국악기 변개(變改)작업의 현황과 방향

서한범(Suh Han Bum) 한국전통음악학회 2002 한국전통음악학 Vol.- No.3

Some players or composers raise continuously the improvement of Korean musical instruments. It is not recently raised that Korean musical instruments should be improved. It is well-known that from 1960s musical institutions including the National Center for Korean Traditional Performing Arts or musical groups or individual players have made effort to improve the musical instruments, tried to change the shapes, and made the new types of musical instruments. It is my opinion that to change the shapes or refix the systems is not improvement, but the change of musical instruments. I propose that we should not use the term "improvement" before it is proved that the remodelled musical instruments are improved in function and effectiveness compared with the present musical instruments. In other words, it is not proper for us to use the terms that the new instruments are under test for our playing the traditional music or new one after many players agree on the advantage of the new instruments. In this paper, the term "remodel" includes all the change of the traditional instruments. The chamber music which was played in the guest room, or garden, or outdoor was not emphasized the increase of volume, because it matched well with the small spaces or noisy places. But recently volume is very important, because it is played at public stage. Therefore, the increase of volume was very important to remodel the musical instruments - without considering quality or tone, loud speakers were unhesitatingly used or echoing barrels were used to increase the volume. The traditional musicians with other players is keenly interested in coping with the limit of volume. To enlarge the musical range should be also solved with increasing the volume. For us to play existing compositions with the existing instruments didn't matter because they were made within the range of existing instruments. But, the existing instruments couldn't be properly used to play the new music in the range. To solve these problems, the strings have more strings and the winds have more holes or adjust the strength of bamboo tube. What happened to the original tone or quality of the existing instruments to increase the volume or to enlarge the range? We should discuss these problems with discretion. This paper covers the followings on these matters : - What is the background of remodelling the instruments? - What do they(the National Center for Korean Traditional Performing Arts, provincial institutes of Korean traditional music, or individual players) do? - What should be considered to remodel the instruments? - To recommend how to approach to solve the above-mentioned. etc. The summary of this paper is as follows : 1. The background of remodelling Korean musical instruments or converting them to have more musical effectiveness is basically attributed to the change of performance environment. The keypoint is to improve increase of volume, enlargement of range, tone or quality of sound. The aspiration after improvement of those is the background to the attempt of these changes. 2. In 1960s, the National Center for Korean Traditional Performing Arts(국립국악원) had made their first effort to reform 36 kinds of Korean musical instruments - 20 strings, 11 winds, 3 yulkwans, and 2 percussions, etc., but that had little result. In the middle of 1980s, they made second effort to remodel the Korean musical instruments with the Korean Culture of Arts Foundation(한국문화예술진흥원). They remodelled the Korean traditional musical instruments which were mostly consisted of by daechita and the instruments which were lost how to play such as gong-hu or Korean mandolin(lute). It was timely attempt, but the remodelled instruments were out of use at public performance or on-the-spot and even by the players. 3. In 1990s, Chullabukdo Provincial Institute of Korean Traditional Music(전북도립국악원) had made their effort to improve three

정악장단(正樂長短)의 분류시안(分類試案)

