1. The study on formation and differentiation process of Pansori's sect-Jung, ung-min version Chunhyanga-
His Song ideology was continued by his students through the elegant, solemn sound and grace, refined the words of song. Jung, Ung-min teached ...
1. The study on formation and differentiation process of Pansori's sect-Jung, ung-min version Chunhyanga-
His Song ideology was continued by his students through the elegant, solemn sound and grace, refined the words of song. Jung, Ung-min teached different words of song through student's ages and time. His students made also their own song and words. Representative students Jo, Sang-hyun, Sung, Woo-hyang, Sung, Chang-soon, Jung, Kwon-jin continued the teacher's song and created individual. And that means they shown Jung, ung-min's body is specialized.
2. The study on formation and tradition process of Pansori's sect -Jung, ung-min version Simchungga-
First, I looked how it was made 'Body(version)' transmission genealogy from Jung, Ung-Min's sori. Then, I looked how different they are, that Cho, Sang-Hyun, Sung, Woo-Hyang, Sung, Chang-Soon, Jung, Kwon-Jin's pansori, who continued from Jung, Ung-Min's pansori. Through that I research the specialized processes and transmission theories of Simchungga.
Now, Cho, Sang-Hyun, Sung, Woo-Hyang, Sung, Chang-Soon, Jung, Kwon-Jin have their own way of Jung, Ung-Min Body Simchungga. Sung, Woo-Hyang is very similar to Cho, Sang-Hyun, but music and words of song are more advanced and technical than him. The reason why these four people's pansori are different is, because they had different education, each with their own quality, ability, and their own pansori ideology.
3. A study on handing down and transfiguration of <Hungboga> of Park, Cho-Wal version
Park, Cho-Wal's <Hungboga> holds a significance in that it is a unique song in itself apart from the master's. But seen as a part of the whole tradition of <Hungboga>, it also acts as an important link in studying the history of its transfiguration.
Given the fact that <Hungboga> of Kim, Jung-Moon's version is not handed down beyond the scene of Nolbo's opening gourd in the later parts, it can be concluded that, however incomplete it may be, Park, Cho-Wal sang <Hungboga> in its initial entirety. It also includes distinct words of song contents that are not handed down in the present, representing the traditionary state of <Hungboga> in the 20th century.
4. The tradition and changing aspects of the Park, Cho-weol version <Sea Palace Song>
To examine the changes in tradition, comparison studies were conducted between the words of song of Jo, Tong-Dal ․ Nam, Hae-Sung and Choi, Nan-Su. Nam, Hae-Sung and Choi, Nan-Su closely follow Park, Cho-weol's Song in its narrative and aesthetic form whereas Jo, Tong-Dal in expanding comedic lines in the Aniri parts, thus having more satire, seems to have accepted the influences of Im, Bang-Ul. It is important for master singers to inherit their teacher's Song well, but master singers who create their own unique Song are also in demand. It is the continuous experimentation and creativity that will bring forth the artistic development of Pansori. We have verified and examined the tradition and changes of the <Sea Palace Song> through Park, Cho-weol and Jo, Tong-Dal.
5. The tradition and change courses of Kim, So-Hee's <chunhyang-ga>
Kim, So-Hee arranges her <Chunhyang-ga> accommodates with Kim, Yeon-Su, Jeong, Ung-Min and Song, Man-Gap song. She makes her own song with several school of the song which musical completion song, it makes the song of various school which has the interest and an actual critical recognition to the circumferential song. The strong point of each school song under the maximum absorbing from the possibility the merit of her sound, is showing a soft editorial composition power as the originality which Kim, So-Hee distinguishes.