경기민요와 서도민요의 선율구조 비교연구

다국어 초록 (Multilingual Abstract)

In order to study the melodic structures of Kyung-gi minyo and Sodo minyo and their differences, I have examined what is thought of as the essential characteristic difference between the two regions, the Kyung-gi re↔mi and Sodo La↔do, and analyzed the idiosyncratic vibrating Sodo La. The pieces I analyzed from these regions that reflect their own typical regional characteristics are "Changbu Taryong" and "Nore Garak" of Kyong-gi and "Sushimga" of Sodo. I examined the recordings of these songs from 1910 to the present. Through the use of the computer program "Nopijegi" I found that both the intervals, Kyong-gi re↔mi and Sodo La-do, registered a difference of 250 cents. Thus, there is no difference between the Kyong-gi second and the Sodo third. This means that the characteristic differences between the two regions are not in the fourth and fifth degrees of the mode (the Kyong-gi re and mi, and Sodo La and do) but in the modal frame and ornamentation. The Kyong-gi modal frame is the Sol↔do interval and the Sodo frame is the Ra↔La interval. The vibrating La is also idiosyncratic to the Sodo mode. In Sodo minyo, there are two different ways to vibrate the middle tone La : the use of vibrato from the beginning of the pitch and the use of vibrato after holding onto the pitch. The vibrato was measured at 6-8 cycles per second. The width of the vibrato increases in later recordings. I found thar there were two different kinds of vibratos : one where the width of the vibrato is consistent and the other where the width of the vibrato increases as the vibrating note slides up. With the former vibrato, vibrato seems to be directed down. With the larter, the tendency is to vibrate up.

목차 (Table of Contents)

• Ⅰ. 머리말
• Ⅱ. 음향자료 및 음고측정 방법
• Ⅲ. 경기민요의 음고 및 음정 측정
• Ⅳ. 서도민요의 음고, 음정 측정 및 요성분석
• Ⅴ. 결론
• [참고문헌]
• Abstract