서한범(Suh Han-bum) 고려대학교 한국학연구소 2006 한국학연구 Vol.25 No.-

이 글은 국악의 장단을 분류하는 방법이나 그 기준을 설정해 본 논문으로, 악보자료가 분명하며 현재 연주되고 있는 정악(正樂)곡에 한하여 연구하였다. 정악의 범주에 포함되어 있는 약 140여 곡의 장단형을 대상으로 정형의 유무, 균등박의 집합여부, 박자 수에 따른 구성, 雙-鞭-鼓-搖 등, 장고점의 순, 雙의 주법 여하, 그리고 변화형의 유무를 중심으로 논의하였다. 그 결과는 다음과 같다. 첫째, 정악의 장단구조는 무정형(無定型)과 유정형으로 구분되는데, 무정형 장단은 ‘보태평’, ‘정대업’, ‘여민락만’ 등 40여 악곡이고, 그 이외의 악곡들은 유정형 장단으로 분류될 수 있다. 둘째, 유정형 장단은 대부분의 악곡에서 박자가 균등한 시가를 지니지만, ‘관악영산 회상의 상령산’, ‘수제천’, ‘동동’ 등은 불균등 시가의 장단형으로 분류되어야 한다. 셋째, 균등 박자수(數)에 의한 분류는 느리게 반복하는 20박자의 장단형에서부터 16, 12, 10, 8, 6, 5, 4박자형의 분류가 가능하다. 20박 장단형은 동일한 형태임에도 일정한 명칭없이 〈상령산장단〉, 〈여민락장단〉, 〈보허자장단〉으로 부르고 있으나, 〈느린 장단〉 또는 〈쌍편고요 장단〉이라는 공통적인 명칭도 가(可)할 것이다. 또한 16박자의 〈가곡 장단〉외 〈취타 장단〉〈세령산장단〉〈가곡의 편장단〉〈길군악장단〉〈시조장단〉〈도드리 장단〉〈5박 장단〉〈타령장단〉 등, 악곡에 따른 명칭이 사용되고 있어 그대로의 분류가 가능하다. 넷째, 雙, 鞭, 鼓, 搖의 장고점이 하나의 주기가 되어 반복하고 있는가? 아닌가? 하는 점도 분류기준이 되어야 한다. ‘상령산’을 비롯하여 균등한 20박형 장단이나 또는 ‘수제천’ 등 불균등한 악곡, 그리고 ‘세령산’의 10박형(편장단 제외) 장단과 미환입을 비롯한 6박형 장단들이 雙, 鞭, 鼓, 搖의 순으로 반복되며, 그 이외의 악곡들은 이러한 주기로 반복되지 않는다. 다섯째, 雙, 鞭, 鼓, 搖의 장고점 순으로 반복되는 장단에서 雙을 합장단으로 치는가? 아니면 갈라치기로 하는가? 하는 점도 분류의 조건이 되어야 한다. 갈라치는 장단형에는 ‘여민락’의 느린 1,2,3장, ‘관악영산회상의 상령산’, ‘수제천’, ‘동동’, ‘향당교주(鄕唐交奏), 남ㆍ여창 가곡의 ‘이수대엽’, ‘중거’, ‘평거’의 일부분 등 대체로 느린 악곡에 쓰이며, 그 외의 악곡에서는 쌍을 합장단으로 처리한다. 여섯째, 변화형 장단의 출현유무도 분류기준이 될 것이다. 〈도드리장관〉, 〈타령장단〉 그리고 일부 〈가곡장단〉은 변화형이 보이지만, 이 역시 정형화된 변화형일 뿐, 주지(奏者) 임의의 즉흥성이 가미된 변화형은 아니다. 그 외의 정악곡에서는 거의 변화형을 용납되지 않는다 할 것이다. This paper is focused on the study of court music, which have evident music and is currently performed, in the establishment of methods and standards of Korean music rhythmic pattern. The rhythmic patterns of about 140 court music pieces in Court Music category was classified with regular or irregular rhythmic patterns, set of even beat, composition based on beat number, Ssang-Pyeon-go-yo order, ssang strokes and variation patterns. The summarized conclusion is as follows. Rhythmic structure is divided into regular and irregular rhythmic patterns. Irregular rhythmic pattern is found in about 40 musical pieces of the court music such as Botaepyeong, Jeongdae-eop and Yeomillak and the rest of the court music belong to regular rhythmic pattern. Most musical pieces have regular patterns with even beat rhythm but a few pieces such as Sangyeongsan in Gwanak-yeongsanhoesang, Sujecheon and Dongdong is divided into the uneven beat. The even beat based on the number can be classified into from slow sequence of 20 beat to 16, 12, 10, 8, 6, 5 and 4 beat pattern. Twenty beat rhythmic pattern is named as Sangyeongsan jangdan, Yeomillak jangdan and Boheoja jangdan even though the same rhythmic pattern. It would be possible to call them as slow jangdan or Ssang-pyeon-go-yo jangdan. Sixteen beat Gagok jangdan, Chwita jangdan, Seryeongsan jangdan, Pyeon jangdan in Gagok, Gilgunak jangdan, Sijo jangdan, Dodeuri jangdan, 5 beat jangdan, Taryeong jangdan can be also divided by the title of music. The sequence of Ssang-Pyeon-go-yo janggo point is a standard of categorizing rhythmic pattern. Even 20 beat rhythmic pattern like Sangyeongsan, uneven beat like Sujecheon, 10 beat rhythmic pattern (except Pyeon jangdan) like Seryeongsan and 6 beat rhythmic pattern like Mihwanip are repeated in Ssang-Pyeon-go-yo order. Existence of splitted rhythm in ssang stroke of Ssang-pyeon-go-yo is a standard of classification. Splitted rhythm is comprised in mostly slow pieces such as the first slow three sections in Yeomillak, Sanryeongsan in Gwanak Yeongsanhoesang, Sujecheon, Dongdon and Hyangdang gyoju. Appearance of rhythmic variation is a standard of categorization. Rhythmic variations are found in Dodeuri jangdan, Taryeong jangdan and a few Gagok jangdan but they are also standardized variation, not improvised variation form. Other variation pattern is not found in any other court music piece.

