이보형 채록 <판소리(1)> 해설, 사설

이보형,노재명 한국고음반연구회 1998 한국음반학 Vol.- No.8

한국고음반연구회 이보형 회장 고이즈미후미오음악상 수상 기념 자료 : 민족음악(民族音樂)의?문법체계(文法體系)?탐색(探索)을?위(爲)한?소명(召命)

李輔亨 한국고음반연구회 2012 한국음반학 Vol.22 No.-

한국전통음악의 장단 연구사

이보형 한국음악사학회 2004 한국음악사학보 Vol.32 No.-

Changdan 長短 (lit. long and short) is used as a term related with rhythm in Korean traditional music. Though it was difficult to study since the term was used in a sophisticated way, the research on changdan was done by many scholars from the 1950s when the Society for Korean Musicology (韓國國樂學會) was established throughout today. The studies on changdan by Korean musicologists are classified into two. The first is about the characteristics of changdan itself. The second is about the musics in particular changdan, which is in greater numbers than the first. The study of changdan was started by Lee Hye-ku 李惠求 [Yi Hye-gu] and Chang Sa-hun 張師勛, scholars of the first generation of Korean musicology. They tried to study the characteristics of music by researching changdan of the music. Yi Po-hyŏng 李輔亨, a scholar of the second generation, continued their study of changdan. He made clear the characteristics of composition of different levels of beat in the rhythmic cycle of changdan, which distinguishes different changdan from each other. He also established a theory that determines the cycle of changdan by clarifying synthetic structure of rhythm with the structure of combination of rhythms of different levels. He also examined the musical meaning that the rhythmic type of changdan has in music in many different rhythmic types. In the next generation after Yi Po-hyŏng, many scholars are active in examining the characteristics of changdan.

무속음악장단의 음악적 특성

李輔亨 한국국악학회 1991 한국음악연구 Vol.19 No.-

長短 리듬型의 形態構造 및 統辭構造와 그 變化硏究

李輔亨 서울대학교 동양음악연구소 1997 동양음악 Vol.19 No.-

장단 리듬 심층구조(원박)에 의한 표면구조 제어 기능 - 화초타령과 초한가의 통사구조 유형 구성을 중심으로

이보형 한국국악학회 2002 한국음악연구 Vol.31 No.-

The term "jangdan (lit. "long and short") indicates a number of musical features in Korean traditional music, and among one of these characters, it refers to "rhythmic cycle". I have already revealed the rhythmic cycle of jangdan in relation to a framework of Chomskian generative/ transformational grammar of language in my article (see "A study of syntax-semantics of jangdan with special reference to naedeureum of Pansori" 2000), and my basic findings ate provided by the followings: (1) Rhythmic cycle is formed by the syntactic roles by which rhythmic constituents is fixed. (2) The syntactic rule is governed by which the rhythmic constituents of lower level, the two- Collections or three-collections on the beats of the lower level, and then is constructed by their upper level on the beats of the upper level, thus forming their three levels on the beats of the three levels. (3) The "syntactic structure of jangdan" can be constructed by "collective structure" of the rhythmic constituents that generates its beats of the rhythmic cycle. There are two kinds of musical genres which are constructed by (ⅰ) one kind of the 'syntactic structure of jangdan rhythm' that I would call a "deep structure" and (ⅱ) several kinds of the 'syntactic structure of jangdan rhythm' called a "surface