quite propitious burial site on the basis of Poong-su-ji-ri-sul (the theory of divination based on topography) and making an invocation for the descendants, in all of which filial piety principles and rites for favorable changes in fortune co-exist.
Finally, the study looked into the funeral culture of Namhae Goon, which has rapidly changed due to the introduction of cinerary graves and cremation funeral while anticipating what may happen to Sang-yeo-so-ri which is disappearing in the funeral culture of Namhae Goon.
#남해군
#장례의식요
#상여
#〈상여소리〉
#성분
#〈괭이소리〉
#출상
#하직
#사위 태우기
#운구
#의식성(儀式性)
#노동요적
#화장장(火葬場)
#평장묘지(平葬墓地)
#Namhae Goon
#Funeral-rate folk song
#bier
#〈Sang-yeo-so-ri〉
#Seong Boon(burying the dead body and making a grave mound)〈Gwaeng-yi-so-ri〉
#carryig a coffin out of the house
#leave-taking
#putting a coffin on the bier
#moving the coffin to the burial site
#ceremonial properties
#labor folk song type
#cremation funeral
#flat-grave cemetery
목차
Ⅰ. 머리말
Ⅱ. 남해군 장례의식요의 전승 양상
Ⅲ. 장례의 과정과 장례의식요에 나타난 지역민의 의식세계
Ⅳ. 오늘날 장례의식의 현황과 장례의식요의 향방(向方)
〈참고문헌〉
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