가사는 가사체의 긴 사설을 일정한 선율과 장단의 틀에 얹어서 노래하는 전통 성악곡으로 조선 후기 시조, 가곡과 함께 불리면서 하나의 장르로 자리매김하여 오늘에 이른다. 본고에서는 20세기 전기의 가창양상을 검토하여 12가사의 역사적 흐름에 나타난 변화를 알아보고 현재 전승되는 12가사와의 차이점을 밝혀 시기적 특징을 살펴보겠다. Ⅱ장에서는 12가사의 형성과 전승, 고악보에 수록된 가사를 살펴보고 선행연구를 통해 분석해 보았다. 현행 12가사는 일제강점기 이왕직아악부에서 하규일(1867~1937)과 임기준(1868~1940)을 촉탁하여 아악생들에게 가르치면서 전승되었다. 고악보에 수록된 가사는 ·········만이 고악보에 기록되어 있고, 와 의 기록은 확인할 수 없었다. 거문고보와 양금보와 같은 악보에 가사가 수록된 것은 반주의 영역으로 기보된 것 보다는 반주의 영역으로 현악기가 함께 연주되었음을 알 수 있었다. Ⅲ장에서는 20세기 전기 가사의 가창 양상을 가집, 음반, 방송, 공연으로 나누어보았다. 20세기 전기에 가사가 수록된 가집은 총 20종으로 확인되었고, 가집마다 수록면에는 차이가 있지만 대부분의 가집에서 가사의 항목으로 12가사가 함께 수록된 것을 확인할 수 있었고, 과 이 가사 중에 가장 많은 가집에 수록되었다는 것과 는 가집에 가장 적게 수록되었다는 것을 알 수 있었다. 노랫말의 경우에는 동일형, 확대형, 축소형, 이본형으로 분류하여 살펴보았는데, 현행의 노랫말과는 크게 다르지 않았지만 사설의 형태가 곡마다 달랐고, 시대가 흐르고 변화하면서 현행에 이르는 노랫말로 고착된 것으로 확인할 수 있었다. 음반의 경우 1907년에 로 음반취입이 처음 이루어진 것을 확인하였고, ·······순의 음반발매량 또한 곡마다 차이를 보였다. 음반의 반주형식에 현악기인 슬이 반주 되었는데, 현행에서는 쓰이지 않는 현악기의 발견으로 이후의 가사 반주에 연주될 수 있는 하나의 역사적 배경이 될 수도 있을 것이다. 방송에서 가장 많이 방송된 가사는 이고, 다음으로 ·········의 순서로 파악되었다. 가창자는 각 권번에서 활동했던 예기들에 의해 가창되었고, 이왕직아악부의 방송 참여로 인해 한국의 전통성악인 정가의 위상이 한층 높아지는 계기가 되었을 것이라 추정할 수 있다. 공연에서는 이왕직아악부의 이습회를 통한 가사 연행에 대해 살펴보았다. 1937년이전에는 하규일이 전수한 8가사외에 나머지 4곡은 공연에서 연주되지 않았으나 하규일이 타계한 이후 공연과 방송에서 12가사의 전곡을 연주한 것으로 확인하였다. 또한 전통음악이 일반 대중에게 전달되기 어려웠던 점에서 이왕직아악부는 전통음악 알리기 위한 한 방법으로 방송에 참여한 것을 알 수 있었다. Ⅳ장에서는 Ⅲ장의 연구를 토대로 20세기 전기 가사의 가창곡, 가창자, 가창방식의 특징을 연구한 결과, 가집, 음반, 방송, 공연에서의 가사는 분류별로 다르게 가창되었다는 것을 알 수 있었다. 이상과 같이, 20세기 전기에 가사의 연행에서 가집, 음반, 방송, 공연 등에 이르기까지 다각도로 분석하여 과거의 폭넓고 다양하였던 가사 음악의 영역을 확인하였다. 이를 통해 현재의 열악한 가사 음악 상황을 극복할 수 있는 계기가 마련되었다는 점에서 의의가 크다. 본 연구가 가사 연주의 활성화는 물론, 가사 음악 문화에 대한 연구가 다각적으로 이루어져 가사의 위상을 재조명하는데 작은 보탬이 되기를 바란다.
