「加羅都」의 音樂構造에 대한 考察

Abstract

本 論文은 筆者가 大學院 卒業 演奏會에서 演奏한 黃秉冀, 作品 <加羅都>의 音樂的 構造를 分析함으로써, 그 作品 속에 內在된 傳統 音樂의 技法과 作曲者의 獨特한 作曲 技法을 밝히는 것을 目的으로 한다. 이러한 觀點에서 考察하여 본 結果는 다음과 같다. 1. 第一樂章 가. 形式은 單一構造로 되어 있다. 나. 리듬은 불규칙한 拍子로 이루어졌지만, 第12拍子가 基本的인 拍子로서 리듬적인 統-感을 주고 있다. 다. 音階는 林·南·黃·太·仲의 5音音階로 되었다. 즉 林鍾 主音 Re 旋法이다. 라. 終止型은 거문고의 淸法과 類似하다. 마. 旋律型態 및 旋律構造는 (1) 主題的인 旋律을 再現시킴으로써 樂曲에 統一感을 주고 있으며, (2) 많은 變化音을 使用함으로써, 結果的으로 12律을 모두 使用하고 있으며, (3) 傳統的인 演奏 技法을 借用하여 旋律을 효과적으로 裝飾하고 있다. (4) 다이나믹스의 섬세한 變化에 의하여 旋律의 表現力을 고조시키고 있다. 2 . 第二樂章 가. 形式은 前半部와 後半部로 나뉘어지는데, 前半部는 序奏部에 해당하고 後半部는 다시 導入部·中心部·後秦部·終結部로 이어진다. 나. 리듬은 多拍子로써, 2連式·3連式·4連式 단위로 되어 있다. 다. 構成音은 黃·太·仲·林·南의 5音으로 되어 있으나, 旋法은 第2樂章이 作曲者의 獨創的인 作曲技法으로 되어 있어서 찾아 볼 수 없다. 라. 旋律形態 및 旋律構造는 다음과 같다. (1) 序奏部의 旋律은 옥타아브 위 아래로, 또는 9度에서 19 度까지 뛰는 音進行을 使用하고 있는데, 이것은 獨奏曲에서 멜로디의 다양성을 강조하기 위한 方法이다. (2) 導入部의 旋律構造는 겹세줄로 표시된 樂曲의 단락에 따라 달리 나타나는데, 이들은 모두 潢(D)와 ?(G^(#))의 增4度가 中心을 이루고 있다. (3) 中心部는 17個의 작은 가락으로 되었는데, 각 작은 가락은 하나의 3連音部로된 가운데 音으로 대표된다. 이 가운데 音과 添加音이 合하면, 中心部는 伽倻琴의 第1絃에서 第12絃까지 音域이 아래에서부터 위로 올라가면서 클라이막스를 이룬다. (4) 後奏部는 앞의 旋律에 비해 전혀 다른 旋律構造로 되었는데 대체로 4連的인 變化型으로 되어 있고, 전반적으로 다이나믹스의 變化를 중시하고 있다. (5) 終結部는 仲→潢→浹→憮→林의 下行旋律과 序奏部의 第2마디를 그대로 借用한 旋律로 되어 있다. 以上에서 考察한 바와같이 黃秉冀의 作品<加羅都>는 傳統的인 音樂 技法을 자신의 語法으로 再構成한 것을 알았다.;This thesis is to clarify the techniques of traditional music and composer's original techniques of composition which appear in Hwang Byung Ki's Kara Town, by analyzing the musical structure of this opus which I performed for a graduation concert. The followings are the results of my study considered from this point of view. 1. The first movement A. The form is composed of a single structure. B. The rhythm of the first movement is composed of irregular time. But it has a rhythmical unity as a basic time, the tune of 12 time appearing at the beginning and end of the music and in the middle of it five times. C. The scale is composed of five notes-Ihm(林:re), Nam(南:me), Hwang(黃:sol), Tae(太: la), Chu˘ng(仲:do), That is Re-Mode in a. D. The cadence is similar to that of a kumoongo(a Korean harp with six strings) by Chung Bub(淸法) E. The form and structure of the melody are : (1) giving the unity to the musical piece by reviving a main melody many times. (2) consequently using all of 12 notes by using many variation notes except basic five notes which make up Re-Mode in a. (3) decorating a melody effectively by borrowing traditional playing techniques. (4) Heightening the power of expression of the melody by the delicate variation of Dynamics 2. The second movement A. While the first Movement is composed in a single structure, the form of the second movement is divided into two parts. The first part applies to the prelude, and as the second part the introduction, the central part, the postlude and the conclusion are linked. B. The rhythm is composed of multi-time, and it is composed of two-connected-note/three-connected-note rhythm and four-connected-note unit which is the variation of these two forms. C. The scale is composed of five notes-Hwang, Tae, Chung, Ihm, Nam, but the Seon Bub can not be found for the reason that the second movement is composed with composer's unique composition technique D. The form of composition and the structure of the melody are as follows : (1) For the melody of the prelude, note procession that runs above and below the octave or runs from nine degrees to nineteen degrees is used. This is the method to emphasize the variety of the melody in a solo. (2) The structure of the melody of the introduction is varied with the pause of the musical piece which is indicated as a double bar. The increase four degrees of Hwang(?: D) and Yu(?:G#) take the lead in all of these. (3) The central part is composed of seventeen small tunes. Each small tune is represented as a central note. The central note goes up from Ihm(淋:A) to Ihm(淋;a')in two octave. Adding an additional note to the central note, this central part makes a climax as the musical range goes up from the first string to the twelfth string of a gayageum(a Korean instrument with twelve strings). (4) The postlude is composed in a different melody structure as compared with the melody mentioned above. I is mainly composed of four-connected-note variations and generally attaches great importance too the variation of Dynamics. (5) The conclusion is composed of the melody that goes down from Chung(仲) 새 Hwang(潢), from Hwang to Hyeob(俠), from Hyeob to Moo(無), from Moo too Ihm(林) and the melody that borrows the second tune of the prelude as it is. As considered above, Hwang Byung Ki's Kara Town is the opus which recomposes traditional musical techniques according to his own mode of expression.