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현악영산회상 해금과 피리 선율 비교 분석

Title
현악영산회상 해금과 피리 선율 비교 분석
Other Titles
A Comparative Study of Haegeum and Piri melodies in Hyunak Yeongsanhoisang : Focused on Joongryungsan
Authors
모선미
Issue Date
2005
Department/Major
대학원 음악학부
Publisher
이화여자대학교 대학원
Degree
Master
Advisors
조운조
Abstract
본 논문은 현악영산회상 중 9곡 중에서 중령산을 해금과 피리의 선율로 나누어 비교 분석하여 동일선율, 유사선율, 다른 선율로 구분하고 선율의 결과를 토대로 두 악기가 가지는 연관성과 차이점을 알아보고자 한다. 각 장을 각으로 세분화하고 이것을 다시 대강으로 나누어 오선보와 표를 통해 그 결과를 산출하여 설명하는 방식으로 진행되었으며 동일음의 리듬과 선율의 변화를 토대로 각각의 음형으로 나누어 설명하였다. 현악영산회상 中 중령산의 해금과 피리선율을 분석한 결과는 다음과 같다. 첫째 중령산 제1장은 74박 중, 유사선율 50박(67.57.%), 동일선율 20박 (27.03%),다른 선율4박(5.4%)으로 나타난다. 중령산 제2장은 78박 중, 유사선율 58박(74.36%), 동일선율 14박(17.95) 다른 선율 6박(7.7%) 으로 나타난다. 중령산 제3장은 58박, 중 유사선율 36박 (62.07%), 동일선율 20박(34.48%), 다른 선율 2박 (3.45%)으로 나타난다. 중령산 제4장은 56박 중 유사선율 26박(46.43%), 동일선율 26박(46.43%), 다른 선율 4박 (7.14%)으로 나타난다. 중령산 제5장 66박 중, 유사선율 46박(69.70%), 동일선율 18박(27.27%), 다른 선율 2박(3.03%)으로 나타난다. 중령산 총 332 박 중, 유사선율 216박 (65.06%), 동일선율 98박 (29.52%), 다른 선율 16박(5.42%) 으로 나타난다. 중령산을 연주하는데 피리와 해금이 유사선율 216박(65.06%), 동일선율 98박 (29.52%)으로 이를 합치면 94.58%의 유사진행으로 선율이 진행되었음을 알 수 있었다. 둘째 현악영산회상 중령산에서 주요 음은 黃(E♭), 太(F), 仲(A♭),南(B♭), 無(D♭)음이며, 주요 음은 리듬과 상·하행하는 음이 서로 다르게 나타났다. 이러한 유사선율의 형태를 e♭‵유형, F유형,A♭‵상·하행유형, B♭유형,d♭‵하행유형으로 분류하였으며. 위의 음형들은 각 장 마다 여러 번 반복되어 나타났다. 유사선율의 형태는 피리가 선율의 변화가 많았고 해금이 피리의 상·하행의 변화하는 음에서 유사하게 진행되었다. 셋째 해금과 피리의 다른 선율은 약5%로 나타났다. 다른 선율의 유형 형태는 상‧하행의 음과 리듬이 전혀 다르거나, 음의 간격이 장2도,단3도, 완전4도, 완전5도, 장6도 ,단7도로 나타났으며. 각 악기가 요성을 서로 다른 박에서 연주하는 형태로 나타났다.;This research is intended to examine how two instruments-Haeguem and Piri – are correlated and differentiated in Joongryungsan, one of nine songs in Hyunak Yeongsanhoisang by analyzing and comparing their melodies. Each Jang is separated in Gak, which again is divided into Daegang. The research results are explained by using state notations and tables. Each note’s pattern is categorized based on changes in rhythm and melody of same note. The research result on Haegeum and Piri melodies in Joongryungsan of Hyunak Yeongsanhoisang is as followings. Joongryungsan. Jang 1. - Out of Total 74 beats, similar melodies are 50 beats (67.57%), identical melodies are 20 beats (27.03%), and different melodies are 4 beats (5.4%), Joongryungsan. Jang 2. - Out of Total 78 beats, similar melodies are 58 beats (74.36%), identical melodies are 14 beats (17.95%), and different melodies are 6 beats (7.7%), Joongryungsan. Jang 3. - Out of Total 58 beats, similar melodies are 36 beats (62.07%), identical melodies are 20 beats (34.48%), and different melodies are 2 beats (3.45%), Joongryungsan. Jang 4. - Out of Total 56 beats, similar melodies are 26 beats (46.43%), identical melodies are 26 beats (46.43%), and different melodies are 4 beats (7.14%), Joongryungsan. Jang 5. - Out of total 80 beats, from the third beat of Daegang 4 of Gak 3, the length of beats is shortened into a half. Therefore beats are calculated up to the second beat. Similar melodies are 46 beats (69.70%), identical melodies are 18 beats (27.27%), and different melodies are 2 beats(3.03%) In playing Joongryungsan, Piri and Haegeum have 216 beats of similar melodies (65.06%), 98 beats of same melodies (29.52%). Therefore total 94.58% of the song is either similar or identical. There are different melodies with irregular rhythm and dissonance with other notes. Resting beats of Piri have a pattern that while Haegeum is continued playing a single note, Piri is played only one or two beats. Major tunes of Joongryungsan are 黃(E♭),太(F),仲(A♭),南(B♭),無(D♭), These shows that considerable changes are placed in rhythm and melody at the main notes, that Haegeum and Piri have different pattern of notes, and that mainly Piri has a lot of variations. Tunes with more that 3 degree gap are showed only between D♭ and B♭, especially when Piri progresses up or downwards with a grace note. F appears many times as a transient note. In other places, 4 or 2 degree tunes appears frequently. Piri and Haegeum have variations in rhythm and pattern of tunes even on the same note because of the different techniques and shigimsae (decorative notes) in playing Joongryungsan. While Haegeum plays a single note straight or in contradictory manners with decorative factors, Piri is focused on magnifying rhythms by playing transient and emphasizing pattern of tunes. Different melodies are showed only 5% of total beats, so do not affect significantly to the progress of the song. However, an interesting pattern is that Haegeum plays irregular and dissonant notes while wind instruments play similar melodies and strings play similar or choral notes with wind instruments. Therefore about 5 % is an independent melody of Haegeum. 4% of Piri’s resting beats are played identical melodies with Haeguem. It occurred in the pattern that Piri plays only 50% while Haegeum remains with identical melodies with Piri. While Joongryungsan is performed, Haegeum and Piri play 90% of either same melodies or similar melody differentiated from a single note. It can be said that they have a similar progressing pattern. Mainly Haegeum shows dissonances while different tunes are played. As another exception, Haegeum goes first with dissonance, and Piri follows with another dissonance with a technique of Yosung (Trembling notes). The correlation between Haegeum and Piri in Joongryungsan shows that Piri has larger range of rhythmic variation and tunes and Haegeum plays as a constant base for main notes and variated with Piri. In conclusion, both instruments are performed in a similar progress and complementarily played according to each other’s characteristics.
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