Gasa is a traditional vocal music that is sung by putting long lyrics in the gasa body into a certain frame of melody and beat. In this paper, I would like to examine the process of development of 12 gasa in the first half of the 20th century and the singing aspects. After the Gasa was named and confirmed as the 12 gasa, we will review the singing aspects of the first half of the 20th century, find out the changes in the historical flow of the 12 Gasa, and examine the characteristics of the period by clarifying the differences with the 12 gasa that are currently handed down. In Chapter Ⅱ, the formation and transmission of the 12 gasa and the gasa recorded in the ancient score were examined, and a general understanding was made through previous research. 〈Eobuga〉, one of the current 12 Gasa songs, is included in 『Akjang Gasa』, a literature of the early Joseon Dynasty, so 〈Eobuga〉 is regarded as the beginning of the current Gasa. From the 12gasa recorded in the literature of the 18th century, we can know that 4 Gasa, namely 〈Eobusa〉, 〈Chunmyeongok〉, 〈Sangsabyeolgok〉, and 〈Kwonjuga〉, existed and were sung. Six songs such as 〈Gilgunak〉, 〈Baekgusa〉, 〈Maehwaga〉, 〈Hwanggyesa〉, and 〈Yangyangga〉 appeared, and at the end of the 19th century, 〈Suyangsanga〉 and 〈Jukjisa〉 were combined to form the current 12gasa. And it was found. The current 12gasa were handed down during the Japanese colonial period when the Iwangjik Aakbu (李王職雅樂部) commissioned Ha Gyu-il (1867-1937) and Lim Gi-jun (1868-1940) to teach the aak students. . In 1971, Lee Ju-hwan (李珠煥) was recognized as an important intangible cultural property No. 41 holder of Gasa. Lee juna(李埈娥) is still active. The lyrics included in the old score are 〈Sangsa Byeolgok〉, 〈Eobusa〉, 〈Baekgusa〉, 〈Gilgunak〉, 〈Gwonjuga〉, 〈Maehwaga〉, 〈Chunmyengok〉, 〈Cheosaga〉, 〈Hwanggyesa〉, and 〈Yangyangga〉 and the records of 〈Suyangsanga〉 and 〈Jukjisa〉 could not be confirmed. It can be assumed that the melodies of the gasa in the scores of string instruments such as geomungobo and yanggeumbo were notated as an accompaniment area rather than simply replacing the gasa scores. In Chapter Ⅲ, the aspects of gasa in the early 20th century were divided into anthologies, albums, broadcasts, and performances. In the first half of the 20th century, a total of 20 kinds of anthologies were identified, and although there were differences in the contents of each anthology, it was confirmed that most anthologies were included as gasa items, and 〈Sangsabyeolgok〉 and 〈Chunmyeongok〉 It was found that it was included in the most collections of anthology and 〈Maehwaga〉 had the least amount. In the case of the gasa, they were classified into the same type, extended type, reduced type, and different type, and they were examined. Although they were not very different from the current gasa, the form of the editorial was different for each song, and as the times passed and changed, they were fixed as the gasa that reached the current one. In the case of records, it was confirmed that the first record was recorded as 〈Hwanggyesa〉 in 1907, and the release of records in the orderof〈KwonJuga〉·〈Gilgunak〉·〈Chunmyeongok〉·〈Jukjisa〉 〈Hwanggyesa〉·〈Sangsa Byeolgok〉·〈Suyangsanga〉 and Baekgusa also differed from song to song. All of the songs on the album were the best songs recognized in Kwonbeon, and they sang solo in each Kwonbeon, and it was also possible to see that the singers belonging to the same Kwonbeon participated in the album in a chorus manner. Seul, a string instrument, was recorded in the accompaniment form of the album, and the discovery of string instruments that are not currently used may serve as a historical background for future gasa. As for the performance of gasa examined in broadcasting, in the 1920s, with the opening of broadcasting stations, the broadcasting of gasa began gradually, and in the 1930s, the number of singers also increased exponentially. ·It was identified in the order of 〈Gilgunak〉. Radio broadcasting did not simply perform the function of reporting and entertainment, but the gasa were also recognized as an indispensable repertoire among vocal music in that the broadcasting repertoire was selected with the purpose of improving the culture of the public. The singers were also sung by the Yegi who were active in each volume, as in the album, and it can be assumed that Yiwangjik Aakbu's participation in broadcasting served as an opportunity to further enhance the status of Jeongga, a traditional Korean vocal music. In the performance, I looked into the performance of gasa through the Iseuphoe of Yiwangjik Aakbu. All of the performers of Yiseuphoe were from the Iwangjik Aakbu Training Center, and none majored in vocal music. All members majored in instrumental music, and it was confirmed that they played instruments and sang gasa together under the influence of Ha Gyu-il's teachings. Before 1937, the remaining 4gasa were not sung except for the 8gasa handed down by Ha Kyu-il, but after Ha Gyu-il passed away, it was confirmed that all 12 songs were played in performances and broadcasts. In addition, given that traditional music was difficult to convey to the general public, it seems that Yiwangjik Aakbu participated in the broadcast as a way to further promote traditional music. In chapter Ⅳ, based on the research in chapter Ⅲ, the characteristics of the songs, singers, and singing styles of lyrics in the early 20th century were examined. 〈Sangsabyeolgok〉 and 〈Chunmyeongok〉 were included in the most number of anthologies, and song songs in albums were identified in a different aspect from the song songs examined through broadcasts and performances. It was found that 〈Jukjisa〉 was sung the most in broadcasts and performances. It seems that the influence of the 8 gasa handed down by Ha Kyu-il had a great influence on music recordings, broadcasts, and performances. Singers of the gasa showed differences in records, broadcasts, and performances. In the recording and broadcasting, it was confirmed that the album was recorded and released in the method of solo and chorus, composed of the best performances of each volume, and broadcast in the same way in the method of solo and chorus. As for the accompaniment method, the accompaniment of daegeum and janggu was universal, and piri, danso, and haegeum were also played together in broadcasts and performances. As a result of examining it as above, in the first half of the 20th century, it was analyzed from various angles, ranging from performances of gasa to anthology, records, broadcasts, and performances, to confirm the wide and diverse domain of lyrics music in the past. Therefore, it is meaningful in that it provided an opportunity to overcome the current poor gasa music situation. It is hoped that this will contribute to the re-examination of the status of lyrics through the revitalization of lyrics performance as well as research on lyrics music culture from various angles. Also, I hope that the stagnant world of gasa music can be expanded more diversely and broadly, and I hope that in-depth research on gasa music will continue.