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방산한씨금보 영산회상 가야금과 양금의 선율비교

Title
방산한씨금보 영산회상 가야금과 양금의 선율비교
Other Titles
A Comparison Melodies of Gayagum with Those of Yanggum of Yeongsanwhoesang of Bangsanhanssi gumbo
Authors
박민정
Issue Date
2006
Department/Major
대학원 음악학부
Publisher
이화여자대학교 대학원
Degree
Master
Advisors
곽은아
Abstract
현재 가야금과 양금의 선율은 일반적으로 거의 비슷하게 연주되고 있으며 이를 증명하는 논문도 연구되어져 있다. 그러나 과연 1916년에 쓴 「방산한씨금보」의 영산회상에서도 가야금과 양금의 선율이 현재와 마찬가지로 유사하게 진행하고 있었는지, 만약 두 선율간의 차이가 있다면 그것은 어느 정도의 비율이며, 어떤 형태로 나타나는지 살펴보고자 하는 것이 이 논문의 목적이다. 본 논문에서는 방산한씨금보를 오선보로 해독한 다음, 두 악기의 비 공통 선율을 선율이 유사한 경우와 다른 경우로 나누어서 비교하였다. 그 결과 다음과 같이 요약할 수 있다. 첫째, 방산한씨금보의 영산회상에서 가야금과 양금의 장(章)구별은 두 악기가 서로 다르게 나타나고 있다. 둘째, 염불에서 양금선율에 꾸밈음이 많이 삽입되고 있다. 셋째, 두 악기의 선율을 비교해본 결과 대체적으로 곡의 템포가 빨라질수록 가야금과 양금의 선율차이가 크게 나타나고 있음을 알 수 있다. 넷째, 현행 영산회상에서 두 악기간의 선율 차이는 평균 15.9%의 비율로 나타나지만, 방산한씨금보의 영산회상에서는 평균 29.3%차이가 나타났다. 따라서 방산한씨금보에서 현행보다 가야금과 양금의 선율차이가 크게 나타난다는 것을 알 수 있다. 다섯째, 선율이 다른 부분을 유형별로 살펴봤을 때, 현행으로 오면서 가야금 황이양금의 태로연주되는 경우와 꾸밈음이 출현하는 경우의 비율은 비록 작은 수치지만 증가하였고, 선율이 유사한 유형보다 선율이 전혀 다르게 진행하는 유형의 비율이 크게 줄어든 것을 알 수 있다.;A Comparison Melodies of Gayagum with Those of Yanggum of Yeongsanwhoesang of Bangsanhanssi gumbo Currently, melodies of Gayagum and Yanggum are almost played similarly. There are some theses to demonstrate it as well. This thesis is aimed at identifying if melodies of Gayagum and Yanggum was being played similarly like today even in Yeongsanwhoesang of Bangsanhanssi gumbo in 1916, if there was a difference between melodies, how much rate it was and which way it was played. In this thesis, Bangsanhanssi gumbo is deciphered for a staff notation, then uncommon melodies of each instrument are divided into similar case and different case, compared. To sum up, the abstract is as follows. The first, the chapter distinction between Gayagum and Yanggum is indicated differntly in Yeongsanwhoesang of Bangsanhanssi gumbo. The second, the mordent at the Yanggum melodies is inserted a lot in Yeombuldodeuri. The third, according to a study compared with melodies of two instruments, the faster the melody tempos are, the more the melody difference between instruments is. The fourth, in current Yeongsanwhoesang, the melody difference between instruments is indicated 15.9% on the average, on the other hand, in Yeongsanwhoesang of Bangsanhanssi gumbo 29.3% on the average. Therefore, the melody difference between Gayagum and Yanggum is indicated more than today in Bangsanhanssi gumbo. The fifth, as the different melody part is determined, researches show that the rates of the following cases-Whang in Gayagum is played as Tae in Yanggum, mordent happens- increase narrowly, on the other hand, the rates of the following cases- -Whanglim in Gayagum is played as Mulim in Yanggum, there is an octave difference, melody is same but only rhythm is different, rhythm is same but only melody is different, both rhythm and melody are different-decrease as it gets near today. With this, the thesis shows that melodies of Gayagum and Yanggum which are played almost similarly today were being played as different melodies in 1916. Besides, the parts played totally differently decrease significantly in melodies of both instruments. That is, the unique melodies played as different notes in two instruments are more than today. This thesis shows that melodies played as different notes in two instruments are changed more and more similar between 1962 and 1965, today they are much more similar.
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