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Composition and Function of the Refrains and the Remaining Verses in Goryeogayo ; on the Analyzing of Eelements of Composition

  • The Studies in Korean Poetry and Culture
  • Abbr : Korean Poetry and Culture
  • 2025, (55), pp.57~84
  • Publisher : The Society of Korean Poetry and Culture
  • Research Area : Humanities > Korean Language and Literature
  • Received : January 14, 2025
  • Accepted : February 28, 2025
  • Published : February 28, 2025

Jae Hong Shin 1

1가천대학교

Accredited

ABSTRACT

This paper sought to deepen the discussion on the refrains and remaining verses of Goryeogayo. By analyzing the recorded aspects, we organized the composition method, and based on this we discussed how it has a literary function in relation to the lyrics of the original work and how it reflects the situation of performance. The main components of the refrains and remaining verses are the oral sounds of instruments, but they are composed differently depending on the work. There are some exclamations and string sounds alone, but most of them are composed by exclamations connected to string sounds or synonyms. It also includes ‘seong’, a marker word for voice. The refrains and remaining verses play certain functions in the original work’s development of poetical idea and semantic structure. The remaining verses in Seogyeongbyeolgok and Ssanghwajeom play the roles of emphasizing through repetition of poetic words, conversion the way of statement and developing poetic ideas, and maintenance of tension and distance for conversation. Among the works with a refrain that repeats the same phrase, Dongdong is involved in the realization of theme and emotion to the extent that the title is taken from the refrain. Cheongsanbyeolgok expresses emotions according to the content and heightens the atmosphere of the banquet. Gasiri, even though it is a refrain that is out of sync with the main text, has a literary function based on the setting of singing the theme of universal human beings at a banquet of the era of peace. The refrain of Jeongseokga is included in the main text, and serves to amplify the praise and trust or ‘Nim’. The remaining verse in Isanggok reinforces the meaning of self-reproach and despair. In Jeongeupsa, the remaining verse deepens lyricism in harmony with the emotion of longing. The refrains and remaining verses are phrases that were included while editing the original work to reflect the circumstances of the performance. By mainly composing on the oral sounds of instruments, a device was provided to enjoy the situation of music performance along with the lyrics of the original work. The oral sounds of wind instruments were used in Gunmadaewang and Naryega, and that of string instruments were used in Daewangban, Seonghwangban, and Naedang. Ssanghwajeom was composed mainly of string instruments, but it also included oral sounds from wind and percussion instruments, and there was a dialogue situation at the end of the piece, so it would have been a complex and polyphonic performance with a large-scale band. Abbreviated string instruments such as ‘Darongdiri’ in Jeongeupsa and Samseongdaewang were sung like exclamations and accepted as part of the lyrics. Just as the first stanza and the remaining stanzas of Dongdong were sung separately, the refrain and remaining verse of Gashiri and Isanggok would have been sung by different people separately from the main song. ‘Ajeulga’ in Seogyeongbyeolgok appears to have created a unique appearance by using the dialect of Seogyeong, the place where the performance was performed. The refrains and remaining verses of Goryeogayo have literary and performative functions both inside and outside the work. Those have this aspect because it was passed down as a record that reflects the circumstances of the per- formance.

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