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This writing reexamines concept of Cheong-ga (pure and clear songs) on the basis of abundant literature data and Also this tries to reveal the identity of Ssanghwajeomcheonggagisok, which still remains the tasks of the academic world. What is discussed can be summarized as follows.
Cheong-ga is defined as a pure and clear song, which is the basic and comprehensive concept of Cheongga. In other words, the term of Cheong-ga stems from the thoughts that beautiful songs must be pure and clear. Clearness is the greatest value which the songs aim for and has been absolute standard of beauty. If contents of songs or the voice of singer is estimated to have embodied the value of clearness, any song could be Cheong-ga.
Dictionary has been adding a song sung without accompaniment of musical instrument as another concept of Cheong-ga. It is secondary concept of Cheong-ga derived as meaning of clearness in a song is extended. This kind of Cheong-ga can be said to fill together musical instrument sound and song within singer��s voice.
This concept contains the awareness that such song is a kind of art which requires process of expert quality and skill. In middle ages Kisaeng was trained and taken charge of singing expert��s mission. In this process Cheong-ga became a term that refers to kisaeng��s a song customarily.
Like this, concepts of various stratigraphy were overlapped each other in terminology called Cheong-ga. Jusebung has rejected Cheong-ga not because it was a song sung in clear voice, or sung without accompaniment of musical instrument not because the main class singing it was kisaeng. It was the natural matter that Cheong-ga became a target of rejection in political backdrop in 16th century when Yeoak��s abrogation was discussed vigorously.