한국 선법 연구의 두 가지 접근 양상

전인평 ( Chun In Pyong ) 한국음악사학회 2016 한국음악사학보 Vol.57 No.-

본 논문은 한국음악 근대적 선법(旋法) 연구성과를 학문적인 접근방법과 실용적인 접근방법의 두 가지로 나누어 고찰한 글이다. 학문적 접근은 이혜구(李惠求) · 장사훈(張師勛) · 이보형(李輔亨) · 한만영(韓萬榮) · 권오성(權五聖) · 황준연(黃俊淵) · 김영운(金英云) 등의 연구를 이 범주에 넣었다. 이들의 연구는 매우 정밀하고 치밀하여 `한국음악의 다양성(多樣性)`을 설명하는데 필요한 연구라고 생각한다. 실용적 접근이란 학문적 접근에서 나온 결과물이 너무 다양성하고 복잡 난해하여 실제 작곡자나 연주자가 응용하기 어려운 면이 있었다. 이러한 문제점을 해결하기 위하여 나온 연구성과를 필자는 실용적 접근으로 분류하고 주로 작곡계에 관계하는 사람들의 연구로 백대웅(白大雄)·전인평(全仁平), 북한의 리창구의 연구성과를 이러한 범주에 넣었다. 학문접 접근방법에서는 주로 평조(平調)와 계면조(界面調)의 용어를 사용하였고, 민속악 연구에 심혈을 기울인 이보형은 `토리`라는 용어를 사용하여 연구를 하였다. 평조와 계면조의 두 가지 용어로 설명하는 과정에서 여러 용어가 혼란스럽게 사용되고 있다. 즉, 동일한 용어이지만 다른 개념을 담고 있거나, 동일 개념을 다른 선법 용어로 설명하는 경우가 있다. 실용적 접근방법에서는 주로 서양 계명(階名)을 이용한 다섯 분류방법을 사용하였고, 리창구는 궁조(宮調) · 상조(商調) · 각조(角調) · 치조(徵調) · 우조(羽調)로 설명하였다. 이 연구방법은 “왜 국악을 서양음악이론으로 설명하는가·” 하는 본질적인 질문을 유발할 수 있다. 사실 국악선법을 한국의 고유 방법과 용어로 설명할 수 있다면 최상이지만, 전통 국악용어에 선법관련 용어가 없는 것이 많아 어려움이 많다. 국악인을 비롯한 많은 사람이 서양음악 교육을 받았기 때문에, 서양 계명을 이용한 선법명(旋法名)을 사용하는 것이 쉽게 이해할 수 있다는 장점이 있다. This paper aims at the historical and comparative research on the modes of Korean music which is divided into p`yongjo 平調 (p`yong mode) and kyemyonjo 界面調 (kyemyon mode) two categories, academic approach and pragmatic approach. Academic approach was studied by Yi Hye-gu 李惠求 [Lee Hye-ku], Chang Sa-hun 張師勛, Yi Po-hyong 李輔亨, Han Man-yong 韓萬榮, Kwon O-song 權五聖, and Kim Yong-un 金英云. Their work is extremely precise and compact research to explain the diversity of the modes of Korea Music. The practical approach was studied by mainly composer group. The academic approach was so complex that it was very difficult to understand. The practical approach was aim to solve this problem and studied by Paek Tae-ung 白大雄, Chon In-p`yong 全仁平 [Chun In-pyong] and North Korea`s Lee Ch`ang-gu. In the study of academic approach it was primarily used as the term of p`yongjo and kyemyonjo in two category so there were many confuse term were used in the process. Sometimes, same term contains different concepts and same concept have different meanings. The practical approach was primarily used for 5 classification which is using Western solmization. This research can arouse to a fundamental question, “Why do you explain the traditional music with western music theory?” In fact, it is best to describe and explain the Korean music by Korean terminology. However, there are many musicians have a lot of difficulty to understand the traditional terms of Korean music. So the practical approach adapted the Western music theory because many Korean musicians have basic understanding on the Western music theory through Western music education. I believe that the practical approach has the advantage of being easily understand to the who want to know the modes of Korean traditional music.

