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한국과 중국의 양금기보법 비교연구: 개량양금 기술표현체계 개발을 전제로
윤은화 ( Yin Hua Yin ),양미지 ( Mi Ji Yang ) 세계음악학회 2015 음악과 문화 Vol.32 No.-
The Yang geum mentioned Guracheolsahyeongeum (歐邏鐵絃琴) by Yeonam Park, Ji-won in Western Yang guem. Originally,Yang geum was a sort of Dulcimer. It has been translated and spread to the world under the names such as Tympanon, Harkvert, Cembalo and Yangqin. Actually new traditional music composition skills in Korea are represented and required in several ways through the Modernized Yang Geum, but the real state of a study on sign system of the modernized Yang Geum`` new performing technique is poor. Accordingly, this study was made to develop a newly improved Yang Geum``s performing technique sign system by searching the existing Chinese Yangqin, Korean Traditional Yang Geum and Modernized Yang Geum``s performing technique sign systems. Yang Geum has been actively played, studied and improved as a folk musical instrument of the world, while the Korean Yang Geum research has continued to have little on traditional music. The Korean Traditional Yang Geum is dominated mainly by one-handed technique, whose tune is frequently changed by environment. And popular acceptance is poor due to the limit of the instrument noisy tuning. As a result, China``s Modernized Yang Geum Performing Technique Sign has been systematically studied for a long time and organized and mentioned on the first top part of any manual. This notated a special technique playing in commonly used sign when playing the Modernized Yang Geum Performing that led to the correct Modernized Yang Geum performing expression. First, the Chinese Modernized Yang Geum is composed by staff notation and number notation, and the correct technique training is good by the notation system of performing technique. Second, the Korean Traditional Yang Geum is composed by staff notation(except jungganbo), and the notation sign system ofjungganbo was used by the notation sign system of performing technique when having reverse score of staff notation. Third, Korea``s 18strings Modernized Yang Geum improved the musical instrument by magnifying the register of the Korean Traditional Yang Geum and the notation system was notated by the staff notation of the West. The notation sign systems of performing technique includes left hand slapping · Zither Stick · vibrato · rolling the stick · One-time pushing · twice pushing · pushing from the bottom sound · glissando · grace note · continuation technique · chord technique · barrier slapping technique · left-hand technique · right-hand technique · arpeggio · banchegui technique · staccato · tremolo · two voice tremolo · vibrato · mute technique. However, several performing techniques by composers are reported cause chaos, and even the same performing notation is differently indicated to have poor precision shown. Fourth, Korea``s 43strings Modernized Yang Geum is a musical instrument improved by the North Korea``s Yang Geum with all techniques of the existing instrument 18strings Modernized Yang Geum accepted that led not only to Korean music but to several musics. This allowed the suspension of the existing 18strings Improved Yang Geum to be expanded, the traditionality and merits of the existing Modernized Yang Geum to be preserved by improving the musical instruments such as pedaling, the new Modernized Yang Geum performing technique to be expanded according the demand of a new era, and several technique expressions to be progressively presented. As a result, the Korean Modernized Yang Geum``s new performing technique sign systempresented the pedal, Goejo rate, performing technique of two stick, semitone technique expression system by expanding the existing Modernized Yang Geum performing technique except the rolling the stick, arpeggio, tremolo, vibrato. Like this, 43strings Modernized Yang Geum is the musical instrument improved to play several musics not only of the existing 18strings Modernized Yang Geum performing techniques but also new traditional music, which seems to be the beginning to raise importance of the future new traditional music Yang Geum``simportance used.
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양미지 한국문화예술교육학회 2011 모드니 예술 Vol.5 No.-
조선시대 처용무 반주음악 이였던 봉황음에 관하여 고 려가요 처용가를 통한 역사적 배경 및 형식 분석7), 『악학궤범』 속내 봉황음 기록8), 『세종실 록』 속내 봉황음 기록문헌9)을 살펴 구체적인 자료와 역사적 배경을 바탕으로 봉황음에 대해 음 악적 분석을 통하여 사라진 『세종실록』 봉황음을 새로이 재조명 하는데 그 목적이 있다. 또한 본 연구자는 한국무용사학회에서 주최하는 ‘鳳凰吟(봉황음)으로 處容舞(처용무)를’ 학술심 포지움10)에서 봉황음(鳳凰吟)복원 악단으로 참여하여, 본인이 박을 연주 함으로서 실제 복원연구 참여를 통하여, 봉황음 연구방법에 있어 실제적인 음악적 분석을 통해 차 후, 봉황음과 처용무 연구를 위한 하나의 토대가 될 수 있을 것으로 기대된다.
