Spatio-temporal Variations and Typicality in Pansori saseol

This study examines an aspect of spatio-temporal variation in Kim So-hee’s pansori (epic narrative song) style of Chunhyang-ga (Song of Chunhyang). Specifically, it analyzes variations and characteristics of pansori saseoal according to the change of time and spatial environment, by utilizing sound sources from Kim So-hee (1917\textasciitilde1995) and her disciples, Shin Young-hee and Ahn Sook-sun.Over time, Kim So-hee Chunhyang-ga composed Manjeongpan Chunhyang-ga by incorporating the styles of other master singers, including Song Man-gap, Jeong Jeong-yeol, Jeungeung Min-je, Kim Yeon-soo, and Park Dong-sil.As a result of examining an aspect of spatial variations, it was found that aniri (recitative) or changjo (“creation”) showed more changes than saseol (narration/story line), and a code transition was attempted to the extent that an original meaning of sentences or words was not altered. In generaly, with a code transition, pansori singers attempt to deliver a variety of emotional and social expressions to the audience. The spatial variation is classified according to the characteristics of analysis data, recording studio, public performance sites, public events of intangible cultural heritage, and telerecording.Since pansori was designated as intangible cultural heritage (1964) variations of pansori saseol have become very limited. From a spatial aspect, in recording an album or telerecording there have only been minor changes, such as a code transition or omission, whereas during performances with time constraints and a live audience, pansori saseoal included more impromptu and diversely changed according to interaction with the audience.