제주 칠머리당 영등굿의 음악적 구성과 특징

Abstract

제주 칠머리당 영등굿은 음력 2월에 제주도를 방문하는 바람신인 ‘영등할망’을 위한 무의식이다. 이는 중요무형문화재 제71호이자 2009년 유네스코 세계문화유산으로 등재된 대표적인 영등굿으로 많은 사람들의 관심을 받고 있다. 본고는 칠머리당 영등굿의 음악 구성 원리와 음악의 역할을 알아보는 것에 목적을 두고 2010년에 연행된 칠머리당 영등굿을 주요 대상으로 살펴보았다. 도출된 결과를 정리하면 다음과 같다. 첫째, 선행연구의 제차를 비교한 결과, 칠머리당 영등굿 제차의 기본 골격은 초감제·요왕맞이·씨드림·배방선·도진이며 현재는 배방선이 영감놀이에 포함되어 연행되는 것을 알 수 있다. 또한 시대의 변화와 연구자의 인식에 따라 굿의 제차가 조금씩 달라지는 모습도 확인하였다. 둘째, 2010년에 연행된 칠머리당 영등굿은 초감제·공연, 요왕맞이, 씨드림·마을도액막음, 영감놀이(배방선), 도진의 최상위 제차로 구분된다. 또한 음악의 연주형태를 중심으로 연주의 끊김(休止)·음계·선법·선율형·장단 등의 음악적인 기준 요소를 활용한 의미있는 소제차의 분류가 가능하다. 셋째, 칠머리당 영등굿 무가는 장단의 유무·선율의 특성·반주의 주체 등에 따라 음영조·음영형 가창조·가창조로 분류된다. 이들은 또한 세부적인 음악적 유형을 가지며 굿의 내용에 따라 유의미하게 사용된다. 넷째, 음악 구성에 따른 제차의 특징을 살펴보면, 오랜 시간이 소요되는 핵심적인 제차는 심방이 집행하며 무가와 춤 반주음악을 포함하고, 상대적으로 보조적인 제차는 비교적 짧은 연행시간을 가지며 소미에 의해 주로 무가만으로 연행된다. 이들은 서로 번갈아 위치하며 굿의 분위기를 전환하는 역할을 한다. 씨점과 연극요소 등이 연행되는 경우를 제외하면, 칠머리당 영등굿의 모든 제차에는 무가가 포함되어 있음을 알 수 있다. 칠머리당 영등굿에 대한 본 연구는 기존에 논의가 부족했던 제주도의 굿 음악에 주목하여 음악적인 제차를 중심으로 칠머리당 영등굿 각 제차의 특징과 음악의 역할을 살펴보고자 한 것에 의의가 있다. 그 결과 칠머리당 영등굿 각 제차에 활용되는 무가의 유형과 음악적 특징이 굿의 내용과 밀접한 관련을 맺고 있음을 확인하였다.| Jeju Chilmeoridang Yeongdeunggut is a shamanistic ritual for 'Grandmother Yeongdeung' which is a goddess of the wind and visits Jeju Island in February according to the lunar calendar. This Yeongdeunggut has been designated as a Korean important cultural property in 1980 and listed in UNESCO’s World Cultural Heritage in 2009. Many people have much interest to them. The aim of this thesis is to find out about musical structure and characteristics of Chilmeoridang Yeongdeunggut. The conclusion of this paper is as follows. First, as a result of reviewing the previous prominent studies, the ritual procedure of Chilmeoridang Yeongdeunggut consists of Chogamje, Yowangmaji, Ssideurim, Baebangseon and Dojin. Notably, Baebangseon has been integrated into the Yeonggamnori after the late 1980s, which had been separately dealt with. Additionally, the ritual procedure has varied, depending on the views of researchers or times. Second, Chilmeoridang Yeongdeunggut held in 2010, is classified Chogamje·Gongyeon, Yowangmaji, Ssideurim, Maeuldoaengmakeum, Yeonggamnori(Baebangseon) and Dojin. Also, each component could be subcategorized by musical standardized factors such as pause, scale, mode, melody pattern and rhythmic pattern (Jangdan). Third, all the songs of Chilmeoridang Yeongdeunggut are classified by Eumyeong-jo (a form like recitativo), Eumyeonghyeong Gachang-jo (a form like arioso), Gachang-jo (a form like aria), depending on the existence of rhythmic pattern (Jangdan), characteristics of melody and those who plays the musical instruments. These have detailed musical type, which of each is used meaningfully according to the content of the ‘gut’ Lastly, from musical point of view, the essential part of ritual procedure of Chilmeoridang Yeongdeunggut is: 1) including song and background music for dance, 2) performing by the main shaman (Simbang) and 3) taking long time. On the other hand, the assistant part of ritual procedure consists of a song by sub shaman (Somi) within relatively short time. These parts take turn in its performance and take a role to change its atmosphere. As a result, all the ritual