한국전통가곡의 미적(美的) 요소(要素)

서한범(Han-bum Suh) 한국전통음악학회 2002 한국전통음악학 Vol.- No.3

영산회상의 음악적 가치

서한범(Suh Han-bum) 고려대학교 한국학연구소 2009 한국학연구 Vol.31 No.-

본고에서는 연주곡목의 증대와 함께 연주형태가 다양해 진 영산회상의 음악적 특징과 그 가치에 주목하여 논의해 보았다. 전문연주인들에겐 도전해야 하는 대곡이며, 연구 분야에서는 음악이론이나 역사, 문화전반을 연구할 수 있는 귀한 자료의 제공, 그리고 개인의 수양과 사회의 교화를 제공한다는 점을 강조하였다. 요점을 정리해 보면 아래와 같다. 첫째, 영산회상은 연주형태의 다양화와 레퍼터리 확충에 결정적 기여를 하고 있는 음악이다. 현재 세 갈래의 영산회상(도드리, 천년만세 포함)에 약 30여곡으로 확대되었고 합주, 독주, 병주 등 연주 형태의 다양화를 이루고 있다 둘째, 독주용의 변주곡을 창작해 낼 수 있는 가능성을 내포하고 있다. 〈평조회상〉 ‘상영산’의 독주는 원가락을 재구성해서 변주시킨 곡이다. 다른 악곡에서도 그 가능성이 충분하다. 셋째, 한국음악의 이론적 연구를 위한 자료의 보고(寶庫)가 되고 있다. 음조직, 장단구조, 시김새, 형식, 기타 음악적 제 요소들의 특징 파악, 이외에도 기보체계나 방법, 변천과정, 풍류문화 등 우리음악의 실체나 역사연구에 귀중한 자료를 제공하고 있다. 넷째, 전문 연주가들이 반드시 넘어야 할 큰 고개라는 점이다. 외양으로는 쉽게 보이지만, 기교보다는 성정에 근본하여 사람의 마음을 강력하게 조절, 움직이는 힘이 있는 곡이다. 다섯째, 영산회상은 개인의 수양음악이며 사회를 교화시키는 음악으로 애호를 받아 온 음악이란 점이다. Yongsanhoisang stands as an archetypal example of Korean traditional music regarding musical, technical, and historical aspects. The purpose of this study is to assure three significant perspectives that Yongsanhoisang has as an intangible music heritage. First, Yongsanhoisang functions as an abundant resource of Korean music repertories. It was originally composed as one music piece that was called Sangryungsan at that time. Since then, more pieces were gradually added to Sangryungsan, and its name was changed to Yongsanhoisang, one of the well-known music collections. There are about 30 pieces in Yongsanhoisang that has created variations. Yongsanhoisang is performed as a solo, duo, or other forms of ensemble. Second, Yongsanhoisang has great possibility to provide more solo repertories by rearranging. For example, Sangryungsan in Pyungjohuisangk is one of the famous solo pieces which include improvised musical phrases, reinterpreted melodic lines, several bars announced by liberating rhythm pattern, and vivid tunes. Third, Yongsanhoisang has provided researchers with theoretical, philosophical, and historical views to understand the big picture of the time when it is composed and commonly played. As a remarkable characteristic piece, Yongsanhoisang serves as a theoretical resource for Korean traditional music research. Yongsanhoisang provides researchers with fundamental answers about forms, Sigimsae, rhythm pattern, irregular beat points, and other musical aspects. Fourth, Yongsanhoisang is a comprehensive and representative Korean traditional music piece which is respectably performed by strictly trained musicians. Although Yongsanhoisang is performed by strictly trained musicians, it is appeared to be difficult to play. Musicians are required to integrate all channels of understanding of this piece when they perform Yongsanhoisang. It demands musicians to perform with dignity and great quality of expression. The ability to interpret various aspects, such as technical, musical, and historical understanding should come together. Lastly, Yongsanhoisang is appeared to have unique abilities to positively impact on individuals’ state of mind. Yongsanhoisang is phenomenal in its ability to influence its listeners. By simply listening to Yongsanhoisang individuals can experience increased appreciation of music, improved knowledge about Korean music, understand the beauty of Korean music, promote relaxation, and improve quality of life.