structure" in Korean music. In the latter, such repertoire as Pansori (Korean narrative song with an accompaniment of the drum) and Sanjo (highly improvised solo instrumental music) that are consisted of several kinds of the 'syntactic structure of jangdan rhythm', are formed by a number of syntactic structure of the jangdan rhythm, but their underlying structures are based on one kind of the syntactic structure of jangdan rhythm. In contrast, such repertoire as Seodo jwachang (songs of Sea provinces in sitting position) and ipchang (songs that sing in standing position) are formed by several kinds of the syntactic structure of jangdan rhythm, thus its underlying structure is not seen as the case of one kind of the syntactic structure of jangdan rhythm. This paper aims to investigate how these two kinds of jangdan structures are constructed differently: in the case of the deep structure of jangdan rhythm, whether it is underlying or not represented in two musical performances: jungjungmori (jangdan formation based on a bit fast tempo) 'Whachotaryeong' in Pansori Shimcheongga (song for Shimcheong) and 'Chohanga' in Seodo jwachang respectively. The results of the investigation of two musical performances can be offered: In terms of a set of rules, the first case in naedeureum (initial jangdan in order to introduce the song) necessarily has fixed rules that present an "idiomatic structure" or its equivalent regular deep structure, whereas the second case has no fixed rules to be presented. In the example of the first case, when the syntactic structure of jangdan rhythm changes a number of ways, a length of rhythmic cycle is mostly regular. In this process when the rhythmic cycle changes, the length of the total phrases becomes a 'common multiple' of the deep structure represented by naedeureum. In the second case, when the rhythmic cycle of jangdan changes irregularly, the length of the total phrases is not yielded the common multiple. The first case, when the cycle of syntactic structure of jangdan rhythm changes, the syntactic structure of jangdan rhythm which is accompanied by percussion instruments does not change. In contrast, the second case, when the syntactic structure of jangdan rhythm changes, its cycle of the percussion accompaniment tend to change. The first case with deep structure is based on the tone repeated while the second case on susimga in free rhythm. The difference is in that a variety of syntactic structure is generated by the changing quality of the repeated deep structure in the former, whereas it is by the change from free to metric rhythm. The syntactic structure of jangdan rhythm comprises the deep structure or its equivalent idiomatic structure in a conclusive phrase in the first case, whereas it does not appear regularly in the second case. Characteristic features appeared in Pansori and Sanjo that are underlying in the deep structures can be shown by the fact that the surface structures transform into the deep structures or its transformational structure, and this means that the surface structure are constructed without fixed rules and implies relative characters of such musical genres which have no underlying deep structure.

