現行 男唱歌曲의 노래선율 硏究

송권준 부산대 예술대학 1997 藝術論文集 Vol.12 No.-

Korean traditional lyric song (kagog 歌曲) are sung in two modes- pyoungjo (平調, the other name-ujo 羽調) and kyemyounjo (界面調)-and in two styles, sung by male and female. The pyoungjo kagog by male are all 11 tunes and the kyemyounjo are 13. Almost of precedent studies on kagog are dependent upon ancient notes for keomungo(玄琴). Therefore the result of studies on kagog is by accompanied melody of keomungo only. This study is on the melody of all songs in kagog by male. It was founded that cadence is related with construction of poetry and melody. Properly division of chapter is determined by cadence. There are three lineage in pyoungjo kagog. - isudaeyop 貳數大葉 lineage ; isudaeyoup 貳數大葉·junggeo 中擧·pyounggeo 平擧·tugeo 頭擧·wooling 羽弄·panyoup 半葉 - lak 樂 lineage ; woorak 羽樂·ollak 言樂 - pyoun 編 lineage ; woopyoun 羽編·pyoullak 編樂 Also there are three lineage in kyemyounjo kagog. - isudaeyop 貳數大葉 lineage ; isudaeyoup 貳數大葉·junggeo 中擧·pyounggeo 平擧·tugeo 頭擧·taepyoungga 太平歌·panypoup 半葉 - nong 弄 lineage ollong 言弄·pyoungnong 平弄 - pyoun 編 lineage pyounsudaeyoup 編數大葉·ollpyoun 言編·pyoullak 編樂

영산회상의 관악기 시김새에 관한 비교 연구

宋權準 부산대학교 예술대학 1989 藝術論文集 Vol.5 No.-

24 sorts of Sigimsae(ornaments) were used in Yongsanhoesang. 19 sorts of these were used for Taegum, 14 sorts of these for Piri and 12 sorts of these for Haegum. Various ornaments appear the most affluently in Taegum melody. Second Piri melody has much ornaments more than Haegum. In slow tune (Sangyongsan, Chungyongsan) various ornaments appear frequently and affluently, in quick tune (Taryong, Kunak) they appear in conrast with slow tune. Ornament ∧ is used the most frequently among 24 ornaments, then comes ornament □□, ㅅ, 9, ㄷ, ㄱ and 6 in that order. Each of ornaments has a special function. Ornament ㅅ, □□ and h are used for horizontal tune, ornament ㄴ, □□, h, □□, 6, I and □□ are used for downward tune, ornament ∧, ㄱ, □□ , 9 and □□ are used for upward tune. Ornament □□, □□, and □□ are used for upward or downward tune. Ornament ㄷ is used for start of phrase and □□ is used for end.

남창가곡 노랫말의 四聲·連音標·음높이

송권준 부산대 예술대학 2001 藝術論文集 Vol.15 No.-

The Korean traditional lyric songs(Kagog 歌曲) are precious musical properties. The plentiful properties are amounted to 664 male songs and 190 female songs in Kagowollyou 歌曲源流. But because of imperfective notation 連音標 these songs can not revive. This study is on the intonation 四聲, notation 連音標, pitch 音高 of the words in the male lyric songs 男唱歌曲. The relationship of this three essential elements is very important to revive the songs. The purpose of this is an effort for revival the lyric songs. As a result of this study the following facts become clear ; In Pyoungjo 平調 low tone mark( ( ) is related with low sound word 平聲 and high sound word 去聲. The main pitch is bb 림. Middle tone mark( | ) is related with high sound word 去聲 and upper sound word 上聲. The main pitch is f 太. High tone mark( / ) is related with abrupt sound word 入聲, the main pitch is eb' 潢 and ab 仲. In Kyemyounjo 界面調 low tone mark( ( ) is related with low sound word 平聲, high sound word 去聲 and upper sound word 上聲 except abrupt sound word 入聲. The main pitch is bb 림 and eb 黃 Middle tone mark( | ) is related with high sound word 去聲 and upper sound word 上聲. The main pitch is ab 仲. High tone mark( / ) is related with abrput sound 入聲, the main pitch is eb 潢. In Korean native word the intonation is not clear. Therefore the rule in the relationship of this three essential elements, intonation 四聲, notation 連音標 and pitch 音高 of the word in the male lyric songs 男唱歌曲.

