A Study on Jeong Cheol-ho’s Creative Pansori Yi Sunshin Yeolsaga

This study aims to analyze the narrative structure and musical characteristics of Yi Sunshin Yeolsaga, a creative Pansori composed by the master singer Jeong Cheol-ho, who expanded the scope of creative Pansori and contributed to its modern succession in the post-liberation era. Composed in the 1970s, against the historical backdrop of establishing a national identity, Jeong Cheol-ho’s Yeolsaga follows the tradition of Park Dong-sil while establishing a unique artistic world; however, it has received relatively little academic attention. This paper examines Yi Sunshin Yeolsaga through the lenses of narrative (saseol), rhythmic patterns (jangdan) and phrasing (butimsae), and musical modes (akjo) and melodies. The findings are as follows: First, within the narrative structure, the work maintains dramatic tension by placing high emphasis on the development of events and moments of crisis. It actively utilizes the dochang (narrative singing) format to describe the atmosphere of events rather than the conversational style common in traditional Pansori, and enhances public accessibility by using easy Korean explanations instead of complex Sino-Korean characters. Furthermore, traces of borrowing narratives from traditional repertoires such as Jeokbyeokga and Simcheongga are observed. Second, regarding rhythm and phrasing, the work employs four types of Jangdan: Jinyangjo, Semachi, Jungmori, and Jajinmori. To express the urgency of the war, Jajinmori and Semachi are varied, while Jinyangjo is placed in tragic scenes. The phrasing actively uses sophisticated Butimsae techniques, such as Eotbutim, Gyodaejuk, Doseop, and Wanjageori rather than the standard Daemadi Daejangdan, thereby inheriting the musical splendor of late pansori. Third, in terms of musical modes and melodies, the contrast between Ujo and Gyemyeonjo is used to three-dimensionally portray the hero’s spirit and tragedy. The victory scenes emphasize grandeur through Ujo mode, utilizing commanding vocalizations (seongeum) and melodic leaps of over an octave. Conversely, scenes of dismissal and death maximize pathos through the Sigimsae (ornamentations) of Gyemyeonjo, such as tteoneun-mok (vibrant notes), kkeokneun-mok (breaking notes), and the wide-ranging Byeoncheong. In conclusion, Jeong Cheol-ho’s Yi Sunshin Yeolsaga can be evaluated as a creative Pansori that faithfully follows traditional grammar while vividly reconstructing the life and achievements of a national hero, Yi Sunshin through modern narrative composition and dramatic musical elements. This study expects to rediscover the value of Jeong Cheol-ho’s works, which have been undervalued in the history of creative Pansori, and to serve as foundational data to expand the scope of future research on Yeolsaga.