처용무 반주 음악의 양상 -정재반주로의 수제천과 관악 상령산의 변화과정을 중심으로-

서한범 ( Han Bum Suh ) 한국음악사학회 2009 한국음악사학보 Vol.43 No.-

이 글은 처용무 반주음악으로 쓰이고 있는 수제천과 기악곡으로 연주되고 있는 수제천, 그리고 처용무 반주음악으로 쓰이는 향당교주와 관악영산회상 상령산과의 상이점에 주목하여 논의한 글이다. 기악곡을 무용음악으로 쓸 경우 그대로 연주하는가? 아니면 변화시켜 연주하는가? 변화시킨다면 어떠한 방법으로 하는가? 하는 문제를 악보상에서 비교하며 논의하였다. 결과는 다음과 같이 요약된다. 첫째, 기악 합주곡으로서의 수제천은 장단의 흐름이 느리고 장고점간의 박자가 불규칙 구조이나, 무용음악으로 쓰이는 수제천은 장단의 흐름이 빨라지고 3박+2박+2박+3박 등 10박의 규칙적 구조로 변화된다. 변형방법은 선율의 진행을 원래의 장단에 맞추지 않고 장고점이 바뀔 때마다 장고점에 맞추어 가락의 변화를 강조하는 형태로 반주한다. 둘째, 관악 상령산과 향당교주의 각 장고점은 <雙-鞭-鼓-搖>로 동일하나, 상령산은 매우 느리고 불규칙적인데 반하여, 향당교주는 상령산에 비해 2배 정도 빠르고 규칙적인 장단으로 진행된다. 셋째, 상령산 제1장단의 전반부 휴지부분은 후반부 골격선율인 仲-潢-林-仲음을 확대하여 온전한 제1장단을 만들고 있으며, 상령산에서 한 음으로 길게 뻗는 장단이나 가락이 반복되는 부분은 생략하고 림 이하의 낮은 음은 높은 음역으로 변화시키는 방법 등으로 상령산을 재구성한 음악이 향당교주이다. 넷째, 관악영산회상의 삼현, 하현, 염불도드리에는 약 10여종의 변화형 장단이 정해진 선율에 따라 제한적으로 쓰이고 있으나, 반염불은 거의 동일한 장단형과 가락으로 반복되기 때문에 단조롭다. 그리고 처용무 반주에 반염불의 삽입은 재검토 되어야 한다. The purpose of this study is to investigate the relationship between Sujech`on 壽齊天 music and Hyangdang kyoju 鄕唐交奏. When Sujech`on music is used to accompany Ch`oyongmu 處容舞 dance, its feature varies. In this study the author compared the tunes of Sujech`on music and discussed four significant features when Sujech`on music is used to accompany Ch`oyongmu. First, the tempo (changdan) of Sujech`on becomes faster and more predictable (3+2+2+3) than when Sujech`on is just played for an orchestral piece. The tune changes according to the major beat point which result in exaggerating transformed melody. Second, Sangryongsan 上靈山 and Hyangdang kyoju share same major beat points (ssang-p`yon-ko-yo 雙-鞭-鼓-搖), however each tempo and rhythmic feature are different. In Hyangdang kyoju the tempo is slower and the rhythmic pattern is more predictable than those are in Sangryongsan. Third, Hyangdang kyoju was rearranged from Sangryongsan by expanding chung-hwang-im-chung 仲-黃-林-仲 melodic pattern, sustaining one note, and omitting several notes lower than the note, im. Fourth, there are about ten rhythmic patterns used for each music piece, Samhyon toduri 삼현도드리, Hahyon toduri 하현도드리, Yombul toduri 염불도드리 in wind Yondsan heosang 靈山會相. However, Panyombul 반염불 has repetitive rhythmic and melodic pattern. The author questioned the addition of Panyombul in Ch`oyongmu accompaniment and included implications for research and practice.

