A Study on Song Bok-san s Taepyeongso music of “KKokdugaksi Nori(Puppet show)” of Namsadangnori(recorded in 1964)

Prior to the study of Taepyeongso music(1964) played in puppet show, this study analyzed 16mm recorded images provided by the National Intangible Heritage Center Digital Archive and newspaper articles from the 60s to the 80s to focus on Songboksan s life and music activities. The characteristics of the Taepyeongso music of “KKokdugaksi Nori(Puppet show)” played by Songboksan and Songboksan derived through the research process are summarized as follows.First, Song Bok-san was a Taepyeongso player among the ttungsoe groupe, which refers to a senior for each instrument, and served as a major performer in Namsadangnori, which is composed of percussion instruments. In addition, at the time of registration as a puppet show cultural property, Song Bok-san was registered as a musician function holder along with percussion performers Nam Un-yeong and Yang Eui-il, and through music activities and previous studies of Song Bok-san, Taepyeongso music was found to be a major component of puppet show.Second, “KKokdugaksi Nori(Puppet show)” album recorded in 1964 consists of a total of 13 tracks, starting with Seogok(prelude) music, 11 membranes, and the end. As a result of analyzing only Taepyeongso music in puppet show, Song Bok-san s Taepyeongso melody played a total of 23 times from 8 seconds to 46 seconds, showing the composition of playing Taepyeongso in situations such as dance songs, changing the curtain, and before and after jokes.Third, in Song Bok-san, miseonbeop (f main key Menarijo), miseonbeop (b flat main key Gyemyeonjo), reseonbeop (e main key Pyeongjo), initiative (d flat main key Ujo), initiative (e flat main key Ujo), ), etc., are played in a total of 5 styles, including the same mode different from the main key. Mainly, it play a number of methods such as miseonbeop (f main key Menarijo), miseonbeop (b flat main key Gyemyeonjo), and reseonbeop (e flat main key Pyeongjo), and use f as a transitional sound when changing the main key from the miseonbeop appeared to be common. In addition, Song Bok-san showed the characteristic of playing the same melody repeatedly, although some beats were different when playing the Taepyeongso, which is composed of the tone structure of the reseonbeop (e flat main key Pyeongjo).Since Song Bok-san did not study with a specific teacher and focused on the melodies that he had learned, it is difficult to determine whether Song Bok-san performed in consideration of the method at that time only by analyzing the “KKokdugaksi Nori(Puppet show)” recorded in 1964. And it means that the musical form of Namsadang Nori that has been recognized as a cultural asset is puppet show, but the current Namsadang Nori is centered on percussion performance and talent, and the puppet show has been reduced to understand the Taepyeongso melody of the current puppet show. There were difficulties. Based on the contents of this study, it is expected that “KKokdugaksi Nori(Puppet show)” will be performed more actively than now, and the cultural value of the “KKokdugaksi Nori(Puppet show)” will be re-examined through future research in this area.