한국 선법 연구의 두 가지 접근 양상

전인평 ( Chun In Pyong ) 한국음악사학회 2016 한국음악사학보 Vol.57 No.-

본 논문은 한국음악 근대적 선법(旋法) 연구성과를 학문적인 접근방법과 실용적인 접근방법의 두 가지로 나누어 고찰한 글이다. 학문적 접근은 이혜구(李惠求) · 장사훈(張師勛) · 이보형(李輔亨) · 한만영(韓萬榮) · 권오성(權五聖) · 황준연(黃俊淵) · 김영운(金英云) 등의 연구를 이 범주에 넣었다. 이들의 연구는 매우 정밀하고 치밀하여 `한국음악의 다양성(多樣性)`을 설명하는데 필요한 연구라고 생각한다. 실용적 접근이란 학문적 접근에서 나온 결과물이 너무 다양성하고 복잡 난해하여 실제 작곡자나 연주자가 응용하기 어려운 면이 있었다. 이러한 문제점을 해결하기 위하여 나온 연구성과를 필자는 실용적 접근으로 분류하고 주로 작곡계에 관계하는 사람들의 연구로 백대웅(白大雄)·전인평(全仁平), 북한의 리창구의 연구성과를 이러한 범주에 넣었다. 학문접 접근방법에서는 주로 평조(平調)와 계면조(界面調)의 용어를 사용하였고, 민속악 연구에 심혈을 기울인 이보형은 `토리`라는 용어를 사용하여 연구를 하였다. 평조와 계면조의 두 가지 용어로 설명하는 과정에서 여러 용어가 혼란스럽게 사용되고 있다. 즉, 동일한 용어이지만 다른 개념을 담고 있거나, 동일 개념을 다른 선법 용어로 설명하는 경우가 있다. 실용적 접근방법에서는 주로 서양 계명(階名)을 이용한 다섯 분류방법을 사용하였고, 리창구는 궁조(宮調) · 상조(商調) · 각조(角調) · 치조(徵調) · 우조(羽調)로 설명하였다. 이 연구방법은 “왜 국악을 서양음악이론으로 설명하는가·” 하는 본질적인 질문을 유발할 수 있다. 사실 국악선법을 한국의 고유 방법과 용어로 설명할 수 있다면 최상이지만, 전통 국악용어에 선법관련 용어가 없는 것이 많아 어려움이 많다. 국악인을 비롯한 많은 사람이 서양음악 교육을 받았기 때문에, 서양 계명을 이용한 선법명(旋法名)을 사용하는 것이 쉽게 이해할 수 있다는 장점이 있다. This paper aims at the historical and comparative research on the modes of Korean music which is divided into p`yongjo 平調 (p`yong mode) and kyemyonjo 界面調 (kyemyon mode) two categories, academic approach and pragmatic approach. Academic approach was studied by Yi Hye-gu 李惠求 [Lee Hye-ku], Chang Sa-hun 張師勛, Yi Po-hyong 李輔亨, Han Man-yong 韓萬榮, Kwon O-song 權五聖, and Kim Yong-un 金英云. Their work is extremely precise and compact research to explain the diversity of the modes of Korea Music. The practical approach was studied by mainly composer group. The academic approach was so complex that it was very difficult to understand. The practical approach was aim to solve this problem and studied by Paek Tae-ung 白大雄, Chon In-p`yong 全仁平 [Chun In-pyong] and North Korea`s Lee Ch`ang-gu. In the study of academic approach it was primarily used as the term of p`yongjo and kyemyonjo in two category so there were many confuse term were used in the process. Sometimes, same term contains different concepts and same concept have different meanings. The practical approach was primarily used for 5 classification which is using Western solmization. This research can arouse to a fundamental question, “Why do you explain the traditional music with western music theory?” In fact, it is best to describe and explain the Korean music by Korean terminology. However, there are many musicians have a lot of difficulty to understand the traditional terms of Korean music. So the practical approach adapted the Western music theory because many Korean musicians have basic understanding on the Western music theory through Western music education. I believe that the practical approach has the advantage of being easily understand to the who want to know the modes of Korean traditional music.