羽調 貳數大葉과 界面調 貳數大葉의 선율관계

서한범(Suh Han-bum) 한국전통음악학회 2003 한국전통음악학 Vol.- No.4

Nowaday, Traditional Korean Gagok, both male and female singer sang five tone schale woo-jo (Shorten word for Woo-jo-pyungjo), whang(eb), Tae(f), Joong(ab), Yim(bb), Nam(c) and Kyemeon-jo(shorten word for Woo-jo-kyemeon-jo) whang, Joong and Yim. The seven out of eleven Woo-jo songs, are part of the Kyemeon-jo that are: Chosoo-daeyeop, Yisoo-daeyeop, Joong-geo, Pyeong-geo, Doo-geo, Samsoo-daeyeop and Soyong. In this paper, I compared melodic relationship in basic melody between Yisoo-daeyeop in Woo-jo and Yisoo-daeyeop in Kyemeon-jo. According to "Baekwoonam geumbo" and "Yanggum-shinbo", when Woo-jo song change into Woo-jo-kyemeon-jo, it only need to changed Goae(frets) of Komungo. The Jeong-dae-ueop's second song "Dok-kyeong'' is modulate into kyemeon-jo of Boraepyeong's second song "Ki myeong" which changed tae(D) into Hyeop(Gb) and Nam(A) into Moo(Bb). Likewise, In Traditional Korean music often found many case of modulation of the songs, for instance; the Yi-soo-dae-yeop (Woo-jo Yi-soo dae yeop) modulate to Kye-myeon-jo scale and become a Kye-meon-yi-soo dae yeop. Because, it uses same formation, beats and tempo and the lyric lines at same place. Not only that When it compared main structure of tones, it shows as same music. It only changed scale of the songs. These are the way of the modulation: 1. The Whang(eb)(basic tone of the Woo-jo) remain as Whang(eb)(basic tone of the Kye-meon) even it modulate into Kymeon. 2. The second tone of Woo-jo, Tae(f) change into the second tone of the Kye-meon, Joong(a b). the second tone of original five tone Kyemeon-jo was Hyeop(g b) but it changed into Joong. 3. The third tone of Woo-jo Joong changed into the third tone of the Kye-meon Yim(bb). Originally, the third tone of kyemeon Joong was same Joong of the Woo-jo but Tae took Joong's place. 4. When the fourth tone of Woo-jo Yim modulate into kyemeon, according to melody line of the previous or following melodies, it changes either Yim or Whang (octave high). When Joong of Woo-jo modulate into kyemeon Yim, the Yim become a Whang(Octave high), because the Moo, fifth tone of the kyemeon did not shows. and the Whang took the moo's place. 5. The fifth tone of the Woo-jo Nam(e b) rarely appeared, and the duration of the beat is also very short. Most of the time, the Nam uses as a lower pitch but it only appeared 3 -4 times. In this case, the Nam substituted with Whang because Moo did not appeared. 6. The following chart shows change of the tones 〈그림 참조〉 The Woo-jo Yisoo Dae yeop and the Kye meon Yi-soo dae yeop is the same song but only modulated into Kye meon scale. However, When the both song played, it sound totally different. why is it? because of the change of the expression of tone structures. The tone structure includes, change of the ornamentation, various melodies, vibratos(Yo-sung, Nong- eum), Pulling and pushing sound. Thus, the study of "expression of ornamentation" of this songs should follows, if that so the relationship of the between these two song will be define.

