Musical Features of Ulsan Area Sangyeosor

This study examines the characteristics of funeral rituals by exploring the music performed during the funeral rituals in Ulsan, South Korea, which were introduced in the original data sites Funeral Songs of the Busan Ulsan Gyeongnam & Jeju, A collection of verbal Korean literature, Ulsan Ulju Local Folk Song Collection, Korean Folk Song Collection. First, we looked at local stories and ritual procedures in Ulsan to understand the sentiments of the local people in Ulsan regarding funerals. Next, we looked at the current state of Ulsan's Sangyeosori, and transcribed the songs into sheet music to visualize them. Based on this, we analyzed the rhythm, speed, constituent sounds, termination sounds, pitch range, major melodic forms, phrases, and song content, and examined the musical characteristics of Ulsan Area Sangyeosori. We interviewed local residents who grew up in Ulsan and experienced the tradition of funeral culture as a community to learn more about the reality and characteristics of the local Sangyeosori. Songdo's filial piety is revered as a model for the promotion of filial piety culture and the inculcation of the virtue of filial piety, and has had a profound impact on the funeral culture of Ulsan. We found that Sangyeosori in the Ulsan area were divided into sangyeonorisori, a bier carryingsori, and Karajilsori depending on their nature. Interviews with local residents and literature data showed that the reason for the lack of a widespread dalgu song in the nearby area is that Ulsan did not use dalgu. In addition, the chorus of Ulsan Area Sangyeosori, tabulo style and sugiyo style, have a strong Buddhist color, but the gananbosal style, which has a distinctly Buddhist color and is universal, has not been identified. In the process of singing Sangyeosori, yaoleeng, buk and kwaenggwari were used, and the lyrics of the songs were mainly composed of the lamentations of the dead, the grief of the bereaved family, and prayers for the dead and their descendants, and were often improvised to describe the personality, character, and merits of the deceased. Most of them were sung in the way that one person first called and then several people called a fixed chorus, and it was composed of Mi, Sol, La, Do, and Re, and ended in Mi and ra. The range of notes sung is between 4 and 8 degrees, with a distinctive melodic progression Menaritori that descends through the sols(la-sol-mi). In the case of Hoishimgok, which was sung during the Sangyeo carrying process, we find a mix of musical forms popularized by folk singers and local sound habits. I realized that the Ulsan locals' ideas of life after death, as reflected in the song, were developed from the perspective of the present world. The attitude of wishing for the prosperity of their descendants is a reflection of the Ulsan people's view of the afterlife. The Ulsan Area Sangyeosori served as a medium to transform the grief of loss into a strong will to live.