연구논문 : 중앙아시아 음악의 고려 음악에 대한 영향

전인평 ( In Pyong Chun ) 한국문명교류연구소 2009 문명교류연구 Vol.1 No.-

고려시대에 중앙아시아 음악인들이 활동한 기록을 여러 곳에서 볼 수 있다. 『고려사』에는 12세기 고려 의종(毅宗, 1146-1170) 때, 만든 법가위장(法駕衛仗)·팔관위장(八關衛仗) 등에 서역의 안국기(安國伎)·고창기(高昌伎)·천축기(天竺伎) 등이 수행한 기록이 있다. 위장(衛仗)이란 높은 분의 행차나 행사 참여에 동원하는 군사를 말한다. 당시 왕의 행차에 각(角)을 부는 취각군사(吹角軍士)와 소라(螺)를 부는 나각군사(螺角軍士)가 따르고, 그 외에, 안국기·고창기·천축기 등이 함께 수행하였다는 기록이 있어 당시 중앙아시아 음악 연주단이 활동하고 있었음을 알 수 있다. 또한 고려시대의 음악으로 조선조까지 전해온 『대악후보(大樂後譜)』의 쌍화점(雙花店)을 살펴보았다. 이 음악은 궁중의 연향에 사용한 음악으로 고려시대의 음악이 조선조까지 계속 연주되었음을 알 수 있다. 쌍화점은 13세기 고려 충렬왕 때 지은 노래인데, 1759년 편찬의 『대악후보(大樂後譜)』에도 실려 있다. 이 노래는 음악적으로 매우 특이하여 장구형이 3행 48정간이 한 틀을 이루고 있다. 또한 장구점도 다른 음악과 다르다. 『대악후보』의 다른 음악은 고요편쌍(鼓搖鞭雙)으로 단순한데, 이것은 복잡한 장구형을 이루고 있다. 『악장가사』에 실려있는 쌍화점은 4련 6구 형식으로 되어 있다. 그러나 『시용향악보』에 실려 있는 쌍화점은 1절의 길이가 길고 2절과 3절은 후렴을 생략하기 때문에 짧다. 이런 점으로 미루어 보면, 이 음악은 외래음악이거나 외래음악에 영향 받은 음악으로 보인다. 왜냐하면, 쌍화점에 나오는 못갖춘 장구형은 『시용향악보』의 풍입송과 『삼죽금보』의 취타 등 외래음악에 영향 받은 음악에 나오는 형식이기 때문이다. 이것은 음악적인 면 이외에도 노랫말 중에 회회(回回) 아비가 등장하는 점이 이를 뒷받침한다고 하겠다. 이와 같은 사실에서 우리 조상들의 외래음악의 수용태도를 읽을 수 있다. 즉, 외래음악을 받아들여 본래의 모습대로 사용하는 것이 아니라, 향악화하여 사용하였다. 이러한 조상의 지혜는 오늘날 서양음악에 심취해 있는 오늘날의 우리에게 시사하는 바가 크다 하겠다. According to the Goryeosa(History of Goryeo kingdom), Central Asian musicians performed their band music from Bokhra, Trupan and India in Korea. Daeakhubo contains a 13th centuries Goryeo music ssanghwajeom which was a court music played by court musicians whose verse described about the love affair between Muslim bakery and a women. Ssanghwajeom was very different form another Korean music in rhythmic pattern and form in music. The percussion rhythmic pattern of ssanghwajerm has very confused long 48 beats in 3 lines. In contrast, the other Korean music has 16 beats with single line or 32 beats with 2 lines in popular Korean rhythmic pattern go-yo-pyeon-ssang, generally whose rhythmic pattern is long - short - short - long. In form in music, ssanghwajerm begins with incomplete bar which starts on 17th beat of whole 36 beat. In contrary the other Korean music begins with complete bar which starts on 1st beat of whole 16 beat. We learn above historic documents, the love affair between muslim bakery and a Korean women, long percussion rhythmic pattern and incomplete form in music, ssanghwajerm was a court vocal music influenced from Central Asian Music.

