대중음악 보컬트레이닝에 대한 기술적 요소들의 메커니즘과 리듬(그루브) 트레이닝에 관한 연구

국문 초록 (Abstract)

한국 대중음악산업의 발전과 더불어 한때 과열 양상을 보이기까지 했던 보컬이라는 영역은 수많은 교습소와 학원을 비롯한 전문 대학과정의 설립이라는 결과를 가져왔다. 자연스럽게 교육을 담당할 많은 보컬 트레이너들이 생겨나게 되었고, 표준화되어있지 않은 트레이닝 방법들과 교육과정들은 대중음악의 특성과는 분명한 선이 그어져야하는 클래식 성악의 오랜 연구들에 의존해 왔던 것이 사실이다.
물론 클래식 성악의 연구적 성과가 대중음악 보컬 트레이닝과 전혀 무관한 방향성을 가지고 있다고는 할 수 없겠으나, 대중음악과 클래식 음악이 진화해온 과정을 살펴보면 분명 거기엔 뚜렷하게 드러나는 지향의 차이가 존재함을 알 수 있다.
따라서 본 논문은 그러한 전제 조건을 위한 대중음악의 장르별 발전사와 세계적인 대중음악 보컬리스트들의 노래를 분석함으로써, 분명히 구분되는 대중음악 보컬리스트들의 특성을 발견하고, 그 중심에 있는 대중음악 보컬의 핵심적인 요소들이 작용하는 기술적 영역의 메커니즘을 사례를 통해 확인하였다.
그리고 나아가 그 핵심적 메커니즘의 중심에 있는 리드믹 다이나믹(Rhythmic Dynamic)을 트레이너들이 어떻게 가르칠 수 있을지에 대한 새로운 방법론을 제시하였다.
그러한 논거의 뒷받침을 위해 음향적 표현이 지면으로 충분히 표현될 수 없었음이 아쉽기는 하지만, 별첨한 음원을 통해 최대한 논거의 타당성을 입증하려하였고, 지면상 시각적 정보로도 최대한 확인할 수 있도록 그림 자료도 첨부하였다.
이러한 연구들을 통해 대중음악 보컬에 있어 그 근저에 작용하고 있는 기술적인 요소들과, 그 요소들의 적절한 작용이 만들어 내는 특성들이 지금껏 클래식성악에 기초한 대중음악 보컬의 트레이닝 방법들의 한계점을 극복할 수 있다는 결론에 도달할 수 있었다.
음악이 언어라는 점은 어떤 음악가라도 동의하지 않을 수 없을 것이다. 그리고 그 언어가 다양한 억양으로 진화를 해 왔고, 그 억양의 특성에 대한 이해가 선행되어야 올 바른 트레이닝 방법도 제시될 수 있을 것이다.

다국어 초록 (Multilingual Abstract)

With the development of the Korean pop music industry, the area of vocals, which once seemed to overheat, has resulted in the establishment of a number of professional schools, including institudes and academies.
There have been many vocal trainers who will naturally play the role of education, and the non-standardized training methods and curriculum have relied on the old studies of classical vocal music, which must be clearly
classified with the characteristics of popular music.
Of course, it can not be said that the research result of classical vocal music has nothing to do with the direction of popular music vocal training, but when we look at the process of popular music and classical music evolving then we could find that there is obvious differences on intention point bewteen popular music and classical music.
Therefore, this thesis analyzes the histroy of popular music genres development and songs of world class popular music vocalists for such preconditions, and finded out the characteristics of clearly distinguished
popular vocal music. And the mechanism of the technical domain in which the core elements of the popular vocal music at the center are working.
And a new methodology for how trainers can teach rhythmic dynamics, which is at the core of the mechanism.
Although it is regrettable that the sound expression could not be fully expressed in the paper for the support of such argument, it tried to prove the validity of the argument as much as possible through the attached
sound source, and the picture material was also attached .
These studies show that the technical factors underlying the popular vocal singing and the characteristics of the proper functioning of the elements made it happen to reach to overcome the limitations of vocal training
methods based on classical vocal music.
Any musician would have to agree that music is language. And the language has evolved into a variety of accents and an understanding of the nature of the accent of the music must be preceded and a correct training method can be presented.