악학궤범 향악7지 시용궁 지시 12음의생성 원리 연구

이보형 한국음악사학회 2015 한국음악사학보 Vol.54 No.-

『악학궤범』(樂學軌範)에는 ‘향악7지’(鄕樂七指: 일명 鄕樂七調)라는 key이론이 나온다. 이것은 합주할 음악의 선법적 주음의 음고(音高)를 대금(大笒)의 7공(孔)으로 내는 각 음으로 12음을 지시하는 이론이다. 『악학궤범』 향악7지에는 7종의 key 이름이 제시됐고, 각 key 기준음의 음고를 대금 지공(指孔)이 내는 음으로 한 음, 또는 두 음씩 지시하게 되어 모두 12음을 지시하도록 되었다. 대금의 밑에서부터 제1공에서 저취(低吹)로 내는 음으로 시용궁(時用宮)을 지시하는 key는 ‘일지’(一指)라 하고 협종(夾鐘) · 고선(姑洗) 두 음을 지시한다. 제2공에서 저취(低吹)로 내하는 key는 ‘이지’(二指)라 하고 중려(仲呂) · 유빈(㽔賓) 두 음을 지시한다. 제3공에서는 ‘삼지’(三指)라 하여 임종(林鍾) 한 음을 지시한다. 제4공에서는 ‘사지’(四指: 일명 ‘횡지’(橫指))라 하고 이칙(夷則) · 남려(南呂) 두 음을 지시한다. 제5공에서는 ‘오지’(五指: 또는 ‘우조’(羽調))라하고 무역(無射) · 응종(應鍾) 두 음을 지시한다. 제6공에서는 ‘육지’(六指: 또는 ‘팔조’(八調))라 하여 청황종(淸黃鍾) 한 음을 지시한다. 하공(下孔)에서는 평취(平吹)하여 내는 key는 ‘칠지(七指: 또는 ‘막조’(邈調))라 하고 청대려(淸大呂) · 청태주(淸太簇) 두 음을 지시하여 모두 12음을 지시하는 것이다. 이 『악학궤범』 향악7지의 12음 지시 원리에는 몇 가지 의문이 있다. 어찌하여 7음을 지시하지 않고 12음을 지시하며, 제1 key는 기준음(基準音)인데도 한 음을 지시하지 않고 두 음을 지시하며, 그 기준음이 12율 기준음인 황종(黃鍾)이 아니고 협종(夾鍾)이며, 제3, 6 key에서는 한 음만 지시하고, 제1, 2, 4, 5, 7 key에서는 두 음을 지시하는가? 지금까지 이 문제는 한국음악 및 중국음악의 이론으로는 풀리지 않았다. 향악7지(鄕樂七指)에서 key를 지시하는 대금(大笒)이라는 악기가 서역(西域)에 기원을 두는 당적(唐笛)에서 나왔다고 하고, 향악7지 이론에 동원되는 계명(階名) 이론이 서역음악(西域音樂)에 보이는 동주음계명(同奏音階名: Cognat Syllable Names)으로 되었고, 향악7지 이론이 쓰이는 대금(大笒) · 거문고가 서역음악에 보이는 7음 평균율(平均率)로 된 것으로 봐서, 향악7지라는 이론이 서역음악 이론에서 나온 것으로 볼 수 있다. 그렇다면 향악7지의 12음 생성 문제도 서역음악 이론으로 풀어야 풀릴 것이다. 서역음악인 인도음악 라가(Raga)가 향악7지(鄕樂七指)와 같이 동주음계명(同奏音階名)으로 되었고, 반수리(bansuri) · 고대 비나(veena)와 같은 음고(音高) 지시 악기가 향악7지에서 음고를 지시하는 대금 · 거문고와 같이 7음 평균율로 되었다. 향악7지의 12음 지시법과 같은 원리를 밝힐 수 있는 것이 서역음악에서 많이 보이지만 그 가운데 ‘북인도 음악의 12 타아트(ttat) 구성음 나열표’에서 선법(旋法)의 구성음 12음 지시법(指示法)을 찾아 본 것이다. 인도 Raga의 12 타아뜨 12음 지시법에서 각 선법의 구성음 음고를 악기가 지시하는 지공(指孔) 끼리 추려 보면 제1공 사(Sa)에서는 C 한 음이 나타나고, 제2공 리(Ri)는 D · D flat 두 음, 제3공 가(Ga)는 E · E flat 두 음, 제4공 마(Ma)는 F · F sharp 두 음, 제5공 파(Pa)는 G 한 음, 제6공 다(Dha)는 A · A flat 두 음, 제7공 니(Ni)는 B · B flat 두 음을 지시한다. 이 12 타아뜨 12음으로 지시되는 음고를 따져 보면 두 지공(指孔)에서 한 음, 다섯 지공에서 두 음을 지시하여 모두 12음을 지시하는 것이 한 ... The key theory called hyangak ch'ilchi 鄕樂七指 (also called hyangak ch'ilcho 鄕樂七調) was documented in Akhak kwebŏm,『樂學軌範』 (Guide to the Study of Music), published during the reign of King Sŏngjong 성종(成宗 1469-1494). This is a theory in which the 12 pitches of the modal tonic for ensemble are referred to seven keys (ch'ilchi 七指), the sound produced from taegŭm 大笒 (large transverse flute) with seven holes. It suggests 7 key names and refers 12 pitches to 7 keys by corresponding one or two pitches per each key. The key called ilchi 一指, produced by softly blowing taegŭm with the first hole from the bottom open, refers to two pitches called hyŏpchong 夾鍾 (chia-chung in Chinese) and kosŏn 姑洗 (ku-hsien). The key iji 二指, with the first and second holes open, refers to chungnyŏ 仲呂 (chung-lü) and yubin 㽔賓 (jui-pin). The key samji 三指, with the first, second, and third holes open, refers to imjong 林鍾 (lin-chung). The