현도(絃鼗)에 관한 고찰

전인평(Chun In pyong)(全仁平) 국립국악원 1993 국악원논문집 Vol.5 No.-

In AkHakKweBom, the instruments are divided into three catagories of aakki, yangakki, and dangakki. And aakki is introduced in book 6, dangakki in book 7 and hyangakki in book 8. If we look at the numbers of the instruments introduced, 48 kinds of aakki, 13 kinds of dangakki and 7 kinds of hyangakki. So there are 63 kinds of instruments being introduced.1) Among them, Haegum is classified into dangakki. According to the record in MunHeunTongGo(文獻統考), this instrument is known as Haedo - a division of Manchurian - favourite instrument which is originated from hyondo, so it has same shape.2) In the original text of MunHheunTongGo, the instrument is introduced as Haedo, not Hyondo.3) This probably is a misquotation from AkHakKweBom. As shown that haegum is originated from hyondo, while wondering what hyoodo is, I found that in AkHakKweBom our anscestors did not use, a kind of instrument with drum surface (pukkkmyon) on both sides, with a pair of lash on each side when twisted, the lashes can hit the drum. This instrument was introduced in AkHakKweBom as Do(鼗). And in India s Razastan(라자스탄) area, the vowed instruments(弓絃樂器) similar to Korean instrument of haegum is named Ravanatha. This instrument is tied to a bow so when played, the bell rings. At the very moment when I saw this Ravanatha, I thought the hyondo in AkHak.KweBom probably had thjs shape.4) Therefore, by comparing the following three instruments, (Hyondo and Haegum from AkHakKweBom and Indian Ravanatha) so as to clarify hyondo from AkHakKweBom, and also to trace the origin of haegum is the purpose of this report. As for this, I will study hyondo as Hyon(絃) from the meaning of a string instrument and Do(鼗) from the meaning of a percussion instrument. This is because at present, our haegum has both aspects of a percussion instrument (the leather is being tied to bamboo tube) and of a string instrument(for it is being played with a bow). First of all, in order to understand more about Do(鼗), the second character in the name of hyondo, we shall have a look into some documents where Do(鼗) is quoted. We shall study Ak.HakKweBom from Korea and Yegido(禮器圖) from China first. Then, we will consider some Do(鼗) kinds of instruments(with similar shape and performing method) from Indian Damaru and Tibetian Thodmga. After that, in order to study Hyon(絃), the first character in the name of hyondo, we shall focus on two Razastan instruments which are similar to Korean Haegum. To get to understand the origin of Ravanatha, we shall study gungheon instrument in Ramayana(라마야나); one of the greatest Indian epics. For in Ramayana a kind of Dravidhya(드라비다) group s instrument (the former habitants in India before the Arian(아리안족)invasion) is being mentioned. It is said that the instrument, Ravanastroa mentioned in Ramayana was made by King Havana who ruled over Derabida group. So we shall now compare Ravanastroa, Ravanatha, Haegum and Hyondo. And I strongly believe that this comparison will define the origin of Haegum and also clear the relationship between Ak.HakKweBom s Hyondo and Ravanatha. According to AkHakKweBom established by Song- hyon(成俔), druing Song Jong(成宗) of Chosun Dynasty(朝鮮) it is written that Haegum is otiiginated from Hyondo. For that reason, we then focused on the meaning stringed instrument (Hyon 絃) and percussion instrument (Do, 鼗) from the name Hyondo. This process was Possible because at present Korean Haegum is made out of bamboo tube with leather sheet set on it and it is performed with bow. In other words, Haegum has both aspects of percussion and string instrument. As for first step, we focused on Do(鼗). Here, we studied Do(鼗) from AkHakKweBom and Yegido. We made comaprison of two Do(鼗) kind of instruments; Indian Damaru and Tibetan Thodrnga.

예상우의무가의 바라문과 인도의 라가

전인평 ( Chun¸ In Pyong ) 세계음악학회 2021 음악과 문화 Vol.- No.45

This article examines the influence of Indian music on Chinese music by examining the baramun in nishangyuyiwuge, which was created by Xuanzong of Tang dynasty. This nishangyuyiwuge is taqu form of Chinese music, and Indian raga form is close to taqu form. This paper compares the dance patterns described in Baijuyi's nishangyuyiwuge with the Raga style of Indian music to find out the Baramun. Baijuyi's nishangyuyiwu form is consists of Sanseo, zhongseo and Pa, indicating that it consisted of vocal with free rhythm, instrumental with medium tempo, and rapid dance music. Indian raga is very close to this taqu form of China. According to Natya sastra in India, the rhythmic pattern of Raga's tala is differentiated at three beats and speeds. The Capaputa tala has three kinds of tempo and speed: 6 beats, 12 beats, and 32 beats. Six beats is a fast druta, twelve beats is a moderate speed madyama, and 24 beats is a slow speed villambita. There are three rhythmic tempos and speeds in banshi of Chinese music, the slow one is called manban (4/4). The medium speed is called the zhongban (2/4). The fast one is called a yuanban (1/4). Bansik is doubled the original melody to create a slow variation, and the new variation is performed in front of the theme. When making a new variation again, the beats are doubled, and if it is played slower, the variation is performed in front of the previous variation. As such, nishangyuyiwu was a product of the fusion of Central Asian folk music influenced by Indian music and Chinese royal music and was the acceptance of folk art in the Chinese palace. The Tang Dynasty was very open-minded in accepting foreign cultures, and as a result of this open policy, it was able to improve the level of music and culture of the Tang Dynasty. I think it is still valid today that culture develops when it is merged with new culture with such an open policy on foreign culture.