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양미지 ( Mi Ji Yang ) 세계음악학회 2012 음악과 문화 Vol.26 No.-
These days, contemporary Modern Korean traditional orchestra music, as the prominent genre of contemporary Modern Korean traditional music, has a variety of works being performed. The history of contemporary Modern Korean traditional orchestra music began in 1939 with composer Ki-su Kim and culminated with the renaissance of the 1980s which produced a number of works by composers such as Hui-jo Kim, Beom-hoon Park, In Pyung Chun and Dae Woong Baek. Nevertheless, insufficient research has been carried out on the traditional methods of traditional Korean orchestral music especially with a focus on its most important contemporary version. Also there exists no notable achievement in research on notation with regard to the full score of contemporary Korean traditional orchestral music. This is because the notation for the full score of contemporary Modern Korean traditional orchestra music has been regarded as a task that does not require special knowledge or skills and an insignificant step in wrapping up a work of orchestra music. As is often the case, even well-organized orchestra music by a composer runs into mistakes in performance due to errors in notation of the full score or partial score or crude notation. Hence, this study examines the existing notation of full scores of contemporary Modern Korean traditional orchestra music to identify and discuss its issues in order to make some proposals. As Western music was introduced to Korea, contemporary Modern Korean traditional orchestra music, as part of contemporary Modern Korean traditional music has developed in the order of ensemble, concerto, chorale and Asian orchestra. With the emergence of the conductor playing the part that was performed by Jib-bak-ag-sa in a traditional Korean orchestra, and in order to cover a large-scale ensemble, the music notation for Modern Korean traditional orchestra music that appeared in 1930 adopting the full score with five-line staff. The full score notation has developed through small and gradual changes. Instruments were arranged on the full score in the order of wind, percussion and string, reflecting the early method of Western orchestral music and considering the particular characteristic of Korean traditional musical instruments. Currently, full score notation mostly adopts the arrangement in the order of wind, string and percussion, but it often varies depending on composers or with individual works in response to specific compositional traits or the inclusion of some special instruments. The lack of a uniform notation style seems to be a critical issue, for it can cause confusion with the conductor or the performer. Furthermore, it may disturb the fundamental harmonic composition in organizing an orchestra. An alternative, in case a special instrument joins in, would consist in basically adopting the arrangement of instruments for notation in the order of wind, string and percussion while determining the position of the group according to classification of musical instruments. Second, in instrument range notation, if special instruments like Geomungo and Daeajaeng sound one octave lower than they are written, an "8" should be inscribed underneath the clef in order to avoid confusion. Most important, efforts should be made to achieve a precise notation of details with a view to absolutely clear communication of the composer`s intention. Composers, who understand the importance of music notation better than anyone else, must not forget that only when they can achieve a clear expression by minimizing ambiguities on full score notation so they can create the best possible performance.
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판소리 중모리 장단의 ‘떠는목’에 관한 연구-안숙선ㆍ오정숙ㆍ박록주 창을 중심으로-
최상화,양미지 한국국악학회 2013 한국음악연구 Vol.53 No.-
