A Study on the Musical Characteristics of the Seolleongje in Kim Se-jong-je Chunhyangga : Focusing on the Versions Sung by Seong Chang-sun, Seong U-hyang, and Jo Sang-hyeon

This study focuses on the Seolleongje section of Chunhyangga in the Kim Se-jong school, narrowing the scope from a general overview to a more detailed musical analysis. In particular, the analysis centers on the performances of three master singers－Seong Chang-sun, Seong Woo-hyang, and Jo Sang-hyeon－focusing on the Gunrosaryeong passage of Seolleongje. Among them, Seong Woo-hyang, though not previously examined in earlier studies, occupies an important position in the transmission of Kim Se-jong’s Chunhyangga. This study aims to elucidate the musical identity of the Kim Se-jong school and to broaden the perspective of research on the Seolleongje section in pansori. The scope of the study is limited to the Seolleongje passage within the Gunrosaryeong scene of Chunhyangga. The analysis focuses on the text, rhythmic patterns (jangdan), and melodic progression. The research methods are as follows. First, prior studies, monographs, and recordings were reviewed to understand the transmission process and musical characteristics of the Kim Se-jong school. Second, based on the changbon (lyric transcriptions) and recordings of three dongpyeonje singers－Seong Chang-sun, Seong Woo-hyang, and Jo Sang-hyeon－comparative analyses of the lyrics and musical characteristics were conducted. The findings are summarized as follows. First, comparison of the lyrics shows that Seong Chang-sun’s version consists of 36 jangdan and 272 syllables, Seong Woo-hyang’s of 34 jangdan and 263 syllables, and Jo Sang-hyeon’s of 35 jangdan and 251 syllables. The degree of textual correspondence includes 16 identical verses, 12 similar verses, and 8 differing verses. Despite belonging to the same musical lineage, the three singers exhibit subtle differences in jangdan distribution, syllabic density, and phrasing, reflecting their individual interpretive styles and vocal expressions. Second, a notable difference is found in Jo Sang-hyeon’s performance in jangdan 28-31, corresponding to the lines “Iyae, Chunhyang, come out” and “the voice of calling.” While Seong Chang-sun and Seong Woo-hyang conclude these lines within a single jangdan, Jo Sang-hyeon extends them across two jangdan, thereby securing rhythmic space and emphasizing the expressive delivery of the text. Third, the Gunrosaryeong passage employs the mi (E) scale, with la (A) serving as the tonal center. The pitch organization shows a gyemyeonjo structure of “mi-sol-la-do(si)-re,” and the tonal system used by all three singers corresponds to the D boncheong gyemyeon mode. Fourth, the opening melody of the Seolleongje section centers on the higher pitch a′, often repeated, followed by an ascending figure g′-a′-c′′-d′′, effectively creating tension and a sense of climax. In particular, Seong Chang-sun frequently leaps down to the lower a to secure the tonal base a′, thereby reinforcing melodic tension and dramatic expression. Fifth, all three singers display ascending melodic leaps of an octave, most frequently from c′ to c′′. This structure enhances melodic contrast and dramatic effect. Additionally, Seong Woo-hyang exhibits a distinctive octave-ascending melodic pattern not found in the other two singers. Sixth, all three singers employ sigimsae (ornamental pitch inflection) on the high tone c′′, using two consecutive sixteenth notes to produce a rolling or daru-like ornamentation. Seventh, except for Seong Woo-hyang, both Seong Chang-sun and Jo Sang-hyeon emphasize and conclude on the high note c′′. While Seong Woo-hyang ends on a′ and the others on c′′, all three share an ascending cadential pattern, suggesting that ascending cadences are more characteristic of Seolleongje than descending ones. In conclusion, this study analyzed the melodic features of Seolleongje in the Gunrosaryeong passage as performed by three representative singers of the Kim Se-jong school.