취타계열 음악 연구 = 유예지 이후 현행까지

다국어 초록 (Multilingual Abstract)

Chuita(吹打) is a form of Korean traditional music, which was used in various ceremonies involving a high office and the kings. These were distinguished from the late Chosun(朝鮮)-Dynasty marching band music, such as Dae-chuita(大吹打), and the wind instrumental Chuita, organized around Taepyungso(太平簫) arrangements.
Todays, Chuita music is classified into three different kinds of performance. Even though, Each Chuita music have a distinct style, they all follow the suite format, and the melody is similar. This thesis concentrates on tracing relationship of those three kinds of Chuita suites by comparing and analyzing them.
Although it is uncertain under what background Chuita music originated and when it began, it may be deduced that Chuita comprised in the form of Chuita Kyejoo in 1930's based upon the fact that all five pieces of Chuita Kyejoo was found to be recorded on the score of the Aakbu(court music of the Chosun-Dynasty). However, literatures and musical recordings of those five pieces are not handed down. It can be said that though Gilgunak and Giltaryong were played after Chuita because the track of Chuita was short, all 5 pieces of Chuita Kyejoo are not used as performance music together. After this, it is confirmed that Chuita kyejoo Hanbatang was played for the first time by the National Center for Korean Traditional Performing Art in 1976 and the record of Chuita Pungryoo Hanbatang by the folk music society in 1978 was remained as the first data. Therefore, it may be concluded that it is after 1970's that Chuita music having the form of suite music became staged music of the present time.
The analysis of the Chuita Kyejoo, Chuita Pungryoo, and Ritual Chuita Pungryoo excluding Giltaryong and Byulwoojo-Taryong of Chuita Kyejoo which show different melodic structure from the others are below.
First, it is confirmed that all three kinds of Chuita are composed with seven chapters and 21 different rhythms, and the general structures of ChuiKye and GutPung are the same with each other but it of ChuiPung is different from those two suite. The rhythm structure of ChuiKye and the ChuiPung used the 12 beats per rhythm, but GutPung used the Hutton-Taryung normally used in shamanic music, so shamanic tradition was shown there. The melodic structures are the same for the three different suites. The suites all consisted five notes of Im?-Nam?-Hwang黃-Tae太-Go姑. The common rhythms in three kinds of Chuita were nine patterns out of 68, and Chuita is not a repeating music. It is confirmed that all three had same melodic structure, while having difference in details in music.
Second, the three suites had different Gilgun-ak structure, but for its rhythmic structure, only GutPung has different rhythmic structure from the others. The melody were all similar, but about nine measures out of 24 were distinct in each. All the major notes were Im?-Nam?-Hwang黃-Tae太-Go姑 for all three suites. The 8 out of 62 rhythms were recurring, and all three suites had repeating structure. So the melodic structure and the chords were the same, while the rhythms were different.
Third, for Gun-ak and Byulgok-Taryong(別曲打令), ChuiPung and GutPung had same general structure while ChuiKye had it different. They were all in 4-beat 1-rhythm structure used in Taryong(打令). The melodic structure was shared, and 9 measures out of 45 were distinct. All the major notes were Im?-Nam?-Hwang黃-Tae太-Go姑 for all three suites. The same rhythms were 3 patterns out of possible 61 and while ChuiKye was not of repeating style, ChuiPung and GutPung were. So the melodic structure and the chords were the same, while the rhythms were different.
Forth, for Giltaryong ChuiPung and GutPung had same general structure.They were all in 4-beat 1-rhythm structure, but GutPung did not use Taryong rhythm but used the 'slow Dang-ak(唐樂)' used in 'SaenamGut'. The melodic structure was shared, and only one measure out of 16

목차 (Table of Contents)

• Ⅰ. 서론
• Ⅱ. 취타계주와 취타풍류, 굿 취타풍류의 취타, 길군악, 별곡타령 비교
• Ⅲ.〈취타풍류〉와〈굿 취타풍류〉의 길타령, 염불타령, 삼현타령 비교
• Ⅳ. 결론
• 참고문헌