鳳來儀의 장단구조

전인평(Chun In pyong)(全仁平) 국립국악원 1995 국악원논문집 Vol.7 No.-

The 15 century s dance suit, Pongraeui(鳳來儀), was composed in 5 parts, Chŏninja (prelude, 前引子) - Yŏmiilak(與民樂) - Ch ihwapyŏng(致和平) - Ch wipunghyŏng(醉豊亨) - Huinja(postlude, 後引子), by King Sejong of Chasŏn dynasty, is recored in Sejongshillok(世宗實錄). It was played with combine orchestra(鄕唐交泰) comprised in Hyangakgi (pure Korean musical instruments) and Tangakgi (Chinese originated musical instruments). Also the music itself was composed in two kinds of musics, Yŏmillak (여민락) and Chŏninja was based on koch wi, and Ch ihwapyŏng and Ch ipunghyŏng was baseed on hyangak. The amis of this article is to compare the rhythmic pattern of changgu(장구) strokes of 5 pieces for the study that the influence of koch wi(a Central Asian originated music(西域音樂) to Korean rhthmic pattern in 15th century. 1. Rhythmic pattern of Yŏmillak is repetitions of 6 changgu strokes(Ssang-p yŏn -ko -yo -p yŏn -ko, 雙鞭鼓鞭鼓) with eqivalent time value(8+8+8+8). However, it is staned on incomplete rhythmic measure and independant of the ryrics. 2. Chŏninja(prelude) and huinja(postlude) is composed in same changgu strokes with Yŏmillak. But the eqivalent rhthmic pattern is changed into Korean style rhythmic patterns, long and shon joyfull mood(5+3+5+3+5+3+8). However the changgu strokes are just same order with Yŏmillak. 3. The rythmic pattern of Ch ihwapyŏng is composed in pure Korean rhythm(8+8+5+3+8) with transformed Yŏmillak changgu strokes. However 50 rhythmic strokes of Yŏmillak is reduced into 35 strokes. 4. Ch wipunghyŏng is a complex music in independant rhythmic pattems(32 chŏng-gan length) with transformed Yŏmillak changgu strokes. However 50 rhythmic strokes of Yŏmillak is reduced into 35 strokes. To conclude, the changgu rhythmic structure of the dance s uit Pongraeŭi is that, - Chŏninja and Huinja(prelude and postlude) is a music in Korean rhythm(5+3+5+3+5+3+8) with koch wi changgu strokes(a Central Asian originated music) Yŏmillak is a music in koch wi rhythmic pattern of strict eqivalent rhythmic pattern(8+8+8+8+8+8+8+16). - Ch ihwapyŏng is a light music with pure Korean rhythm in transformed Yŏmillak changgu strokes(8+8+5+ 3+8). - Ch wipunghyŏng is a more rapid music in 2+3+3+2+3 rhythm. Changgu strokes of 4 pieces in Pongraŭi have strong relationship with Yŏmillak which is originated from a Centural Asian rhythmic structure.

