A Study of Kang Dokeun’s Chunhyangga:From the Introduction to Jeokseongga
Authors: Shin Eun joo 
Published: May 2022

Kang Dokeun was a representative P’ansori singer from the Namwon region during the middle of the 20th century. He mastered authentic Dongpyeonje, which he learned from 20th century Namwon P’ansori culture and fostered several pupils, including AnSooksun, JunInsam, and LeeNancho. He was designated holder of P’ansori Heungboga(the 5th important intangible cultural asset) in 1988. Heungboga, which he taught to his pupils, is actively sung today. However, KangDokeun possessed the knowledge of all five P’ansori (Chunhyangga, Simcheongga, Sugungga, Jeokbyeokga, Heungboga). Neither does any recorded evidence of Kang Dokeun’s Chunhyangga remain nor do records exist that contain short sound clips of its portions. Therefore, no conclusive study has been conducted of Kang Dokeun’s Chunhyangga; only its lyrics have been recorded in 『Kang Dokeun 5 ga full collection』 (P’ansori five batang full collection) by Kim Gihyung. The lyrics were reorganized by his pupils and the parts that were not filled were complemented by referring to the lyrics of Park Bongsul’s Chunhyangga. This study is of Chunhyangga, which he possessed, and focuses on 「Kang Dokeun oral statement and P’ansori-Chunhyangga, Sugungga, Heungboga」, an album released by Namwon City and Jeonbuk National University in 2021. The album contains sound source ranging from the introduction of Chunhyangga to Jeokseongga possessed by Professor Chung Hoechun. Additionally, this study explores the sound source of Kang Dokeun’s Jeokseongga and Eosachudo (the scene where the royal secret investigator appears) contained in 「Sound of Spirit -Kang Dokeun, master of Dongpyeonje」, which was produced in LD form by Samsung Electronics in 1993. Based on these sources, this study examines the lyrics and characteristics of the music of Kang Dokeun’s Chunhyangga. Results reveal that the lyrics in the album of Kang Dokeun and the lyrics recorded in 『Kang Dokeun 5 ga full collection』, are in almost complete accordance with each other. It is impossible to check the presence of parts that used Jinyangjo Jangdan that Lee Mongryong described in introduction; however, lyrics in Gisanyeongsu, Dongmunbak (Outside the Eastern Door), Naguianjang (Saddle of Donkey), Jeokseongga, and Eosachudo almost coincide. However, when comparing the lyrics of Kang Dokeun’s Chunhyangga and Park Bongsul’s Chunhyangga. The characteristics that differentiate the two are largely similar to those of Kim Yeonsu’s Chunhyangga. Whether Kang Dokeun was directly influenced by Kim Yeonsu or whether Kang Dokeun’s Chunhyangga changed through other paths needs further discussion. The strongest characteristic of the music of Kang Dokeun’s Chunhyangga is that a relatively wide range is used in one piece. Kang Dokeun’s style, with is different from the movement method of the general chung (main sound) in P’ansori. Therefore his song sounds unfamiliar, commonly expects . Furthermore, all the songs examined in this study use Pyeongjo and Ujo to express melody; however, their vibrato is remarkable. However, Kang Dokeun’s P’ansori heartily sings with Tongseong and uses monotonous rhythms (butimsae) repeatedly. Therefore, Kang Dokeun’s Chunhyangga is definitely different from the technique-centered Seopyeonje and shares several aspects of Dongpyeonje in terms of the overall atmosphere.