韓國 「북」音樂에 나타난 Rhythm 硏究 : (李梅芳 僧舞의 북놀이를 中心으로)

다국어 초록 (Multilingual Abstract)

The study, as one of my research programs for Korean drum music, aims to inquire into the rhythm structure and characteristics of Buddhist dance by Lee, Mae-Bang through selecting and notating the underlying basic patterns of Buk play.
The purport of this paper lies only in setting up the finst step for the study of this area, because there are little music papers about Buk play, especially about Buddhist Dance. As research method, therefore, I intend to make a rhythm-selected-notation of Buk play, and then to derive a rhythm-structure and its characteristics. Finally I try to find our musical feature of the so-called 'quietude in a state of the motion' (Jeung Jung dong). For this, the investigator has taken a lesson of Buddhist Dance from dancer Lee at his studio and drew the most typical diagrams of dancing rhythm patterns.
The rhythm-selected-notations were established with 1) the name of long and short (Jang-dan), 2) notes, and special new notations, if any, according to drumming techniques.
The result is as following :
1) The whole structural compositions of Buddhist Dance is made of 267 Jangdan the harmony of 'dancing rhythms A', 'connective parts,' 'Buk rhythms', and 'dancing rhythms B.' Among these, Buk play is put on the climax of the work, made of 158 Jangdan 19 sections of Jazemori and fewmori.
2) The form of Buk rhythms is characterized as two movement style (A.B. pattern) which is made of Jazenmori (Gujungnori) and fewmori of the variation form.
3) The tonal sound of drum (Buk) is made through the harmonies recalling a noble thrill of the Soul, and the harmony is set up by special drum handling technics of 「Jungta」 (center-hitting), 「Beanta」 (edge-hitting), and 「Choita」 (stick-hitting-each-other).
4) Rhythm features are specially characterized to repeat the same type of knotting and solving from the beginning to the end.
5) Varieties of rhythms have to 12 techniques to change tone colors which are effectively listened to as orchestral ensemble.
6) The same rhythm structure has rich variants given through the tonal colors changes. The result is in its unity and variety of structural effects.
7) The cadences of knotting and solving appeared two times in the B section of each part.

목차 (Table of Contents)

• Ⅰ. 緖論
• Ⅱ. 總括的 記述
• 1. 一般的 特徵
• 2. 構造的 特徵
• Ⅲ. 細部的 考察
• 1. 춤리듬 A
• 2. 연결부
• 3. 북리듬
• 1) 구정놀이 a
• 2) 구정놀이 a'
• 3) 구정놀이 a''
• 4) 휘모리
• 4. 춤리듬 B
• Ⅳ. 結論