현도(絃鼗)에 관한 고찰

전인평(Chun In pyong)(全仁平) 국립국악원 1993 국악원논문집 Vol.5 No.-

In AkHakKweBom, the instruments are divided into three catagories of aakki, yangakki, and dangakki. And aakki is introduced in book 6, dangakki in book 7 and hyangakki in book 8. If we look at the numbers of the instruments introduced, 48 kinds of aakki, 13 kinds of dangakki and 7 kinds of hyangakki. So there are 63 kinds of instruments being introduced.1) Among them, Haegum is classified into dangakki. According to the record in MunHeunTongGo(文獻統考), this instrument is known as Haedo - a division of Manchurian - favourite instrument which is originated from hyondo, so it has same shape.2) In the original text of MunHheunTongGo, the instrument is introduced as Haedo, not Hyondo.3) This probably is a misquotation from AkHakKweBom. As shown that haegum is originated from hyondo, while wondering what hyoodo is, I found that in AkHakKweBom our anscestors did not use, a kind of instrument with drum surface (pukkkmyon) on both sides, with a pair of lash on each side when twisted, the lashes can hit the drum. This instrument was introduced in AkHakKweBom as Do(鼗). And in India s Razastan(라자스탄) area, the vowed instruments(弓絃樂器) similar to Korean instrument of haegum is named Ravanatha. This instrument is tied to a bow so when played, the bell rings. At the very moment when I saw this Ravanatha, I thought the hyondo in AkHak.KweBom probably had thjs shape.4) Therefore, by comparing the following three instruments, (Hyondo and Haegum from AkHakKweBom and Indian Ravanatha) so as to clarify hyondo from AkHakKweBom, and also to trace the origin of haegum is the purpose of this report. As for this, I will study hyondo as Hyon(絃) from the meaning of a string instrument and Do(鼗) from the meaning of a percussion instrument. This is because at present, our haegum has both aspects of a percussion instrument (the leather is being tied to bamboo tube) and of a string instrument(for it is being played with a bow). First of all, in order to understand more about Do(鼗), the second character in the name of hyondo, we shall have a look into some documents where Do(鼗) is quoted. We shall study Ak.HakKweBom from Korea and Yegido(禮器圖) from China first. Then, we will consider some Do(鼗) kinds of instruments(with similar shape and performing method) from Indian Damaru and Tibetian Thodmga. After that, in order to study Hyon(絃), the first character in the name of hyondo, we shall focus on two Razastan instruments which are similar to Korean Haegum. To get to understand the origin of Ravanatha, we shall study gungheon instrument in Ramayana(라마야나); one of the greatest Indian epics. For in Ramayana a kind of Dravidhya(드라비다) group s instrument (the former habitants in India before the Arian(아리안족)invasion) is being mentioned. It is said that the instrument, Ravanastroa mentioned in Ramayana was made by King Havana who ruled over Derabida group. So we shall now compare Ravanastroa, Ravanatha, Haegum and Hyondo. And I strongly believe that this comparison will define the origin of Haegum and also clear the relationship between Ak.HakKweBom s Hyondo and Ravanatha. According to AkHakKweBom established by Song- hyon(成俔), druing Song Jong(成宗) of Chosun Dynasty(朝鮮) it is written that Haegum is otiiginated from Hyondo. For that reason, we then focused on the meaning stringed instrument (Hyon 絃) and percussion instrument (Do, 鼗) from the name Hyondo. This process was Possible because at present Korean Haegum is made out of bamboo tube with leather sheet set on it and it is performed with bow. In other words, Haegum has both aspects of percussion and string instrument. As for first step, we focused on Do(鼗). Here, we studied Do(鼗) from AkHakKweBom and Yegido. We made comaprison of two Do(鼗) kind of instruments; Indian Damaru and Tibetan Thodrnga.

인도와 한국의 즉흥 음악 (여는 글)

전인평 ( In Pyong Chun ) 세계음악학회 2008 음악과 문화 Vol.19 No.-

열국시대와 남북국시대의 외래 음악

전인평(Chun In pyong) 국립국악원 1999 국악원논문집 Vol.11 No.-

This article examines the acceptance of foreign music during Yŏlkuk period and Nambukkuk period. With no notations and scarce amount of literature which reveals Korean music of that particular period, this study will be limited to some respects. The music of the West was a foreign music at this period, and, with the indigenous music, the music culture bloomed. The transmission of Buddhism resulted in the dissemination of Indian music to different cultures; the influence of Indian culture on Koguryo, Paekje, and Shilla was enormous. The current author discusses the acceptance of instruments, modes and music. The kŏmun go and changgu originated from India, and p yŏng mode and pansŏp mode of Shilla came from the mode on Kudimiyamallai epitaph via Central Asia. Even though there are no extant notations, the creation of mask-dance music and changdan are assumed to have been influenced by India. There rhythmic similarity between hŏt ŭn t aryŏng changdan used in mask-dance and cancatputa which appears in an ancient Indian music literature. Both of the changdans have a rhythmic proportion of 2:2:1:3. Besides the similarity in rhythm, they have a lot in common; both of them were used in drama, were played with changgu, and related to Buddhism. Further study of the similarities between these two changdans will contribute to revealing the origin of mask-dance including Pongsan mask-dance which employs hŏt ŭn t aryŏng.