鳳來儀의 장단구조

전인평(Chun In pyong)(全仁平) 국립국악원 1995 국악원논문집 Vol.7 No.-

The 15 century s dance suit, Pongraeui(鳳來儀), was composed in 5 parts, Chŏninja (prelude, 前引子) - Yŏmiilak(與民樂) - Ch ihwapyŏng(致和平) - Ch wipunghyŏng(醉豊亨) - Huinja(postlude, 後引子), by King Sejong of Chasŏn dynasty, is recored in Sejongshillok(世宗實錄). It was played with combine orchestra(鄕唐交泰) comprised in Hyangakgi (pure Korean musical instruments) and Tangakgi (Chinese originated musical instruments). Also the music itself was composed in two kinds of musics, Yŏmillak (여민락) and Chŏninja was based on koch wi, and Ch ihwapyŏng and Ch ipunghyŏng was baseed on hyangak. The amis of this article is to compare the rhythmic pattern of changgu(장구) strokes of 5 pieces for the study that the influence of koch wi(a Central Asian originated music(西域音樂) to Korean rhthmic pattern in 15th century. 1. Rhythmic pattern of Yŏmillak is repetitions of 6 changgu strokes(Ssang-p yŏn -ko -yo -p yŏn -ko, 雙鞭鼓鞭鼓) with eqivalent time value(8+8+8+8). However, it is staned on incomplete rhythmic measure and independant of the ryrics. 2. Chŏninja(prelude) and huinja(postlude) is composed in same changgu strokes with Yŏmillak. But the eqivalent rhthmic pattern is changed into Korean style rhythmic patterns, long and shon joyfull mood(5+3+5+3+5+3+8). However the changgu strokes are just same order with Yŏmillak. 3. The rythmic pattern of Ch ihwapyŏng is composed in pure Korean rhythm(8+8+5+3+8) with transformed Yŏmillak changgu strokes. However 50 rhythmic strokes of Yŏmillak is reduced into 35 strokes. 4. Ch wipunghyŏng is a complex music in independant rhythmic pattems(32 chŏng-gan length) with transformed Yŏmillak changgu strokes. However 50 rhythmic strokes of Yŏmillak is reduced into 35 strokes. To conclude, the changgu rhythmic structure of the dance s uit Pongraeŭi is that, - Chŏninja and Huinja(prelude and postlude) is a music in Korean rhythm(5+3+5+3+5+3+8) with koch wi changgu strokes(a Central Asian originated music) Yŏmillak is a music in koch wi rhythmic pattern of strict eqivalent rhythmic pattern(8+8+8+8+8+8+8+16). - Ch ihwapyŏng is a light music with pure Korean rhythm in transformed Yŏmillak changgu strokes(8+8+5+ 3+8). - Ch wipunghyŏng is a more rapid music in 2+3+3+2+3 rhythm. Changgu strokes of 4 pieces in Pongraŭi have strong relationship with Yŏmillak which is originated from a Centural Asian rhythmic structure.