『歌曲源流』 連音標의 기능―남창가곡에 한하여

송권준 부산대학교 한국민족문화연구소 2011 한국민족문화 Vol.39 No.-

The Gagokwollyou is a book edited in 1872, of collection for poems intended to be sung Gagok. There are 8 marks on the side of letter for pitch, expression, changing of rhythmic cycle when sing a Gagok. The 8 marks had a function for the Gagok instead of music note. The purpose of this study is a investigation of the function of Yeonumpyo which is one of them. The music note for Gagok song was edited in 1926 for the first time by Ha gyou-il(1867~1937). Therefore for this study the comparative study the Yeonumpyo with the music note for Gagok is essential work. There are 55 tunes of Gagok in the present music note marked Yeonumpyo in Gagokwollyou, 31 tunes are in Pyoengjo mode and 24 tunes are in Gyemyeonjo mode. Through the comparative method the study of the position and function of Yeonumpyo was achieved. As a result the position of Yeonumpyo was 9 points in Pyeongjo mode and 7 points in Gyemyeonjo mode. But as a general rule the Yeonumpyo was marked on the linking between phrase and phrase of a poem. In Gagok these points of Yeonumpyo are the part of melody linked first sentence(Chodu or Ilgak) with second sentence(Idu). The function of Yeonumpyo was certified, it is the linking to same pitch. In addition, in case of linking to same pitch between phrase and phrase of a poem Yeonumpyo was marked on the side of letter. 『가곡원류(歌曲源流)』는 1872년에 편찬된 가집(歌集)으로서 가곡의 노랫말인 시조 854수가 집대성된 책이다. 각 시조마다 악보는 없지만 글자 옆에는 가곡을 노래할 때 음높이․표현․장단 변화 등을 나타내주는 다양한 부호가 적혀있다. 그 부호들은 모두 8종류로 누르는표․드는표․눌러내는표․막내는표․접어드는표․연음표․든흘림표․반각표 등이다. 이 부호들은 가곡이 노래를 위한 악보로 정리되기 이전에는 『가곡원류』에서와 같이 부분적으로 악보 역할을 대신하였다. 본고는 이 부호들 중에서 연음표(連音標)에 국한된 것이다. 가곡은 1926년에 비로소 노래를 위한 악보로 정리되었으므로 연음표를 연구하기 위해서는 현전(現傳)하는 가곡보와의 비교가 필수적이다. 본고는 『가곡원류』의 연음표와 현전 해당 악보를 비교 고찰함으로써 연음표의 용례와 그 기능을 살펴본 것이다. 『가곡원류』 밖에도 『가곡원류』 이후 필사본인 『협율대성(協律大成)』의 연음표를 참고하였으며 『가곡원류』에 연음표가 표시된 가곡으로서 현전 악보에서 일치하는 곡은 평조 31곡과 계면조 24곡 모두 55곡이었다. 이 현전하는 55곡을 최초의 가곡 노래보인 『하규일 가곡보』를 중심으로 하고 근래 악보인 『남창가곡 백선』을 참고하여 살펴보았다. 살펴본 결과 연음표는 대부분 시조의 구절과 구절을 연결할 때 사용되었음을 알았다. 즉 가곡의 제4장을 제외한 각 장에서 초두(일각)와 이두를 연결하는 부분에 대체로 사용되었으며, 현전 악보와 비교해본 결과 연음표는 대개 동음연결(同音連結)과 관련이 있음을 알게 되었다. 가곡에서 노랫말의 구절과 구절의 연결을 같은 음으로 노래해야 할 때 글자 옆에다 연음표를 표시하였다.

영산회상의 해금 시김새에 관한 고찰

宋權準 부산대학교 예술대학 1989 藝術論文集 Vol.5 No.-

Through all classical music (Chongak) for Haegum(two stringed fiddle) 17 kinds of Sigimsae(ornaments) were used, 12 sorts of these were used in Yongsanhoesang. All ornaments can be classified three groups according to style. The first group is fore-ornament, the second group is back-ornament, and the third group is peculiar one. Each of ornament appears individually in every 9 tune of Yongsanhoesang(sangyongsan, chungyongsan, seryongsan, karakdori, sanghyonhwanip, hahyonhwanip, yombulhwanip, taryong, kunak) In slow tune various ornaments appear affluently, in quick tune they appear in contrast with slow one. Each of ornament has a special function. For example, ornament ㅅ is used for continuance of same tone and ornament ㄷ is used for start of phrase. The function of ornament 9 same with string instrument and ornament □□ is similar to other wind instrument. The remarkable fingering of all ornament is same as follow. In case of fore-ornament, the fingering of index finger-ring finger-middle finger and index finger-ring finger-index finger were applied. In case of back-ornament, the fingering of middle finger-ring finger-middle finger-index finger and index finger-ring finger-middle finger-index finger were applied.

