울산 농요 연구 : 2007년 복원연주를 중심으로

다국어 초록 (Multilingual Abstract)

Due to the regional characteristics, Ulsan is more urgent than any other region to need various and active musical research on Nongyo. The spirit of community is gradually fading away, as many natural villages keep disappearing or moving out collectively due to expanded industrial complex or air pollution problem, and population flowing in from other region increases abruptly.
The purpose of this study was to promote the local patriotism and to contribute to the preservation and transmission of local culture by researching Ulsan Nongyo out of native folk song, an important resources of local culture. It was also to prepare a basis of creation by researching the musical characteristics in Ulsan.
As for the methodology, the 'Ulsan Nongyo' DVD sound source image, which the Ulsan Korean Classical Musicians Association restored and represented in the small theater of Ulsan Arts & Culture Hall on Dec. 20, 2007, was written in staff notation by episode. Based on the written score, each episode was analyzed of its music in the order of melodic scale analysis, Boncheong analysis, time(rhythm and tempo) analysis and form analysis to grasp the characteristics of Ulsan Nongyo. These analyses were arranged into a <charter> and taken as a sub-conclusion. In melodic scale analysis, firstly, the word 'scale' was used to point to the note system of traditional music. Secondly, penta-chotomy was adopted dividing the scale into five and solmization of Do, Re, Mi, Sol and La was taken. Thirdly, therefore the five traditional scales were named using the terms and methods of Do scale, Re scale, Mi scale, Sol scale and La scale. Lastly, the music analysis was researched in the order of form analysis. Followings are the results.
The main scale of Ulsan Nongyo is Mi scale of 'Mi', 'Sol', 'La', 'Do' and 'Mi' and the main Boncheong is 'La', showing clear characteristics of the Mi scale of Menaritori, the composed note system of Gyeongsang-do area. Peculiarly the 「Nadari KoijinaChingChingNane」, that shows the same melodic flow and rhythmic sense as the ChangbuTaryeong of Gyeonggi folk song, is in Sol scale of 'Sol', 'La', 'Do', 'Re' and 'Mi' and the main Boncheong is 'Do'. This is a rare phenomenon appearing in native folk song. The 「KoijinaChingChingNane」 shows a rare phenomenon that it is in Mi scale of 'Mi', 'Sol' and 'La', but ends with ‘Do'. The 「NonmegiSori sung added on Yukjabegi melody」 and 「NonmegiSori sung added on Sangsadiya melody」 is in Re scale and characterize by being different from Mi scale, one of Yukjabegi modes. Also there are 2 tunes with no time, out of 24, that have irregular rhythm, time and tempo. Various rhythm was used including Jungmori, Gutgeori, Jajinmori and Hwimori. There were 7 tunes in the form of leading and answering, 3 tunes in the through-composed form and 14 tunes in the strophic form that is dominated.
Above findings confirmed again that Ulsan Nongyo is Menaritori Nongyo. One of the characteristics of Ulsan Nongyo is also that the strophic form is dominated rather than the form of leading and answering or the through-composed form. Hopefully this kind of music analysis will prepare a basis for the activation of the creative work in Ulsan and become more continuous research activity as it is utilized as basic materials that inform nationwide the Ulsan Nongyo. It is expected that Ulsan Nongyo will become a field of education that can experience the precious value of local traditional cultural heritage by preparing more organized system of transmission.

목차 (Table of Contents)

• Ⅰ. 서 론 = 1
• 1. 문제제기 및 연구 목적 = 1
• 2. 연구 범위와 연구 방법 = 2
• 3. 선행 연구 검토 = 5
• Ⅱ. 울산농요의 구성과 이해 = 7
• 1. 길놀이 = 8
• 2. 보리타작 소리 = 8
• 3. 물푸는 소리, 써래질 소리 = 9
• 4. 모찌기 소리 = 9
• 5. 모심기 소리 = 10
• 6. 논매기 소리 = 11
• 7. 용신떡 먹고 황수, 숫총각, 장원질 뽑기 = 12
• 8. 새 쫓는 소리 = 12
• 9. 벼타작 및 방아찧기 소리 = 13
• 10. 나달이 쾌지나칭칭나네(창부타령) 및 쾌지나칭칭나네 = 14
• Ⅲ. 울산농요의 음악 분석 = 17
• 1. 보리타작 소리 = 17
• 2. 물푸는 소리, 써레질 소리 = 19
• 1) 물푸는 소리 = 19
• 2) 써레질 소리 = 20
• 3. 모찌기 소리 = 22
• 1) 시작할 때 소리 = 22
• 2) 이슬털기 = 24
• 3) 모찌기를 끝낼 무렵에 부르는 노래 = 25
• 4) 모찌기 끝나갈 때 부르는 노래 = 26
• 4. 모심기 소리 = 27
• 1) 모심기 시작 무렵 부르는 노래 = 27
• 2) 모심기를 처음 시작할 때 부르는 노래 = 28
• 3) 아침 노래 = 29
• 4) 점심참을 기다리며 부르는 노래 = 30
• 5) 새참 때 부르는 노래(술 한잔 돌리며) = 32
• 6) 일이 다 끝나갈 무렵 부르는 노래 = 33
• 7) 해지고 일 마칠 때 부르는 노래 = 34
• 8) 써레질 소리 = 35
• 5. 논매기 소리 = 36
• 1) 초벌논매기 = 37
• 2) 두벌 논매기 = 38
• 3) 육자배기 가락에 얹어 부른 논매기소리 = 39
• 4) 상사디야 가락에 얹어 부른 논매기소리 = 40
• 6. 벼타작 및 방아찧기 소리 = 41
• 1) 대훌게 타작소리 = 41
• 2) 쇠훌게 타작소리 = 42
• 3) 방아찧는 소리 = 43
• 7. 나달이 쾌지나칭칭나네 및 쾌지나칭칭나네 = 44
• 1) 나달이 쾌지나칭칭나네(창부타령) = 45
• 2) 쾌지나칭칭나네 = 46
• Ⅳ. 결 론 = 50
• 참고문헌 = 53
• ABSTRACT = 55
• <부 록> = 59