2002 부산아시아경기대회 기념 국제학술회의 음악 , 아시아 그리고 다문화 중국의 절주와 한국의 장단

전인평(In Pyong Chun) 민족음악학회 2002 음악과 민족 Vol.24 No.-

Rhythmic modes of China and Korea incorporates three successive sections, each of a different tempo; a slow tempo section, a medium tempo section and a fast tempo section. Rhythmic modes of China consists of three sections: man ban, zhong ban, and Kuai ban. Themeters of these three sections are 4/4, 2/4 and 1/4 respectively. In this form, the longer the metre is, the slower the tempo is, and inversely, the shorter the meter is, the faster the tempo is. In Korean music, a remarkably similar form can be found. For example, in Yeongsanhoesang, the successive rhythmic modess of sangyeongsan, seyeongsan and hwanip consist of 20, 10 and 6 beats, respectively. Similarly, in Korean Sanjo Music, the rhythmic modess (jangdan) jinyangjo, jungmori and jajinmori consist of 24, 12 and 4 beats, respectively. The genres of Chinese music in which man zhong kuai form occurs are si zhu yue, gu chui yue, and chui ta yue. This paper has focused on the ban shi(rhythmic modes) of both Jiang nan si zhu Hwanglits and Gu chui yue Xiao ou tian ge in Chinese music as well as the Korean jangdan(rhythmic modes) of Yeongsanhoesang. The musical form of Jiang nan si zhu 江南絲竹 Hwangjats is divided into 3 distinct sections: firstly, tou ban 頭板, which is in a slow 4/4 meter, is played; next, er ban, which is in a medium tempo 2/4 meter, is played; finally, san ban, which is in a fast 1/4 meter is played. Xiao ou tian ge 小歌天歌 has the same metrical and tempo structure as Hwangjats though the ban si have different names: man ban 慢板, zhong ban 中板, and kuai ban 快板. The man zhong kuai form of both Chinese and Korean music operates by the principle that the number of beats in each of the closely related successive rhythmic modes is inversely proportional to the musical tempo. Thus, if the mode has a longer meter, then the music will be played more slowly and if the rhythmic mode has a shorter meter then the music will be played more quickly.

중국의 대곡과 악학궤범의 곡파

전인평(In Pyong Chun) 세계음악학회 2001 음악과 문화 Vol.5 No.-

Chinese Taqu(大曲) was a large scale of performing art with which combined an instrumental music, a vocal music and a dance. In Yesanguiga (霓裳羽衣歌), a poem composed by the great poet Bailetien (白樂天 772-846) in the Tang dynasty, he described its performing style as a tripartite form and tempo. The Taqu comprised three parts in its form and each part was distinguished by its tempo, initiating from a slow beat to a fast one. The first part, called sanse (散序), was the instrumental music with a very slow and non-metric (free) rhythm. The second one, jungse (中序), consisted of a constant rhythm which stroke the metre of 6 pyeon (section) and sometimes accompanied a slow dance as well as a vocal music. The last one, pa (破), was a piece of music with a fast rhythm and possessed only the dance. At the end of the Taqu the rhythm was getting slow down and the only last note was ended with a longer beat by stretching. In Peoggeymanji (碧鷄漫志) written by Yangjak (王灼) in the Sung dynasty, this form of Taqu was gradually changed and increased the number of the piece of music as well as extended its length of the piece. This enlarged music made performers impossible to play the entire piece of music on one stage. Thus a certain selection of music was chosen and played, and this method of performance called gokpa (曲破) or cheokpyeon (摘遍). The gokpa was to perform the rest of ippa of the Taqu, but the whole performance proceeded from a slow tempo to a fast one like that of Taqu. Korean gokpa in Akhakgwebeum (樂學軌範, compiled in 1491) is a good example to understand that the gokpa is a shorter revised form of Chinese Taqu practised in the 15th century. But the gokpa also changed and enlarged to be a Taqu style. The Chinese Taqu style had also an effect on Gagok (歌曲), a Korean lyrical solo song with an accompaniment of orchestra. The original form of Gagok was comprised of dasreum (다스름, free rhythm) - mandaeyeop (慢大棄, slow tempo) - jungdaeyeop (中大棄, moderate tempo) and sakdaeyeop (數大棄, fast tempo) which was appeared in Yanggeumsinbo (梁琴新譜, Korean musical manuscript). The term sakdaeyeop was not mentioned in Yanggeumsinbo because of its possible use of dance music. In this respect, it seems to me that sakdaeyeop may have been a music for dancing.

