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.

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.

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.

風入松의 形式과 長短

全仁平(Chun In-pyong) 한국학중앙연구원 1994 한국학 Vol.17 No.1

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.

예상우의무가의 바라문과 인도의 라가

전인평 ( Chun¸ In Pyong ) 세계음악학회 2021 음악과 문화 Vol.- No.45

This article examines the influence of Indian music on Chinese music by examining the baramun in nishangyuyiwuge, which was created by Xuanzong of Tang dynasty. This nishangyuyiwuge is taqu form of Chinese music, and Indian raga form is close to taqu form. This paper compares the dance patterns described in Baijuyi's nishangyuyiwuge with the Raga style of Indian music to find out the Baramun. Baijuyi's nishangyuyiwu form is consists of Sanseo, zhongseo and Pa, indicating that it consisted of vocal with free rhythm, instrumental with medium tempo, and rapid dance music. Indian raga is very close to this taqu form of China. According to Natya sastra in India, the rhythmic pattern of Raga's tala is differentiated at three beats and speeds. The Capaputa tala has three kinds of tempo and speed: 6 beats, 12 beats, and 32 beats. Six beats is a fast druta, twelve beats is a moderate speed madyama, and 24 beats is a slow speed villambita. There are three rhythmic tempos and speeds in banshi of Chinese music, the slow one is called manban (4/4). The medium speed is called the zhongban (2/4). The fast one is called a yuanban (1/4). Bansik is doubled the original melody to create a slow variation, and the new variation is performed in front of the theme. When making a new variation again, the beats are doubled, and if it is played slower, the variation is performed in front of the previous variation. As such, nishangyuyiwu was a product of the fusion of Central Asian folk music influenced by Indian music and Chinese royal music and was the acceptance of folk art in the Chinese palace. The Tang Dynasty was very open-minded in accepting foreign cultures, and as a result of this open policy, it was able to improve the level of music and culture of the Tang Dynasty. I think it is still valid today that culture develops when it is merged with new culture with such an open policy on foreign culture.

고구려 음악 다시 보기

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

동양고전극의 종합예술성 : 한국 정재의 음악 : 봉래의에 기하여 on the focus of Pongraeui

전인평 ( In Pyong Chun ) 한국공연문화학회 (구,한국고전희곡학회) 2003 공연문화연구 Vol.6 No.-

진양조 6박론에 대한 의문

전인평 ( Chun In-pyong ) 한국음악사학회 2018 한국음악사학보 Vol.60 No.-

진양조라는 용어가 처음 등장하는 문헌은 1863년 간행으로 추정되는 『三竹琴譜』와 1921년 간행의 『東大律譜』이다. 이 악보는 매화점(梅花點)만으로 적혀 있지만, 24박이 한 장단이라는 것을 시사하고 있다. 진양조 장단은 1990년대 중반 이전만 해도 모든 개론서에 모두 24박으로 소개하고 있었으나, 1995년 『전통음악개론』에 진양조 6박론을 소개한 후, 이제 여러 논문에서 인용하고 있고 보편화되는 추세에 있다. 이 논문은 각종 국악 문헌에 나오는 진양조 장단의 24박론과 6박론의 전개 양상을 살펴보고 진양조 6박론에 대한 의문을 제기하는 것이 목적이다. 그리고 6박론보다는 24박론이 더 합리적이라는 의견을 개진하기 위하여 이 논문을 작성하였다. 진양조 6박설은 이보형(李輔亨)이 1977년 “판소리 고법 조사 보고서”에 소개한 이후 백대웅(白大雄) ㆍ김해숙(金海淑)ㆍ최태현(崔泰鉉) 등이 6박론을 지지하였다. 진양조 장단은 1990년대 중반 이전만 해도 모든 개론서에 모두 24박으로 소개하고 있었으나, 1995년 『전통음악개론』에 진양조 6박론을 소개한 후, 이제 여러 논문에서 6박으로 진양조를 분석하고 있다. 필자는 진양조 6박론에 대하여 다음과 같이 문제점을 제기하였다. 첫째로, 6박의 진양조는 너무 짧아서 각(刻: accent)이 없다. 둘째로, 6박 진양조 장단은 다른 장단과 달리 오직 장구점(杖鼓點) 두 점으로 구성된다. 셋째로, 6박 진양조 장단은 아시아 장단 이론에서 보이는 이론에 어울리지 않는다. 필자는 중국음악, 베트남 음악, 인도네시아 음악의 세틀 형식에 나오는 장단 기법과 이론을 한국 산조 장단에 대입해 보면 자진모리와 중모리 그리고 진양조는 상호 관계가 있음을 알 수 있다. 따라서 진양조 한 장단은 24박으로 보는 것이 6박론 보다 논리적이라고 생각한다. The first document for the term ‘chinyangjo’ 진양조 is the Samjuk kumbo 『三竹琴譜』(1863) and Tongdae yulbo 『東大律譜』(1921). This musical notation is written only by special symbol note (mahwajon 梅花點 in Sino-Korean), but it suggests that chinyangjo is consist of 24 beats. Until the mid-1990s, chinyangjo rhythmic pattern was introduced to all the textbooks as 24 beats. However, after introducing the 6th beats chinyangjo theory in the Chont’ong umak kaeron 『전통음악개론』(Introduction to Korean Traditional Music: 1995), it is now adopted for various articles and is becoming a general theory. The purpose of this paper is to examine the chinyangjo beats of the 24th and 6th beats the chinyangjo pattern theory. And I wrote this paper to suggest that chinyangjo 24 beats theory is more rational than 6th beats theory. The 6th beats chinyangjo theory was raised by Yi Po-hyong 李輔亨 and supported Paek Tae-ung 白大雄, Kim Hae-suk 金海淑, Ch'oi T'ae-hyon 崔泰鉉, etc. In the mid-1990s, chinyangjo was adapted to the various textbooks as 24 beats. The author raised the problem of the 6th beats chinyangjo theory. First, six beats of chinyangjo have no ‘kak’ 刻(accent) in the rhythmic pattern. Secondly, unlike the other rhythmic patterns, the 6th chinyangjo consists of only two percussion strokes. Third, the 6 beats theory is not suited to the theory in the perspective Asian rhythmic pattern theory. According to my opinion, the chajin mori 자진모리, chungmori 중모리, and chinyangjo have a mutual relationship when we apply the technique and the theory of Chinese music, Vietnamese music and Indonesian music to the Korean sanjo 散調 rhythm theory. Therefore, I would like to suggest that it is more logical to look at the 24th beats than the 6th.