數大葉의 變遷過程 硏究

다국어 초록 (Multilingual Abstract)

There are 20 melodies of Sakdaeyeop(數大葉. Korean traditional lyric song), Chosudaeyeop(初數大葉), Isudaeyeop(二數大葉), Junggeo(中擧), Pyonggeo(平擧), Dugeo(頭擧), Samsudaeyeop(三數大葉), Soyong(騷聳), Banyeop(半葉), Urong(羽弄), Pyeongnong(平弄), Eollong(言弄), Urak(羽樂), Eollak(言 樂), Gyerak(界樂), Huangyerak(還界樂), Eonpyeon(言編), Upyeon(羽編), Pyeonsakdayeop(編數大葉), Eonpyeon(編樂), Taepyeongga(太平歌). These 20 melodies divided into the male song(男唱) and the female song(女唱), the major mode(平調) and the minor mode(界面調). These songs have evolved out of one piece, a Sakdaeyoep(數大葉) for 400 years. This paper is a study on the evolution of the Sakdaeyoep(數大葉) on the basis of 52 music books of the Sakdaeyoep(數大葉), which published for 400 years. The result is ; 1) The Sakdaeyoep(數大葉) is appeared at Siyonghyangakbo(時用鄕樂譜), Hyeongeumdongmunyu-gi( 玄琴東文類記 1620), Namhunyubo(南薰遺譜), Jeungbogogeumbo(增補古琴譜) first. There are t-wo melodies in these books, the first melody begin first upper tone(上一), the second begin first down tone(下一). 2) There are 3 melodies of Sakdaeyoep(數大葉), Sakdaeyoep 1(數大葉 第一)ㆍSakdaeyoep 2(數大葉 第 二)ㆍSakdaeyoep 3(數大葉 第三), at Sinjeunggeumbo(新增琴譜 1680), Unmonggeumbo(雲夢琴譜 1707). 3) At Yeondaegeumbo(延大琴譜), Hangeunsinbo(韓琴新譜 1724), Nangongsinbo(浪翁新譜), Eoeunbo( 魚隱譜), Sakdaeyoep 4(數大葉 第四) have appeared. The Sakdaeyoep(數大葉) 1ㆍ2ㆍ3ㆍ4 begin each the first down tone(下一), the upper second rone(L -), the upper fifth tone(上二), and the second down tone(下二). The second down tone(下二) of the Sakdaeyoep(數大葉) is come down two octaves from the eighth upper tone(上八) because it is so high. And so, On the beginning tone of the Sakdaeyoep(數 大葉) 1ㆍ2ㆍ3ㆍ4, the first down tone(下一), the upper second cone(上二), the upper fifth tone(上二), the eighth upper tone(上五), is connected with the fifth interval. fifth fifth fifth 下一 上二 上五 上八(下二) (G) (e b) (b b) (f)(F) 4)Sakdaeyoep(數大葉) The name of Sakdaeyoep(數大葉) 1ㆍ2ㆍ3 have changed into the First Sakdaeyoep(初數大葉), the Second Sakdaeyoep(二數大葉), and the third Sakdaeyoep(三數大葉) at the music book, Geumjo(琴調), Sinjeunggeumbo(新增琴譜), Sinjakgeumbo(新作琴譜), Godaegeumbo A (高 大琴譜A). And There is no the Sakdaeyoep 4 (數大葉 第四). 5) At the music book, Eoeunbo(魚隱譜 1779), Jolonggayageumbo(拙翁伽倻琴譜 1786), Geumhakjeonyo( 琴學切要), Geyrak(界樂) and Urak(羽樂) have appeared, which begin tonic(宮). And the two melodies are not connected with the system of the fifth interval of the Sakdaeyoep 1ㆍ2ㆍ3ㆍ4(數大葉 1ㆍ2ㆍ3ㆍ 4). 6) At the music book, Yuyeji(遊藝志), Eollong(言弄) and Pyeonsakdaeyeop(編數大葉) have appeared. 7) At Gangoegeumbo(江外琴譜), Eonnaksijo(言樂時調) have appeared. 8) At Ayanggeumbo(峨洋琴譜 1820), Soeongi(쇠옹이), Yuldangyeop(栗糖葉), Pellak(펠락) have appeared. 9) Dansakdaeyeop(短數大葉), Urong(羽弄) and Eollong(言弄) have appeared at Ilsageumbo(一蓑琴譜). 10) At Samjukgeumbo(三竹琴譜 1841), Soi(騷耳) and Cheongseonsakdaeyeop(淸聲數大葉) have appeared. 11) At Hyeonhakgeumbo(玄鶴琴譜 1852), there is a classification of female song, and Junggeodaeyeop(重擧大葉) have appeared. 12) The Pyeonggeo(平擧) and Eolpyeon(?編) have appeared at Gagokwollyu(歌曲源流 1876). 13) At Hyeongeumoeumtongnon(玄琴五音統論 1886), Hoangyerak(還界樂) have appeared.

목차 (Table of Contents)

• Ⅰ. 머리말
• Ⅱ. 數大葉의 變遷
• Ⅲ. 맺는말
• [참고자료]
• Abstract