한국 미술 미학에 비추어 본 한국음악의 미

전인평 ( In Pyong Chun ) 이화여자대학교 음악연구소 2006 이화음악논집 Vol.10 No.2

음악 문화는 사람이 만든 것이다. 사람은 자연환경 속에서 역사와 전통을 만들어내고, 지역에 따라 다른 풍속이 형성된다. 그러므로 음악이란 지리적, 정치적, 경제적 여러 조건 아래에서 생성된 총합체이다. 문화가 다르면 향수하는 미의 성격이 다르고 미의 기준이 달라 질 수 있다. 음악은 생활과 역사의 반영이란 점에서 미술과 음악은 상호 친연성이 높은 예술이다. 그러므로 한국 음악미의 논의는 음악뿐만 아니라 미술, 무용, 문학 그리고 종교와 함께 논의되어야 한다. 이처럼 한국 음악의 미는 원융과 종합의 묘가 있다. 한국음악에는 이처럼 한국인의 종합적인 미의식이 녹아있다. 필자의 이 글은 미술계에서 한국 미술의 미학 개념을 전통음악에 적용해 보자는 생각에서 시작한 것이다. 특히 권영필 외 여러 사람이 쓴 『한국의 미를 다시 읽는다』(돌베개, 2005)는 본인의 연구에 큰 의지가 되었다. 필자는 특별히 미학에 관한 연구를 해 온 것은 아니다. 이 글은 지극히 주관이고 초보적인 글이 될 수밖에 없다. 이 글의 목적은 국악을 즐기려는 보통사람들을 위한 것이다. 이를 위해서 필자는 한국음악의 미를 장려미, 웅혼미, 고결미, 간소미, 유장미, 무작위의 미, 한의 멋, 신바람과 흥의 미의 멋, 즉흥의 미, 해학미의 10 가지로 분류해 보았다. 앞에서 제시한 10 가지 아름다움을 우리 나라 그림, 건축, 벽화 등에 나타나는 아름다움과 우리 나라 음악의 악곡의 아름다움을 대비해 보았다. 그림이나 건축 등은 눈으로 직접 보이는 것이기 때문에 쉽게 아름다움을 이해할 수 있다. 그러나 음악은 추상성이 강하여 아름다움을 쉽게 간파하기 어렵다. 그래서 눈에 보이는 미술에 의지하여 눈에 안 보이는 음악의 이해를 돕도록 도와주는 것이 이 글의 목적이다. The culture of Music is made by human. Human creates history and tradition in his natural environment and depending on the region, different customs evolve. Accordingly, Music is formed under the influence of geographical, political, econo-aesthetical and other factors. The nature and standard of the aesthetics which is appreciated and enjoyed differs from culture to culture. As music is the reflection of life and history, the fine arts and music have a high mutual affinity. Therefore a discussion on the beauty of Korean music would have to include not only music but also the fine arts, dance, literature and religion. Thus the aesthetics of Korean music has the mystery of integration. In this way, the comprehensive aesthetic sense of Koreans is recorded in Korean music. I started writing this essay with the motive of trying to apply the aesthetic concept of Korean art to traditional music. The book, ``HanguguiMirulTasiIngnunda`` [reading Korea`s aesthetics again], (Gweon Young-phil and others, Dolpegae publishing house, 2005), was a big help in my research. I have not been making a research especially about aesthetics. This paper can only be subjective and rudimentary. The target for this paper is the common man who wishes to enjoy traditional Korean classical music. For this I have classified the aesthetics of Korean music into 10 types-jangnyeo-aesthtics [magnificence], unghon-aesthtics [grandeur], gogyeol-aesthetics [noble-aestheticsndedness], ganso-aesthetics [simplicity], yujang-aesthtics [long line], the aesthetics of mujagwi [no artificiality], the meot of han [deep sorrow], the meot of sinbaram [excitement] and heung [pleasure, aestheticsrth], jeukhung-aesthtics [impromptu amusement], and haehag-aesthetics [refined humor]. I tried to compare the ten types of beauty presented above, to the beauty which appears in the Korean paintings, architecture and murals and the beauty in Korean musical compositions. The beauty in a painting or architecture etc can be understood easily since it is seen directly by the eye. However, as music has a strong abstractness, it is difficult to perceive its beauty. For this reason, the objective of this paper is to assist in the understanding of music, which is not perceived by the eye, by relying on the arts which are visible to the eye.