key called saji 四指 (also called hoengji 橫指), with the first to the fourth hole open, refers to ich'ik 夷則 (i-tsê) and namryŏ 南呂 (nan-lü). The key called oji 五指 (or ujo 羽調), with the first to fifth hole open, refers to muyŏk 無射 (wu-i) and ŭngjong 應鍾 (ying-chung). The key called yukchi 六指 (or p‘alcho 八調), with the first to sixth hole, refers ch'ŏnghwangjong 淸黃鍾 (ch'ing-huang-chung). The key called ch'ilchi 七指 (or makjo 邈調), the sound produced by normally blowing taegŭm with the first to last hole open, refers to ch'ŏngdaeryŏ 淸大呂 (ch'ing-ta-lü) and ch'ŏngt'aeju 淸太簇(ch'ing-t'ai-ts'ou). The hyangak ch'ilchi 鄕樂七指 refers 12 pitches to seven keys in this way. Still, there remains some questions regarding to this hyangak ch'ilchi principle. Why does it refer 12 pitches but not 7 pitches? Why does it refers one pitch to the third and sixth key and two pitches to the first, second, fourth, and seventh key? Why does it refer two pitches to the first key, tonic, and why is that tonic hyŏpchong 夾鍾, but not hwangjong 黃鍾? These questions have not been solved until now in the music theory scholarship of Korea and China. The facts that taegŭm 大笒 (large transverse flute) that plays a role in the hyangak ch'ilchi 鄕樂七指 principle comes from Sŏyŏk 西域, Cental Asia and west regions of China, including India, and the Central and west Asia, and that the hyangak ch'ilchi theory features cognate syllable names, the characteristic of Sŏyŏk music show that the hyangak ch'ilchi theory is from the theory of Sŏyŏk music. Therefore, the questions regarding the hyangak ch'ilchi principle may be solved with the theory of the Sŏyŏk music. Raga of Indian music, similar to hyangak ch'ilchi, is based on cognate syllable names. Instruments like ancient veena and bansuri, similar to taegŭm 大笒 and kŏmun'go 거문고 (six-strined zither), play heptatonic scales. Therefore, the hyangak ch'ilchi theory can be solved with Indian music theory. As one of the examples of Indian music, 10 ttat of North Indian music has the same way of referring 12 pitches to seven keys by corresponding one or two pitches per key to the Korean hyangak ch'ilchi: Sa refers C, Ri refers D and D flat, Ga refers E and E flat, Ma refers F and F sharp, Pa refers G, Dha refers A and A flat, and Ni refers B and B flat. To analyze the principle of making 12 pitches of North Indian 10 thaat with the contemporary music theory, 12 pitches are made when all pitches of 10 scale with cognate syllable names are referred with instruments tuned by heptatonic scale. When Chinese 12 pitches are referred with the principle of making 12 pitches of Indian thaat, ‘the first hole’ refers hwangjong 黃鍾, ‘the second hole’ refers taeryŏ 大呂 and t'aeju 太簇, ‘the third hole’ refers hyŏpchong 夾鍾 and kosŏn 姑洗, ‘the fourth hole’ refers chungnyŏ 仲呂 and yubin 㽔賓, ‘the fi...