procedure of Chilmeoridang Yeongdeunggut includes songs, except for playing both Ssijeom (divination by seeds) and the dramatic behavior. This thesis is significantly meaningful in terms of dealing with the characteristics and role of music in the Chilmeoridang Yeongdeunggut’s individual shamanistic rites by focusing on Jeju island’s shaman music which has been shed little light on. In consequence, this thesis found out the fact that types of shaman song and musical characteristics in each ritual procedure are significantly related to its contents.; Jeju Chilmeoridang Yeongdeunggut is a shamanistic ritual for 'Grandmother Yeongdeung' which is a goddess of the wind and visits Jeju Island in February according to the lunar calendar. This Yeongdeunggut has been designated as a Korean important cultural property in 1980 and listed in UNESCO’s World Cultural Heritage in 2009. Many people have much interest to them. The aim of this thesis is to find out about musical structure and characteristics of Chilmeoridang Yeongdeunggut. The conclusion of this paper is as follows. First, as a result of reviewing the previous prominent studies, the ritual procedure of Chilmeoridang Yeongdeunggut consists of Chogamje, Yowangmaji, Ssideurim, Baebangseon and Dojin. Notably, Baebangseon has been integrated into the Yeonggamnori after the late 1980s, which had been separately dealt with. Additionally, the ritual procedure has varied, depending on the views of researchers or times. Second, Chilmeoridang Yeongdeunggut held in 2010, is classified Chogamje·Gongyeon, Yowangmaji, Ssideurim, Maeuldoaengmakeum, Yeonggamnori(Baebangseon) and Dojin. Also, each component could be subcategorized by musical standardized factors such as pause, scale, mode, melody pattern and rhythmic pattern (Jangdan). Third, all the songs of Chilmeoridang Yeongdeunggut are classified by Eumyeong-jo (a form like recitativo), Eumyeonghyeong Gachang-jo (a form like arioso), Gachang-jo (a form like aria), depending on the existence of rhythmic pattern (Jangdan), characteristics of melody and those who plays the musical instruments. These have detailed musical type, which of each is used meaningfully according to the content of the ‘gut’ Lastly, from musical point of view, the essential part of ritual procedure of Chilmeoridang Yeongdeunggut is: 1) including song and background music for dance, 2) performing by the main shaman (Simbang) and 3) taking long time. On the other hand, the assistant part of ritual procedure consists of a song by sub shaman (Somi) within relatively short time. These parts take turn in its performance and take a role to change its atmosphere. As a result, all the ritual procedure of Chilmeoridang Yeongdeunggut includes songs, except for playing both Ssijeom (divination by seeds) and the dramatic behavior. This thesis is significantly meaningful in terms of dealing with the characteristics and role of music in the Chilmeoridang Yeongdeunggut’s individual shamanistic rites by focusing on Jeju island’s shaman music which has been shed little light on. In consequence, this thesis found out the fact that types of shaman song and musical characteristics in each ritual procedure are significantly related to its contents.