중국의 대곡과 악학궤범의 곡파

전인평(In Pyong Chun) 세계음악학회 2001 음악과 문화 Vol.5 No.-

Chinese Taqu(大曲) was a large scale of performing art with which combined an instrumental music, a vocal music and a dance. In Yesanguiga (霓裳羽衣歌), a poem composed by the great poet Bailetien (白樂天 772-846) in the Tang dynasty, he described its performing style as a tripartite form and tempo. The Taqu comprised three parts in its form and each part was distinguished by its tempo, initiating from a slow beat to a fast one. The first part, called sanse (散序), was the instrumental music with a very slow and non-metric (free) rhythm. The second one, jungse (中序), consisted of a constant rhythm which stroke the metre of 6 pyeon (section) and sometimes accompanied a slow dance as well as a vocal music. The last one, pa (破), was a piece of music with a fast rhythm and possessed only the dance. At the end of the Taqu the rhythm was getting slow down and the only last note was ended with a longer beat by stretching. In Peoggeymanji (碧鷄漫志) written by Yangjak (王灼) in the Sung dynasty, this form of Taqu was gradually changed and increased the number of the piece of music as well as extended its length of the piece. This enlarged music made performers impossible to play the entire piece of music on one stage. Thus a certain selection of music was chosen and played, and this method of performance called gokpa (曲破) or cheokpyeon (摘遍). The gokpa was to perform the rest of ippa of the Taqu, but the whole performance proceeded from a slow tempo to a fast one like that of Taqu. Korean gokpa in Akhakgwebeum (樂學軌範, compiled in 1491) is a good example to understand that the gokpa is a shorter revised form of Chinese Taqu practised in the 15th century. But the gokpa also changed and enlarged to be a Taqu style. The Chinese Taqu style had also an effect on Gagok (歌曲), a Korean lyrical solo song with an accompaniment of orchestra. The original form of Gagok was comprised of dasreum (다스름, free rhythm) - mandaeyeop (慢大棄, slow tempo) - jungdaeyeop (中大棄, moderate tempo) and sakdaeyeop (數大棄, fast tempo) which was appeared in Yanggeumsinbo (梁琴新譜, Korean musical manuscript). The term sakdaeyeop was not mentioned in Yanggeumsinbo because of its possible use of dance music. In this respect, it seems to me that sakdaeyeop may have been a music for dancing.

한국음악의 선법론을 위한 제언

전인평(Chun In-Pyong) 한국전통음악학회 2005 한국전통음악학 Vol.- No.6

이 글은 다양하게 전개되고 있는 한국 이론계의 선법 이론을 살피고 교육용 선법 이론을 만들자는 취 지에서 작성한 글이다. 이 글은 다음과 같이 4부분으로 구성하였다. 첫째, 왜 한국음악은 선법을 알기가 어려운가? 둘째, 시대와 더불어 변한 평조와 계면조 이론 셋째, 국악계의 다양한 선법 분류법 넷째, 결론 및 제언과 제언으로 교육용 선법이론은 이렇게 쓰자. 우리 국악계는 오늘날까지 통일 음계 이론을 제시하지 못하고 있다. 학자 각자의 의견은 다를 수 있다. 그러나 교육 현장에서 사용할 교육용 이론은 통일하여야 한다. 이 글이 하루 빨리 국악 교육계가 통일 선법 이론을 만드는 계기가 되길 바란다. This paper is focused on the various theory of the classification of Korean musical modes. It is very confused for the begginers to understand the theory of Korean modes. This article is comprised in four part that; 1. What is it difficult to understand the modern Korean musical modes? 2. Change of Modes in the history of Korena music. 3. The contemporary various theory of Koeran Musical modes. 5. Suggestion for Korean modes theory for Korean music.

거문고·비나 그리고 자케

전인평(Chun In Pyong) 국립국악원 1997 국악원논문집 Vol.9 No.-

This paper will compare three string instruments of the zither category: the Korean Kŏmun go, the Indian veena, and the Thai jhake. If fretted zithers are classified according to the number of strings, from three to seven, the three-string category includes the jakhe and phinpia of Thailand and the migyaun of Miyanmar. Of these, the jakhe (meaning crocodile ) has eleven short rods as frets, and is played with a string wound round the index finger of the right hand. There are no four-stringed zithers today, though they appear in old wall paintings and literary references from Japan and China. The six-string Kŏmun go was developed by adding two strings to a four-string instrument, and the names of the six strings are: munhyȏn, yuhyȏn, taehyȏn, kwaesangch ȏng, kwaehach ȏng, and muhyȏn. In the seven-string category is the veena of India. If we compare the kŏmun go, veena, and jhake, there are several cmmon traits: the use of frets and drone strings, and the playing of the melody mainly on two strings. Comparing the number of strings, the jakhe has three, the Kŏmun go six, and the veena seven. The melody strings are, on the kŏmun go, the yuhyȏn and taehyȏn; on the jakhe, the second and third strings; and on the veena, the first and second strings. On all three instruments, the interval between the two melodic strings is a perfect fourth, and each instrument is capable of providing a drone. The drone strings are, on the veena, strings 5, 6, and 7; on the Kŏmun go, strings l , 4, 5, and 6; and on the jakhe, the first string. Eash instrument uses a form of plecturm: the Kŏmun go, a bamboo prod; the veena, a triangular wire plectrum attached to the index finger, and the jhakc, a stick 5-6cm in lenght. Eash instrument is associated symbolically with an animal: the Kŏmun go with the black crane; the veena with the dragon and phoenix; and the jakhe with the crocodile and peacock. In addition to this comparative study, a project that remains for the future is to look for historical connections among the three instruments.