現行 男唱 平調歌曲의 노래施律型 硏究

송권준 부산대 예술대학 1996 藝術論文集 Vol.11 No.-

Korean traditional lyric song (Kagog 歌曲) are sung in two modes- Pyoungio (平調, the other name-ujo 羽調) and Kyemyounjo (界面調)-and in two styles, sung by male and fermale. The Pyoungio Kagog by male are all 13 tunes. Almost of precedent studies on Kagog are dependent upon ancient notes for Keomungo (玄琴). Therefore the result of studies on kagog is by accompanied melody of Keomungo only. This study is on the melody pattern of 13 songs in Pyoungio by male. Through this reserch 14 melody patterns were founded. The song Isudayoub (貳數大葉) and Tugeo (頭擧) is consisted of these patterns all (100%) of melody. In case other songs as follow ; ◁표삽입▷(원문을 참조하세요) It was founded that cadence is related with construction of poetry and melody. Properly division of chapter is determined by cadence. The form of song in kagog is A-B-B´ -C-B˝.

奚琴의 韓國流入에 관한 考察

송권준 부산대 예술대학 1993 藝術論文集 Vol.9 No.-

한국음악 선율의 多音性(Mehrstimmigkeit)연구 : 영산회상에 기하여

송권준 부산대학교 예술대학 2003 藝術論文集 Vol.17 No.-

Recently the issue, of special feature of melody line in Korean traditional music, was proposed. As a new idea "mehrstimmigkeit" was proposed instead of "heterophony" of melody line in Korean traditional music. As a result on study of mehrstimmigkeit of Yeongsanhoesang 靈山會相, the representative instrumental music, there are three types of mehrstimmigkeit. The three types are two-tones, three-tones, four-tones type per one beat in five instrumental melody, Daegun 大琴·Piri??·Haegum奚琴·Gayaeum伽倻琴·Geomungo玄琴. The melodies of mehrstimmigkeit form 41% of all in Yeongsanhoesang. And two-tones type of mehrstimmigkeit form 31%. three-tones type 9.4%, four-tones type 0.6% of all. The most colorful tune among 9 tunes Yeongsanhoesan is Sanghyeondoduri. On the contrary the most monotonous tune is Garakdeori. The most numerous type of between each instrumental melody in two-tones type is "wind melody:string melody", for instance "Daegum·Piri·Haegum:Gayagum·Geomungo" The most numerous type of between each instrumental melody in three-tones type is "wind melody(Daegum·Piri·Haegum): string melody(Gayagum):string melody (Geomungo)". In four-tones type there are a few types but no peculiarity. The "mehrstimmigkeit", a special feature in Yeongsanhoesang melody line, explains Hwa-I-Bu-Dong和而不同(means harmony of dissimilary) in Korean traditional music.

영도등대 문화시설 확충 및 목도의 문화적 접근

송권준 자연사 미래환경학회 2006 자연사 미래환경학회 연구보고서 Vol.2006 No.-

여창가곡 노랫말의 四聖·連音標·음높이

송권준 부산대 예술대학 1999 藝術論文集 Vol.14 No.-

The Korean traditional lyric songs(kagog 歌曲) are precious musical properties. The plentiful properties are amounted to 664 male song and 190 female songs in kagogwollyou 歌曲源流. But because of imperfective notation 連音標 these songs can not revive. This study is on the intonation 四聲, notation 連音標, pitch 音高 of the words in the female lyric songs 女唱歌曲. The relationship of this three essential elements is very important to revive the songs. The purpose of this is an effort for revival the lyric songs. As a result of this study the following facts become clear ; In pyoungjo 平調 low sound mark( ( ) is related with low sound word 平聲, the main pitch is b^(b)林. Middle sound mark(│) is related with high sound word 去聲, the main pitch is c 南, f' 汰. High sound mark (/) is related with abrupt sound word 入聲, the main pitch is ab 중, c' 湳, e^(b') 황 . In kyemyounjo 界面調 low sound mark( ( ) is related with low sound word 平聲, the main pitch is b^(b) 林. Middle sound mark (│) is related with upper sound word 上聲, the main pitch is e^(b') 潢, a^(b') 중. High sound mark(/) is related with abrupt sound word 入聲, the main pitch is b^(b') 淋, e^(b) 황".