한국음악 장단에 관한 고찰

전인평(Chun In-Pyong) 한국전통음악학회 2004 한국전통음악학 Vol.- No.5

The purpose of this article is to survey for the history of jangdan(rythymic modes) after 15 century to 19 century in Korean music. In the 15 century Korean music, it is often difficult to follow the stream of the music. To solve this problem, the bakpan(clappers 拍板) was used to clarify the important beginnings of each cycle recurrence. The function of the bagpan was therefore to establish the three different kinds of musical tempo, slow, moderate and fast. In the slowest tempo, the bakpan would sound at the beginning of the 64-beat form; in the medium tempo, the bagpan would sound at the beginning of the 32-beat form; and in the fast tempo, the bagpan would sound at the beginning of the 16-beat form. A similar relationship thus exists between the tempo and metrical divisions within the go-yo-pyeon-ssang rhythmic system, the ssang-pyeon-go-pyeon rhythmic system, the Chinese bansi(板式) system and the Indian tala system of the Natya Sastra. There are two category of jangdan in 15 century Korean music, bagpan jangdan which is devided by hagpan(calppers) and janggujeom jangdan which is devided by jang-gu(hour-glass drum). In the seventeen century korean music, the basic form is go-yo-pyeon-ssang is derived from yeominlak jang-gu form, transformed into three level, slow-moderate- fast; 64 : 32 : 16. In the go-yeo-pyeon-ssang rhythmic system, there are three kinds of tempo; the slowest one lasts for 64 beats, the middle one lasts for 32 beats and the fast one lasts for 16 beats. In the ssang-pyeon-go-pyeon rhythmic system there are again three kinds of tempo - slow, medium and fast, lasting for 20, 10 and 6 beats respectively. In the nineteen century korean music, the basic form is four janggo strokes, ssang-pyeon-go-yo which is may derived from yeominlak jang-gu form, transformed into three level, slow-moderate-fast; 6 : 4 : 4 : 6, 3 : 2 : 2 : 3 and 2 : 1 : 1 : 2 ratio. The Chinese Bansi also uses three kinds of tempo, the slowest one using measures of 8/4 or 4/4, the middle one using measures of 4/4 or 2/4, and the fast one using measures of 2/4 or 1/4. Similarly, the Indian tala-system, at an earlier time in its history, had three kinds of tempo; the slowest one involved a 32- beat cycle, the middle one used a 16-beat cycle, and the fast one used a 8-beat cycle (in the cancatputa tala of Natya Sastra). Otherwise, the Indian tala system involved cycles of 24, 12 or 6 beats according to the speed-again, slow, medium or fast. In all these systems, therefore, the slower the music is, the longer the metre becomes. Significantly, the metrical relations between these cycles of differing tempo all manifest the ratio of 1 : 2. It is concluded that the Korean three level of tempo, slow-moderate-fast, bears its origins in ancient India and that there are striking similarities between the metrical systems used in many Asian countries, including Chinaㆍand Thailand. It is suggested that these similarities are evidence of the cultural diffusion that undeniably occured many centuries ago.

거문고·비나 그리고 자케

전인평(Chun In Pyong) 국립국악원 1997 국악원논문집 Vol.9 No.-

This paper will compare three string instruments of the zither category: the Korean Kŏmun go, the Indian veena, and the Thai jhake. If fretted zithers are classified according to the number of strings, from three to seven, the three-string category includes the jakhe and phinpia of Thailand and the migyaun of Miyanmar. Of these, the jakhe (meaning crocodile ) has eleven short rods as frets, and is played with a string wound round the index finger of the right hand. There are no four-stringed zithers today, though they appear in old wall paintings and literary references from Japan and China. The six-string Kŏmun go was developed by adding two strings to a four-string instrument, and the names of the six strings are: munhyȏn, yuhyȏn, taehyȏn, kwaesangch ȏng, kwaehach ȏng, and muhyȏn. In the seven-string category is the veena of India. If we compare the kŏmun go, veena, and jhake, there are several cmmon traits: the use of frets and drone strings, and the playing of the melody mainly on two strings. Comparing the number of strings, the jakhe has three, the Kŏmun go six, and the veena seven. The melody strings are, on the kŏmun go, the yuhyȏn and taehyȏn; on the jakhe, the second and third strings; and on the veena, the first and second strings. On all three instruments, the interval between the two melodic strings is a perfect fourth, and each instrument is capable of providing a drone. The drone strings are, on the veena, strings 5, 6, and 7; on the Kŏmun go, strings l , 4, 5, and 6; and on the jakhe, the first string. Eash instrument uses a form of plecturm: the Kŏmun go, a bamboo prod; the veena, a triangular wire plectrum attached to the index finger, and the jhakc, a stick 5-6cm in lenght. Eash instrument is associated symbolically with an animal: the Kŏmun go with the black crane; the veena with the dragon and phoenix; and the jakhe with the crocodile and peacock. In addition to this comparative study, a project that remains for the future is to look for historical connections among the three instruments.