육자백이토리 音組織 硏究

李輔亨 한국국악학회 1996 한국음악연구 Vol.24 No.-

1619년 버지나아植民地에 온 黑人에 관한 小考 : 時期, 數, 身分

李普珩 전남사학회 1987 역사학연구 Vol.1 No.-

이혜구 박사의 무악 연구 성과 및 검증 - 체계이론을 중심으로 -

이보형 한국음악사학회 2015 한국음악사학보 Vol.55 No.-

한국전통음악학의 태두이신 이혜구 박사는 수많은 한국전통음악의 논문을 썼지만 한국의 민속음악 부문의 논문은 적은 편이다. 이 가운데 한국의 무속음악 부문에 관한 논문은 오직 “무악연구”이라는 하나의 논문 밖에 없다. 그러나 이 논문은 몇 가지 점에서 주목되는 것이다. 첫째, 이 논문은 현지 조사한 하여 작성한 한국의 무속음악에 관한 최초의 논문이라는 것이다. 둘째, 이 논문은 지금은 전승이 끊어진 지역의 무속음악이라 1940년대 서울 강남 지역의 무속음악 특징을 밝혔다. 즉 도살푸리, 반설음, 겹마치와 같은 무속음악 용어를 처음 학계에 소개하여 이 지역의 무속음악이 한강 이북과 다르고 경기도 남부 무의식과 같다는 정보를 후학들에게 제공한 셈이다. 셋째, 이혜구 박사는 이 때 조사한 무의식을 통하여 상고시대 나라의 축제와 관련성을 찾아내었고, 이 무의식에서 연행되는 줄타기 등 광대희를 통하여 중세 한국 궁중 축제인 나례(儺禮)의 가무희와 관련성을 밝혔고 또 판소리 발생론 규명을 시사하는 의견을 제공하였다. 넷째, 이혜구는 이 논문을 위하여 1940년대에 현지 조사하였고, 1950년대에 논문으로 작성하여 발표하였으며, 1990년대에 여기에 단긴 체계 이론을 약간 수정하여 발표하였고, 2000년대에 한국전통음악의 체계이론을 비판하는 저서를 내었다. 이 세 가지 글을 통하여 이혜구 박사 당시의 한국음악학 체계이론의 수준과 그 변화를 검증할 수 있었다. 이혜구 박사는 근래에 두 개의 서양음악식 박자가 한국음악의 장단을 이룬다는 이론을 처음 내었다. 이것은 옳은 이론이다. 그러나 강약주기박자(서양음악박자)와 장단주기박자가 어떻게 결정되는가 하는 이론이 없기 때문에 다음과 같은 오류를 볼 수 있다. 중중모리는 반 장단인 6/8이 서양음악 박자이고 중모리는 4분의 1/4 장단인 3/4이 서양음악 박자로 결정하는 오류, 박의 층위 이론이 없었기 때문에 엇모리와 터벌림(반설음)을 다 같이 5박자로 결정하는 오류는 당시 학문 기준으로는 어쩔 수 없었을 것이다. 이혜구 박사의 유일한 무속음악에 대한 논문 “무악연구”는 학계에서 별로 관심을 갖지 않았지만 후학들의 국악학 연구에 여러 가지 시사하는 점이 많은 주목할 만한 논문이라 할 수 있다. Despite many research results produced by Dr. Lee Hye-ku 李惠求 [Yi Hye-gu] (1909- 2010), one of major pioneers of Korean musicological study, those on folk music remain relatively few. Among these, especially related to Korean Shaman music, we have only one particular writing, which is entitled "A Study of Shaman Music." However, this paper deserves attention in the following points. First, this is the first report on Korean shaman music based on a field research. Second, this study investigates into the shaman music of Kangnam 江南 region of Seoul in the 1940s and this tradition is non-existent today. The study first introduces to specialists in this field concepts unique to Korean shaman music, such as tosalp'uri 도살푸리, pansŏrŭm 반서름, and kyŏmmach'i 겹마치, suggesting that shaman music of this region differs from that from Kangbuk 江北 region and is rather similar to the southern ritual music of Kyŏngdo 京畿道 (Kyŏnggi Province). Third, based on this particular study of shaman rituals Dr. Lee has discovered its connections with court festival music of the periods of Koryŏ 高麗 and Chosŏn 朝鮮 Dynasties. He also found similarities between acrobatic performances such as rope-walking staged in this shaman ritual and the song-dance-performances of narye 儺禮 (annual exorcism), a Korean court festival held in the middle ages. Moreover, he suggests that this is related to the origin of p'ansori 판소리 (Korean folk operatic song). Fourth, Dr. Lee conducted his field research in the 1940s, based on which he wrote up his paper in the 1950s. Later, after 1990, he added some details to produce his system theory and since 2000 Dr. Lee has published some books criticizing existing system theories on Korean traditional music. These three stages of writing demonstrate the level of development of changdan 長短 (rhythmic cycle) system theory in respective periods of Korean musicology and its changes. Recently, Dr. Lee has suggested that rhythm in Korean music largely consists of two types of Western rhythm, which is plausible. However, in lack of any theory explaining the dynamic structures of both Western and Korean rhythmic system, we were apt to decide that, for instance, half of chungjungmori 중중모리 changdan, rhythmic cycle of shamanic music, is western 6/8 and that 3/4 of one chungmori 중모리 changdan (rhythmic cycle) is in Western rhythm. Since no one knew about the level-theory of rhythmic beats, scholars often thought that both ŏmmori 엇모리 changdan and t'ŏbŏllim 터벌림 changdan were in five beat pattern. Although "A Study of Shaman Music,“ Dr. Lee's only study on Korean shaman music, received little attention from other scholars in the field, it may safely concludes that it has many good points from which scholars in the next generation may receive benefit.