무형문화재 정책

서한범(Suh Han-bum) 한국민속학회 2003 韓國民俗學 Vol.38 No.1

The purpose of this proposal is to clarify the present policies in terms of current Cultural Properties Protection Act of Korean intangible heritage related to personal assets and to reform the Act with appropriate schemes. 1. Junsu-ja (who is in the training course) and Yisu-ja (Who has completed the training and is in the advanced training course) a. It seems reasonable to set the total amount of training course for Junsu-ja as seven years. The seven-year-training course should be completed in an institutional education setting. b. The limited age of being a Junsu-Ja, 18, should be adjusted and not against the stream. c. Based on audition and the procedure of being instructed, Junsu-ja should be evaluated by at least seven members of committee. The opportunity to be acknowledged as Yisu-ja should be open to anyone who is qualified. 2. Junsu-assistance and relating problems a. The total period of training course, the year of completion of the course, personal accomplishment, and artistic progression would be required to complete the training course. b. Additionally the person who attained certification in regard of completion of training course and who has studied the advanced training course for ten years is qualifies to apply the audition. c. If the number of Junsu-assistance increased, it would be effective in affirming the balanced development of cultural intangible assets. 3. Re-enforcement of vice-Boyuja (who has already acknowledged as a qualified artist to maintain certain portion of Korean Intangible Heritage) a. A numbers of Junsu-assistances will benefit from re-operating the policy of vice-Boyuja by validating their social and artistic status. The policy will provide Junsu-assistances with advanced supportive system to improve their quality of art and to maintain overall high-mindedness level of Korean culture. 4. The procedure of acknowledgement of Boyu-ja and its procedure a. It is important to retain the original form of itself. Therefore, the structure of origin needs to be accomplished. b. It takes about ten to twenty years of period for any Yisu-ja to become a Boyu-ja in his / her specified field. At this point, about thirty years of long-term training period is suggested. It is believed that Boyu-ja, who is eligible and responsible for maintaining certain part of the national cultural properties, should have a minimum of thirty years of entire training period. c. Personal Qualifications of a Boyu-ja, including a genuine talent in specified filed and desire to take over Korean culture, will be done by research committee consisted of five members. 5. The establishment of method for maintaining artistic qualification a. It would be strongly recommended to require each of Junsu-ja and Yisu-ja to have a yearly recital, which is opened to public. 6. The policy for honorary cultural retainers a. The policy of the honorary cultural retainers is also in need of improvement to maintain its own attribute and to affect the development of Korean intangible cultural properties.