판소리는 대표적인 한국 전통 성악곡으로 2003년 유네스코 인류의 무형유산으로 등재 되어 있으며, 남도소리 특유의 음악적 표현이 압축된 긴 이야기를 노래로 부르는 극음악적 형식을 지니고 있다. 판소리에서 소리는 서사적인 이야기를 다채로운 성악적 기법을 내포하는 큰 의미로 보고 있으며 음악적 문맥 속에서 의미를 갖기 위하여 제각기 독특한 시김새를 갖는다. 이런 의미를 주기 위해 창자는 어떤 음은 떨고 어떤 음은 끌어내리고 어떤 음은 평으로 내어 서사적인 내용을 음악적 선율에 담아 전달한다. 이는 판소리의 음악어법을 구성하는 선율 속에서 각각의 독특한 시김새적 음기능을 갖기 때문이다. 이와 같은 연주 기법을 요성법, 전성법, 퇴성법이라고 하는데 요성은 현악기에서는 농현이라고 하고 관악기에서는 농음 혹은 요성이라 하며 성악에서는 ‘떠는목’이라고 칭한다. 즉 판소리의 ‘떠는목’은 창자가 소리할 때 음을 떨어내는 기법을 뜻한다. 이에 본 연구는 판소리 중에 가장 많이 출연하는 중모리 장단을 중심으로 오정숙․안숙선․박록주 명창의 춘향가 중 <쑥대머리>대목과 심청가 중 <선인들 따라가는>대목을 중심으로 ‘떠는목’의 음악적 어법을 음향학적 측면으로 측정하여 ‘떠는목’의 특징을 살펴보고자 한다. 연구 방법은 각 음원을 채보 한 후, 오선보 악보로 제시하고 보다 더 정확한 측정을 위하여 음악 샘플링 프로그램인 사운드 포지(Sound forge)를 이용하여 밝혀보았다. 그 결과 판소리 중모리 장단의 ‘떠는목’의 농현[진동]횟수는 음의 길이에 따라 3박 ()에 12회, 2박()에 8회, 1박(♩)에 4회, 1/2박(♪)에 2회가 일정하게 나타났다. 둘째, 판소리 중모리 장단의 ‘떠는목’에 일정하게 나타난 농현[진동]횟수는 리듬형식을 구성한다. 농현[진동]횟수를 분석한 결과 1초에 약 5~7회 일어나는 규칙적인 리듬형식을 구성하였다. 이는 ‘떠는목’의 떠는음이 약 ‘1초에 5~7회 일어나는 강세로서 일정한 리듬을 가지고 있다’라고 정의 할 수 있다. 즉 판소리의 ‘떠는목’이 창자의 즉흥적인 음악적 요소가 아니라 한 장단에 따라 그 횟수가 일정하게 규칙적으로 변화하는 리듬 분할의 역할을 지닌 특징으로 볼 수 있다. 셋째, 중모리 장단의 ‘떠는목’에 나타난 농현[진동]횟수는 일정하게 같으나, 음폭의 변동 강도로 다양한 음악적 표현을 구사한다. 사운드 포지 그래프 파형의 진동 폭을 통해 ‘떠는목’의 음의 길이가 2박 이상 일 때는 처음부터 음폭의 변동 강도를 높여 격렬하게 떨어주며, 음의 길이가 1박 보다 짧을 때에는 대체로 음폭의 변동이 규칙적으로 일정하게 나타나는 특징을 볼 수 있다. 넷째, 중모리 장단 ‘떠는목’에 일정하게 나타난 농현[진동]은 전체적인 악곡의 속도와 관계없이 일정하게 나타난다. 이는 전체적인 속도가 달라지더라도 떠는목의 농현[진동]횟수는 일정하게 나타남을 알 수 있다. 본 연구는 앞으로 판소리 연구에 있어 ‘떠는목’의 판소리 음악 어법의 특징을 다양한 각도에서 살펴 판소리 교육법 및 발성법 연구의 기초가 될 수 있는 중요한 자료가 될 것이라 본다. 이번 연구는 떠는음의 음향적 연구에 한정되어 아직 판소리의 ‘떠는음’의 전체적인 기능을 살펴보기에는 소논문의 한계 상 부족한 면이 없지 않아 있을 수 있다. 그러나 이러한 연구 결과는 안숙선․오정숙․박록주의 전문적인 명창의 계량화된 수치들을 통해 앞으로 판소리 발성법 훈련과 음악적 연구에 있어 보편적인 청각 미학을 느낄 수 있는 가능성을 살펴 볼 수 있는 중요한 자료로 기대한다. Pansori, type of Namdosori, is a dramatic music form by which an epic and dramatic long story is expressed as a song. The Sori of Pansori is the various vocal techniques in epic song. As such, Sori of Pansori has unique ‘Sigimsae’ in order to transmit a meaning in musical context. In order to transmit this meaning, Sori singers address epic content of Pansori throught vibrato, dragging out certain sounds or lax consonants. The reason for this is that each the sound has its unique function in sound structure comprising the music expression of Pansori. The performance technique are called as Yoseongbeob․Jeonseongbeob․Toiseongbeob. Tteoneun mok is called Nong hyun in string instruments, Nong eum. Tteoneun mok in wind instruments and vibrato in vocal music. In other words, the vibrato (Tteoneun mok) of Pansori is a technique of keeping the beat while the Pansori singers considering this study intends to observe characteristics of vibrato by measuring musical expression of vibrato and frequency of Nong hyun in Gyemyeon scale of Chunhyangga and Simcheongga among different Pansori. The Range of this study will be the characteristics of vibrato based on Jungmori Jangdan of Gyemyeong scene of Chunhyangga, Simcheongga song by master singers including Oh Jeong-sook․An Sook-seon and Bak rokju. Research method is to identify such characteristics by using sound forge, a music sampling program, after presenting each sound source by staff music score followed by transcribing it (making music score after listening to melody) in order to ensure more accurate measurement. From the result, music expression of Tteoneun mok in Jungmori Jangdan can be identified as follows. It was discover that the frequency of Tteoneun mok in Jungmori Jangdan is represented to be 12 times in , 8 times in , 4 times in ♩ and 2 times in♪. It is considered that this research result would provide an important data through which aspect of Pansori music expression could be observed in a various way by identifying characteristics of Tteoneun mok in research about Pansori in the future.
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