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This focus of this thesis is on the Park, Cho-Wal version <Hungboga>, while studying the alterations in the Pansori traditions in modern times. Specifically, the main points will be Park, Cho-Wal's handing down relation and words of song, aspects of the song, and furthermore the words changes and characteristics of modern singers Cho, Tong-Dal and Kim, Su-Yeon, who are the active followers. 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. Cho, Tong-Dal, a successor of Park, Cho-Wal, went on to expand the Aniri and a witty talk parts, adding a few parts that Park, Cho-Wal didn't sing, while still being true to the Park, Cho-Wal version. All this can be seen as an act aimed towards narrative completion. These changes seem to have occurred through the addition of Dong-Pyun-Je characteristics. Kim, Su-Yeon excluded Park, Cho-Wal's Chusuknoli part, and included 4 new part of words of song. The conclusion part was rather cut short and left incomplete. But we can say that Kim, Su-Yeon is the better successor of Park, Cho-Wal's pansori's aesthetics. Through these facts we were able to see the traditionary aspects of the Park, Cho-Wal version <Hungboga>.

Hungboga, Park, Cho-Wal, Cho, Tong-Dal, Kim, Su-Yeon, tradition, transfiguration