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- 저자 : 張師勛 (검색결과 64 건)
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장사훈 한국예술종합학교 전통예술원 2000 한국공연예술연구논문선집 Vol.2 No.-
『삼국사기』의 기술방법은 중국 의방도가 너무 지나치다.현금은 “중국 악부의 금을 본받아 만든것이다”라고 한 다음,『금조』와 『풍속통』·『석명』등을 인용하여 금의 제도에 대하여 언급하고,거문고는 진나라 사람이 칠현금을 고구려에 보내 온 것이고,그 법제를 왕산악이 고친 것이라고 하였다.이밖에도 가야금은 중국의 쟁을 모방한것이고,향비파는 당의 제도와 대동소이하고,삼죽 즉 대금·중금·소금은 당적을 모방하여 만든것이라 하였다.이와같은 『삼국사기』의 기록에 의하면 신라가 삼국통일의 대업을 이룩한 다음,그 말기에 이르러 형성되었다고 보여지는 삼현(거문고·가야고·비파),삼죽 (대금·중금·소금)가운데에서는 삼국시대의 향토적인 고유 악기는 하나도 없다는 결론에 도달한다.음악을 비롯하여 모든 문화는 인접국가와 교류함으로써 서로 보완하고 발전하는 것이 상례이나,김부식은 그의편견에서 오는 오류를 많이 범하고 있다.그래서 『삼국사기』를 중심으로 문헌상으로 전하는 고구려 ·백제·신라의 음악과 그 특징을 개관하고,그 시대의 인접국가들의 음악상황을 비교한 다음,여기에 바탕하여 다시 삼국의 음악의 이모저모를 재검토하여 보고자한다.
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張師勛 서울대학교 1973 서울대학교 論文集 Vol.18 No.-
Kasa(歌詞) is a musical form in which a solo singer is accompanied by taeguˇm and changgu. It takes its name (literally, "song words") from the poetic genre to which its texts belong. Of the twelve kasa in the modern repertoire, eight^1 were transmitted to the present generation of singers by Ha Kyuil (1867-1937), and the remaining four^2 by Im Kijun (1868-1940). The author studied kagok, kasa, and shijo under the former between April, 1933 and May, 1937, and kasa and sasoˇ1-chiruˇm-shijo under the latter for approximately four months in 1939, transcribing the music as he learned it. (The sasoˇl-chiruˇm-shijo transcriptions, which constitute a valuable body of musical data, are here published for the first time.) The transcriptions upon which this study is based, then, were made respectively prior to 1937 and during 1939. As a literary gene, kasa is classified as a "long lyric"(長歌, So, however, are the texts to the twelve chapka(雜歌, literally, "coarse songs") from the Seoul region, which as music differ markedly from kasa. Literary scholars have attempted to define the difference between the two according to whether the syllable count is regular or irregular and the subject mater wholesome or coarse, but since both genres have been handed down as musical forms, it would seem more profitable to attempt a division based on their musical characteristics. In the study, section Ⅱ deals with the authors of the texts and the notations of the music and section Ⅲ with performance practice and the rhythmic structure. The core of the study, however, is to be found in section Ⅳ, which treats the musical characteristics of kasa. This section is subdivided into two parts which examine kasa from the literary and musical points of view. The latter part being the most important, it will be sufficient to summarize the conclusions reached therein. The analysis of musical characteristics was based on the use in each song of falsetto, vibrato, (downward) glissando, and mordent-like ornaments, and on cadential patterns. It has long been part of the authors' research method to analyze the characteristics of the modes and genres of Korean music by examining such features of performance technique. In this case the most significant features appear to be vibrato and glissando. (The type of glissando in question is a specific one: a downward slide which tends to occur only between certain adjacent pitches.) It is not possible to distinguish between music from the court-aristocratic and folk traditions or between the two principal modes-p'yoˇngjo and kemyoˇnjo-on the basis of the use of mordents. But the type of vibrato used can help to determine which tradition a given piece is closer to, and the central tone of a piece is often indicated by which pitches tend to have the most prominent vibrato. The downward slide is in turn quite a reliable indicator of mode, depending on which scale degree tends to slide down to its lower neighbor. Therefore it is very important when determining the mode and other musical characteristics of any branch of Korean music, to examine the type of vibrato and downward slides and the pitches on which they occur. In the case of kasa, mode is difficult to determine because features typical of both modes often occur within a single piece. A piece may exhibit simultaneously p'yoˇngjo-style singing technique and kemyoˇnjo-style melodic progressions, or vice versa. In this modal ambiguity kasa differs from kagok and other court-aristocratic genres, but resembles such folk genres as chapka, kayago sanjo, and p'ansori. Hence, rather than attempting to reach definite conclusions, the author has simply outlined the singing techniques characteristic of each individual song. Ha Kyuil said that he would not sing sasoˇl-chiruˇm-shijo or the four kasa sung by Im Kijun because they were too lowly. Likewise in former times kisaeng who sang kagok did not sing kasa or shijo. In singing style, kasa and shijo are indeed more lowly than kagok in the sense that they are closer to folk music. The vibrato (on the central tone) of such kasa as Pakku-sa and Hwanggye-sa, as well as that of p'yoˇng-shijo and chiruˇm-shijo, resembles the wide vibrato of the southern provinces. On the other hand, Ch'unmyoˇn-gok, Oˇbu-sa, Chnoˇsa-ga, Yangyang-ga, Suyangsan-ga, Maehwa T'aryoˇng, and Im Kijun's sasoˇl-chiruˇm-shijo use the violent vibrato (on the note a fourth above the central tone) of the northwestern provinces. The majority of kasa have more features in common with the northwestern than the sourhern folk style, and the same is true of Im Kijun's sasoˇl-chiruˇm-shijo and also of chapka. To sum up, whereas kagok represents the pure aristocratic style, kasa and Im Kijun's sasoˇl-chiruˇm-shijo hold a position standing between the music of the folk (particularly of northwestern Korea) and the music of the court and the aristocracy. 1. Paekku-sa(白鷗詞, Song of the Gull), Hwanggye-sa(黃鷄詞, Song of the Yellow Cock), Chukchi-sa(竹枝詞, Song of the Bamboo Branch), Ch'unmyoˇn-gok(春眠曲, Spring Sleep), Oˇbu-sa(漁父詞, Song of the Fisherman), Kil-Kunak(길軍樂, Street Military Music, not to be confused with the processional piece of the same name), Sangsa Pyoˇlgok(想思別曲, Longing for One Another), Kwoˇnju-ga(勸酒歌, Drinking Song). 2. Suyangsan-ga(首陽山歌, Song of Mount Suyang), Ch'oˇsa-ga(處土歌, Song of the Secluded Scholar), Yangyang-ga(襄陽歌, Song of Yangyang), Maehwa T'aryoˇng(梅花打令, Plum Blossom T'aryng).
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