육자배기조 민요의 장단과 선율을 이용한 창작지도방안 연구

다국어 초록 (Multilingual Abstract)

In the begining of Korean Music Year, it is araising the interesting of Korean Music and the movement of using it in education, But it is sorry to continue incorrect trial that they test Korean Music as our music by rule of western . It is very natural thing that our music is analized and made on our standard they will not express our Changdan by theory of western rhythem and our melody by temperament. Although Sikimsae, not exist in western music, in our music seems incorrect and not scientific, but it is essentiality of our music Therefore our Changdan is must written by Cheongganbo and our melody by Yulmyong wi th Sikimsae.
Yukchabaegie-cho, Menari-cho, changbutaryong-cho, and Susimka-cho are songs have speciality of Korean music. Among them Yukchabaegie-cho have musical depth and is sung by many people. The Changdan used in Yukchabaegie-cho folksongs are Chaginmori, Chungjungmori, Chungmori, and the other used hardly.
This study is aimed to guida the teaching composition and analyze the Changdan and melody structure of Yukchabaegie-cho folksong, and format this styles and plan the method for teaching composition.
Chajinmori as Changdan of 3 Punbak 4 time is fit early time in teaching composition because it has fast Hanbae Chungjungmori as 3 Punbak 12 Sobak 4time, has middle Hanbae between Chajinmori and Chungmori. Chungjungmori is used hardly because it's character of intermediary, and it is nearby Chaginmori, Chungmori has many variance because it's Hanbae is slow, and devided styles are used more than original form And irregular style of Changdan is used many time.
Melody of Yukchabaegie-cho folksong is devided from one-sound structure to 5-sound structure on number of sound and each structure is devided two style,'they have Sikimsae, or not.One-sound structure is made of lkang, and 2-sound is made of Whang, Chung Three-sound structure has Whang, Chung, Im or Chung, Iee, Im, and four-sound has Whang, Chung, Iee, Im or Ifhang, Chung, Im, Mu Five-sound structure is made of Hhang, Chung, Iee, Im, Mu. These structures of melody make variant style by merging with Sikimsae.
Sikimsae used in Yukchabaegie-cho are Dernen-sori, Kerknen-sori, Helernaerinen-sori, and Kurenen-sori and these are used usually on long sound of one time or over.
Teaching of Changdan and melody is taught same time in composition based on Yukchabaegie-cho and the verse used in composition is fit traditional children's song and 4.4 cho of others for express feeling of our music You will find it easy to teach Chungmori after Chpjinmori, and five-sound structure after two-sound and Sikimsae after no Sikimsae.
You had better use traditional childreh's song and 4.4-cho of others in verse ofcomposition but 7.5-cho is not. After chosing verse, you may be select Changdan and merge verse to it. In Sikimsae, Dernen-sori is used under 6-yul, kerknen-sori over 2-yul of main tone, and Helernaerinen-sori is is used from over 6-yul, or 8-yul of main tone to main tone. Sikimsae is must taught easily to children.
Teaching composition of folksong is must based on the creativity, Therefore you must teach it upon positive thinking not 'They do nothing' but 'they can do everything' It is only the part of teaching of composition to teach composition based on Yukchabaegie-cho, therefore it is must continued to teach the other form whenever it is familliar with children. We must teach composition on the natural thinking 'Our music is must expressed by our method(Chengganbo)' not 'Composition is must written on staff' as fixed thinking.

목차 (Table of Contents)

• Ⅰ. 서론 = 1
• A. 연구의 필요성과 목적 = 1
• B. 연구의 내용 = 2
• C. 연구의 방법 = 3
• D. 연구의 제한점 = 4
• E. 용어의 정의 = 4
• Ⅱ. 이론적 배경 = 6
• A. 민요와 음악교육 = 6
• B. 선행연구의 고찰 = 10
• Ⅲ. 육자배기조 민요를 이용한 창작지도 방안 = 14
• A. 장단의 분석 = 15
• 1. 잦은몰이 = 16
• (1) 기본형 = 17
• (2) 변화형 = 20
• 2. 중중몰이 = 25
• (1) 기본형 = 26
• (2) 변화형 = 28
• 3. 중몰이 = 31
• (1) 기본형 = 33
• (2) 변화형 = 34
• 1) 2분박 중몰이형 = 34
• 2) 3분박 중몰이형 = 39
• 4. 그 밖의 장단 = 42
• (1) 진양 = 42
• (2) 굿거리 = 43
• B. 선율 구조의 분석 = 45
• 1. 1음구조 = 45
• 2. 2음구조 = 46
• (1) 시김새가 없는 형태 = 47
• (2) 시김새가 있는 형태 = 49
• 3. 3음구조 = 51
• (1) 꺾는 소리가 없는 형태 = 51
• (2) 꺽는 소리가 있는 형태(황, 중, ^임) = 54
• 4. 4음구조 = 56
• (1) 흘러내리는 소리가 없는 형태(황, 중, 이, 임) = 56
• (2) 흘러내리는 소리가 있는 형태(황, 중, 임, 무) = 58
• 5. 5음구조 = 58
• (1) 흘러내리는 소리가 없는 형태(황, 중, 임, 무) = 58
• (2) 흘러내리는 소리가 있는 형태(황, 중, 임. 이, 무) = 59
• 6. 기타의 형태 = 60
• (1) 육자배기조가 변형된 형태 = 60
• (2) 다른 지방의 선법과 결합된 형태 = 61
• C. 장단과 선율구조를 이용한 창작지도 방안 = 64
• 1. 잦은몰이의 지도 = 64
• (1) 2음구조 = 64
• (2) 3음구조 지도 = 67
• (4) 4음구조 지도 = 69
• (4) 5음구조 = 71
• 2. 중중몰이의 지도 = 72
• (1) 2음구조 = 72
• (2) 3음구조의 지도 = 73
• (3) 4음구조의 지도 = 74
• (4) 5음구조의 지도 = 75
• 3. 중몰이의 지도 = 76
• (1) 2음구조 = 76
• (2) 3음구조의 지도 = 77
• (3) 4음구조의 지도 = 77
• (4) 5음구조 = 78
• 4. 기타 형태의 지도 = 79
• (1) 메나리조가 포함된 형태 = 79
• (2) 무선율 형태의 사용 = 80
• Ⅳ. 결론 및 제언 = 82
• Ⅳ. 참고문헌 = 85
• ABSTRACT = 89