한국과 아시아 음악에 보이는 변주 양상

전인평(Chun, In-pyong) 한국음악문화학회 2019 한국음악문화연구 Vol.14 No.-

본 논문의 목적은 서양음악은 제외한 한국과 아시아 여러 나라 음악의 변주 양상을 살펴보려는 것이다. 변주곡이란 어떤 주제 또는 악구를 변형시켜 나타내는 작곡 기법으로, 작곡 기법 중 기본적인 기법 중의 하나이다. 우리나라에서는 해탄(解彈), 변조(變調), 여치조(與致調)란 말로 사용해 왔다. 우리나라 전통음악 대부분은 변주 방법을 통하여 만들어진 곡이다. 즉, 상영산에서 중영산, 세영산, 가락덜이 등이 생성되었다. 중국 인도네시아 베트남 등 지역의 변주곡 양상을 종합해보면 다음과 같은 공통점이 있다. 변주곡을 만들 때는 주제에 간음을 넣어 음을 길게 만들고 느린 속도로 연주한다. 그리고 새로 만든 변주곡은 주제의 앞에 연주한다. 변주된 선율에 간음을 더 넣어 제2변주곡을 만들면 제1변주곡의 앞에 연주하며 속도는 제1변주곡보다 더 느리게 연주 한다. 이렇게 주제를 변주하여 더 느리게 만들고 주제보다 먼저 연주하는 방법으로 변주곡을 만드는 양상은 인도의 라가에서도 볼 수 있다. 즉, 중국의 판식, 인도네시아의 이라마 등에서도 볼 수 있는 공통적인 양상이다. 그러나 한국의 가곡과 영산회상 경우는 다른 양상을 보인다. 영산회상을 살펴보면 상영산, 중영산, 세영산, 가락덜이에서 ‘가락덜이’라는 용어에서 보듯이 가락을 덜어낸 것으로 보이고, 또한 이혜구 등 여러 학자들의 여러 논문에서 상영산이 주제라는 것으로 결론을 내고 있다. 그러나 아시아 음악의 변주 양상 관점으로 살펴보면 가락덜이가 주제이고, 다른 음악이 변주가 된다. 그리고 산조 장단에서는 자진모리 장단이 원형이고, 중중모리 중모리 진양조는 자진모리의 변화형이다. 이처럼 한국의 변주 기법은 다른 나라의 변주 양상과는 다른 모습을 보이고 있다. 이런 양상은 앞으로 국악계에서 관심을 가지고 논의할 문제라고 생각한다. The purpose of this paper is to survey the aspects of music in Korea and other Asian countries except for Western music. Variations are musical techniques that modify a subject or a musical instrument and are one of the basic techniques of composition. There was much musical technique in Korean music also. Most of the Korean traditional music is made by the transformation method. The following is the sample of variations in music in China, Indonesia, and Vietnam. When they make variations, they make the original theme and play at slow speeds. And the new variations play in front of the theme. If second variations are created by adding a note to the melody, the first variations will be played before the first variations and the tempo will be slower than the first variations. This technique has used the pattern of variations in India"s laga also by changing the original theme to make it slower and playing it before the subject. The Korean music youngsanhoesang’s variations are different from the variation technique of other countries technique, it needs more detail further studies.

고구려 음악 다시 보기

전인평 ( In Pyong Chun ) 한국공연문화학회 (구,한국고전희곡학회) 2005 공연문화연구 Vol.10 No.-