목차 (Table of Contents)

• Ⅰ. 서론 ······································································································1
• 1. 연구 목적 ·····························································································1
• 2. 연구방법 및 범위 ···············································································1
• Ⅱ. 노래로 표현되는 대중음악의 범위와 미국흑인음(Afro-
• American Music)의 진화와 발전 ··········································2
• 1. 대중음악의 범위 ·················································································2
• 2. 알 앤 비(R&B), 소울(Soul), 펑키(Funky), 디스코(Disco) ······· 3
• 3. 힙합(Hiphop) ·······················································································4
• 4. 이디엠(E.D.M), 하우스(House), 테크노(Techno) ························4
• 5. 락앤롤(Rock‘n Roll), 락(Rock), 헤비메탈(Heavy Metal) ··········5
• 6. 포크(Folk) ····························································································5
• 7. 제3세계 음악 ·······················································································6
• 8. 세계적 관점에서의 보컬 대중음악과 음악적 기반 ····················· 6
• 9. 대중음악보컬과 클래식 성악의 차별성 ·········································7
• 10. 대중음악의 장르를 통해 유추한 주요 보컬음악의 특성 ········· 8
• 1) 재즈 음악의 특성 ·············································································9
• 2) 보컬 블루스 음악의 특성 ······························································10
• 3) 보컬 대중음악의 근저에 있는 재즈와 블루스 ·····························10
• Ⅲ. 아프로 아메리칸 음악의 노래적 특성 ······························12
• 1.용어 정리 ·····························································································12
• 1) 싱코페이션(Syncopation) ·······························································12
• 2). 레이드 백(Laid Back) ···································································15
• 3). 푸싱(Pushing) ················································································16
• 4) 스트레이트(Straight) ·····································································16
• 5) 다운비트(Down Beat) ···································································16
• 6) 오프비트(Off Beat) ········································································16
• 2. 바운스 리듬이 만드는 공간의 미학, 그루브(Groove) ·············· 18
• 1). 빠른 템포_스윙 스타일(BPM 80~100 이상) ······························· 19
• 2). 발라드 스타일(BPM60~80) ···························································23
• Ⅳ. 대중음악 보컬의 기술적 측면과 분석 ······························27
• 1. 리듬-그루브(Groove) ·······································································28
• 2. 호흡 ·····································································································35
• 1)호흡법의 종류 ··················································································36
• 2)대중음악과 클래식 성악 호흡법의 공통분모 ································ 36
• 3. 발성 ·····································································································38
• 1)발성의 종류 ······················································································39
• 2)대중음악과 클래식 성악 발성의 공통분모 ····································40
• 4. 대중음악 노래와 기술적 요소들의 메커니즘(Mechanism) ····· 41
• 5. 리듬, 호흡, 발성의 메커니즘 분석 ···············································47
• Ⅴ. 리듬(그루브)의 트레이닝 방법 ·············································59
• 1. 리듬믹 다이나믹(그루브) ································································59
• 1) 빠른 템포(BPM 80~100이상)에 대한 트레이닝 방법 ··················60
• (1) 메트로놈에 맞춰 부르기 ···························································60
• (2) 8자를 그리면서 노래하기 ·························································61
• (3) 레이드 백, 푸싱 개념 활용하기 ················································62
• 2) 느린 템포(BPM 60~80이하)에 대한 트레이닝 방법 ··················· 64
• (1) 메트로놈에 맞춰 부르기 ···························································64
• (2) U자를 그리면서 노래하기 ························································65
• (3) 레이드 백, 푸싱, 스트레이트 개념 활용하기 ····························· 67
• 2. 리드믹 다이나믹의 활용 ·································································69
• 3. 예술적 영역인 표현의 훈련(Image Training) ··························· 70
• 1). 기술적 요소와 예술적 요소의 상호관계 ·····································71
• 2) 이미지 트레이닝(Image Training) ···············································71
• Ⅵ 결론 ·····································································································74
• 참고 문헌 ·································································································76
• Abstract ···································································································78