우조 소용과 계면조 소용의 골격선율 비교연구

서한범(Suh, Han-Bum) 한국전통음악학회 2010 한국전통음악학 Vol.- No.11

이 글은 동일한 곡명을 지니고 있는 가곡의 우조 소용과 계면 소용의 선율관계를 살펴본 글이다. 하규일 전창으로 알려진 계면조 소용인 <어흐마 그 뉘오시인고>의 선율과 <불 아니 땔지라도>의 우조 소용의 골격선율을 비교해 본 결과, 黃ㆍ太ㆍ仲ㆍ林ㆍ南의 5음으로 구성되어 있는 우조 소용을 黃ㆍ仲ㆍ林 또는 林ㆍ潢ㆍ汰의 3음 계면조 소용으로 변주시킨 곡이 곧 계면 소용이다. 그러므로 양곡은 동일곡이다. 변조시킨 방법은 다음과 같이 지극히 간단하다. 첫째, 우조 소용에 출현하고 있는 黃(E b )은 계면 소용에서도 그대로 黃으로 쓴다. 둘째, 우조 소용의 제2음인 太(F)는 계면소용에서 仲(A b )으로 올리고, 우조의 제3음 仲은 계면에서는 林(B b )으로 올려 낸다. 셋째, 우조 소용의 제4음 林은 계면 소용에서 앞 뒤 선율진행에 따라 林을 그대로 쓰기도 하고 또는 潢으로 올려 내기도 한다. 우조의 林은 계면에서 無(D b )음으로 올려야 하는데, 無(D b )음이 출현하지 않기 때문에 하는 수 없이 그 윗 음인 潢으로 올라갈 수 밖에 없다. 넷째, 우조 소용의 제5음 南(C)은 대부분 계면조 악곡에서는 고정된 변화음으로서의 위치를 확보하지 못한 채, 전후의 음을 장인(長引)하거나 경과적인 역할로 쓰일 뿐이었는데, 소용에서는 潢으로 올려 내는 경우가 많았다. 원래 우조의 제5음 南도 계면에서는 無로 바꾸어야 하는데, 無(D b )음이 출현하지 않기 때문에 윗 음 潢으로 올라가는 것은 林과 같은 경우라 하겠다. 이처럼 3음 음계의 계면 소용은 우조 소용의 5음을 위와 같이 계면조 선법으로 변조시킨 곡이 분명하다. 그러함에도 양곡이 전혀 다른 곡처럼 느껴지는 것은 구성음이 달라짐에 따라 이를 꾸미는 음들이나 잔가락, 그리고 요성을 비롯한 밀고 당기는 표현법 등이 달라졌기 때문이다. 남창 우조초수와 계면초수, 우조이수와 계면이수, 우조삼수와 계면삼수의 선율관계를 비교하면서 확인하였던 점은 이들 악곡들이 원래부터 현재의 악곡으로 창작된 것이 아니라, 5음으로 구성된 우조의 초수, 이수, 삼수의 선법을 바꾸고 거기에 따라 표현법을 달리 한 악곡임을 알게 되었는데, 이처럼 소용의 양곡 역시 동일한 곡으로 그것은 원래 우조 소용이었다는 점이다. 오늘날의 방대한 가곡으로 확대될 수 있었던 배경에는 이처럼 우조의 악곡을 계면조의 선법으로도 부를 수 있도록 변주시켜 온 창자들의 변주기술이 한 몫을 하고 있다는 점에 감탄하지 않을 수 없는 일이다. The purpose of this study is to investigate the melodic relationship between U-jo Soyong and Gyemyun-jo Soyong. The melodic line in Gyemyun-jo Soyong(we are familiar with the version sung by Kyuil Ha) was compared to that of U-jo Soyong. Particularly, the components of melodic phrase in "A-hu-ma-gu-nui-sin-go(어흠아 긔 뉘오신가)" and "Bul-a-ni-ddael-ji-ra-do(불아니 땔지라도 -although someone does not heat up the place) were analyzed. The first note, Hwang 黃(E b ) in U-jo Soyong is used in Gyemyun-jo Soyong, but it is not used as the first note. The second note, Tae 太(F) is raised to Jung 仲(A b ). The third note, Jung 仲 is slightly raised to Im 林(B b ) in Gyemyun-jo Soyong. The fourth note, Im 林 B b is frequently used as 林 at some point, and raised to 潢 (E b ). Also, although in theory, Im should be raised to 無(D b ), it was changed to 潢 (E b ). It is simply because 無(D b ) is not a component of Gyemyun-jo. The fifth note in U-jo scale, Nam 南(C), used as a passing tone. In theory, Nam 南(C) changed to Mu 無(D b ) in Gyemyung Soyong, however, Mu 無(D b ) was raised by 1 major interval , which is Hwang 潢 (E b ). The result showed that U-jo Soyong was modulated to Gyemyun-jo Soyong by raising three intervals. U-jo Soyong is composed of notes Hwang (黃)ㆍJung(仲)ㆍIm(林), and Gyemyun-jo Soyong is made up of Im(林). Hwang (黃)ㆍTae(太). Although Gyemyun-jo Soyong was originated from U-jo Soyong, the two songs sound extremely different. This can be attributed to the re-organization of notes in scale, and frequent use of passing tones to embellish major tones, and variation in vibration. All these changes were possible because singers were able to modulate while singing. Previous research that investigated relational differences of three primary vocal music pieces, ChosuDaeyup, IsuDaeyup, and SamsuDaeyup, in U-jo and Gyemyun-jo. Their findings showed that U-jo and Gyemyun-jo were modulated by raising or lowering different notes. This change was made possible because of the efforts of talented musicians. It can be said that talents in creativity and knowledge in compositional structure of music affected the expansion of the repertoire of vocal music. Their musical capability in reorganizing the original piece by playing with the order of the notes made a phenomenal contribution to the development of vocal music.

