민요를 주제로 한 거문고 창작곡 "옹헤야"분석 연구 = (An) analysis on "Geomungo ensemble Onghyeya"

다국어 초록 (Multilingual Abstract)

Prior to playing "Onghyeya" concerted with Geomungo ; a Korean zitherlike instrument (with six strings), it was challenged to analyze traditional elements of "Onghyeya" for better understanding and desired sentiment.

As a first step of analysis, whole part of "Onhyeya" concerted with Geomungo has been analyzed and this performance enables to create an outline of this music. Furthermore, all the essential components for playing this music has been thoroughly analyzed. The analyzed components mentioned in this report are listed below ;
-Structure and beat of entire music
-String adjustment rule and scale
-Code and musical performance techniques
-Melody and rhythm of each chapter
Eventually, the analysis of "Onhyeya" concerted with Geomungo has been successfully completed and the achievement is discussed in this report.

First of all, "Onhyeya" concerted with Geomungo is composed to 200 tunes(joints) and it contains Jungmori, Dongsalpuri, Goodgeori, Danmori and Neurintaryung(Types of Korean traditional musical beats). The first chapter is played with four-four time and Jungmori. The second chapter is also palyed with four-four time but for Korean traditional beat, Dongsalpuri is applied to this chapter. From 37 tune of this second chapter, it is palyed with Allegretto. The third chapter is palyed with twelve-egiht time and Goodgeori. Last chaper is also played with twelve-eight time but the difference is applying Danmori to this chpater.

Next, String ajustment rule is divided into traditional Jungak string adjustment rule and Sanjo string adjustment rule. For "Onghyehya" concerted with Geomungo, up graded Sanjo string adjustment is applied to. Up graded aspect is changing the relationship between Munhyun and Geabanghyun to complete four degree which is original G and Munhyun D.
If the scale of this music is analyzed by frequency of the use of scale, all the tunes have five scales which are D, E, G, A and B except 137 tune to 158 tune. These excepted tunes are played with Menaritori rule and have E, G, A, C and D of Geamyun same as Korean traditional ballad "Onghyeya".

Thirdly, with regard to code and musical performance techniques, this music contains Korean traditional musical performance techniques, western music performance techniques and the way well-matched with the characteristics of musical instrument created by a composer.

Fourthly, each chapter of this music has been thoroughly analyzed and summarized like below.
Give and take rule is generally applied to all the chapters. Repetition rule and Same type process are also used as a particular formalisation in this music. Korean traditional beat system such as Jungmori, Dongsalpuri, Goodgeori, Danmori and Neurintaryung is applied to each chapter. In respect to musical performance technique, Jungak, Sanjo and the new techniques are used to expand musical scale range and create dramatical expression. Furthermore, as applying Give and take rule and variation structure, it expands the range of creation music' expression.
Lastly, "Onghyeya" can be referred to tradition and novelty coexisted music on the ground that it implies various unique melody and rhythm in korean traditional musical range.

목차 (Table of Contents)

• Ⅰ. 서론 1
• 1. 연구목적 1
• 2. 연구 범위 및 방법 4
• Ⅱ. 본론 5
• 1. 민요 ‘옹헤야’ 5
• 1) ‘옹헤야’ 해설 5
• 2) 발생지 및 특징 6
• 3) 장단 6
• 4) 선법 7
• 5) 악곡의 특징 8
• 2. 거문고 합주를 위한 「옹헤야」」작품개요 10
• 3. 거문고 합주를 위한 「옹헤야」분석 11
• 1) 전체악곡의 구조 및 장단 11
• 2) 조현법 및 음계 13
• 3) 부호 및 연주주법 19
• 4) 각 악장 분석 24
• ① 1악장 ‘조금 느리게 (중모리)’ 24
• ② 2악장 ‘동살풀이’ 27
• ③ 3악장 ‘굿거리’ 37
• ④ 4악장 ‘단모리’ 41
• ⑤ 5악장 ‘느린타령’ 47
• Ⅲ. 결론 49
• 참고문헌 53
• 부록악보 54
• ABSTRACT 63