긴염불과 반염불의 비교 연구

서한범(Suh Han-bum) 한국전통음악학회 2000 한국전통음악학 Vol.- No.1

This study is aimed to clear up ambiguity of the relation that Ginyumbul(긴염불) and Banyumbul(반염불) are originated from Yuyuejy(유예지, 遊藝志). Even though there is no clue to find out what is source between the two of pieces, generally, Banyumbul is believed as origin of Ginyumbul. Comparing with melodies, main notes, Jangdane(장단,長短) and tempo, Banyumbul is more coordinate with Yumbulhwanip(염불환입,念佛還入) which is found in Yuyuejy and Suhgumbo(서금보 西琴譜). For these possibly reasons, Ginyumbul can be a varied form of Banyumbul by reducing details and expanding tempo of each Jangdans and also the other way around. The specific results are as follows; 1. Both Ginyumbul and Banyumbul consist of at least 6-Jangdan as a unit. So, repeated 2 or 3 times, it can be enlarged 12 or 18-Jangdan as a whole. Especially, the 1st Jangdan, as a fundamental structure, it is showed in the beginning and ending of each pieces. 2. Both of these have Dodri-Jangdan(도드리), the pattern of rhythm, which is made of 6 beats; Ssang (쌍, 雙 ) includes the 1st and 2nd beat of Jangdan as Yo(요, 搖) does the 5th and 6th beat of that, and Pyun(편, 鞭) is the 3rd as Go(고, 鼓) is the 4th. In Ginyumbul, Jangdan is little bit different from original form in Banyumbul; the 2nd beat becomes Go and the 3rd, Pyun, divided into two third of Giduk and one third of Duck. 3. When it comes to melody, Ginyumbul has more details and ornaments every single Jangdans than Banyumbul does. In addition, because of tempo, Ginyumbul shows more frequent pauses like 2 or 3 times more than Banyumbul does. 4. The notes which is presented in Ginyumbul and Banyumbul are normaly e<SUP>b</SUP>, f, a<SUP>b</SUP>, b<SUP>b</SUP>, d<SUP>b</SUP> and, morever, it can be shortened three of main note, such as e<SUP>b</SUP>, a<SUP>b</SUP>, b<SUP>b</SUP>.