거문고 술대法에 관한 考察

Abstract

거문고 술대法에 관해서는 몇몇 문헌에서도 다소 언급되었지만 술대 사용法에 관해서는 체계적인 연구가 미비된 상태이다. 本 論文에서는 거문고의 술대 使用法의 종류들이 「靈山會相」 중 上靈山과 中靈山에서 어떠한 효과를 가져 오는지를 고찰함으로써 술대의 올바른 使用法을 정리하고자 한다. 硏究方法으로는 「靈山會相」중 上·中靈山을 택하여 두개의 악보에서 쓰여진 술대法 즉, 大點과 小點, 뜰, 쌀갱과 싸랭, 슬기둥, 흥을 비교하여 정리하였고 또 上·中靈山에서의 술대 使用法이 장고장단에서 어떠한 역할을 하였나를 연구하였다. 그 결과는 다음과 같다. 大點은 내려치는 法과 이기는 法으로 나뉘며 上靈山에서 내려치는 法은 「□」과 「□」에서 많이 나타나고, 合과 채와 북의 위치에서 나타난다. 中靈山에서 내려치는 法을 「□」,「黃」과 「□」에서 많이 나타나고, 合과 북에 많이 나타난다. 이기는 法은 上靈山에서 「□」,「□」, 中靈山에서는 「黃」,「□」에 나타나고, 上·中靈山 모두 合과 채, 북, 채굴림, 그이외의 박에서도 골고루 나타난다. 小點은 合, 채, 북. 채굴림을 제외한 그이외의 박에서 나타난다. 뜰은 上·中靈山 모두 같은 音이 두번 나올 경우 뒤의 音을 뜰로 타게 된다. 쌀갱은 上靈山에서 주로 合과 북에서 나타나고 싸랭은 中靈山에서 合과 북에서만 나타난다.. 슬기둥은 上靈山에서 제1, 2박과 제11, 12박의 2박에 걸쳐서 나타나고, 中靈山에서는 제5, 6, 7, 8째박의 4박에 걸쳐서 나타난다. 흥은 先行音의 지속·역할을 하는데 제5, 6째박과 제15, 16째박의 2박에서만 흥이 나타난다.;Though there are many literary sources in which Ko^mun'go plectrum techniques are reffered to in some degree, the treatment of the subject on a systematic basis has been inadequate. The purpose of this thesis is to present a systematic arrangement of the different types of Ko^mun'go plectrum techniques used in the San-gryongsan and Chungryongsan sections of the Yongsan Hoesang Suite and to study the type of effect that they bring about. For the research method, two different scores of the Sangryongsan and Chungryongsan sections were selected, and their plectrum techniques were arranged in a systematic order and compared. The techniques included the following: tae-jom(a strong stroke), so-jorm(a weak stroke), ddeul (a backward stroke in which the plectrum pulls the string from beneath and is moved in an upward motion toward the player), ssal-kaeng (the first and second string are played alternately in rapid succession), ssa-raeng (the first and second string are played with one stroke in a glissan-do-type fashion), sul-kidung (the first string is struck on the first beat, and then the second and third strings are played alternately on the second beat), and hung (the solfege for e-flat played on the first string). In addition, a study was made of the role that plectrum technique plays in the accompanying rhythm, played on the changgo(a doubleheaded, hourglass-shaped drum), of the Sangryongsan and chungryongsan sections. The findings of these studies are as follows : If we divide the technique of strong downward strokes, in Sangryongsan we find that it is often used on b-flat and b'-flat, and where the two heads of the changgo are struck simultaneously, where only the right head is struck with a stick, and where only the left head is struck with the palm of the hand. In Chungryongsan, the downward stroke is often employed on e-flat, e-flat, and b-flat, and also where the drumheads are struck simultaneously and where the left head is struck with the palm of the hand. This technique is also executed on e-flat and a-flat of Sangryongsan and e-flat and a-flat of Chungryongsan, and in both sang and Chungry-ongsan on every type of accompanying rhythmic drumbeat, including when both heads are struck together, when only the right head is struck with a stick, when only the left head is struck with the palm, and when the stick is rolled only on the right head. The ddeul technique is employed in both Sang and Chungryongsan where the same tone is played twice in succession, the ddeul being executed on the second tone. The ssal-kaeng technique is employed in Sangryongsan mainly where the two drumheads are struck together simultaneously and where the left head is struck with the hand. The ssa-raeng technique is employed in Chungryongsan only where the two heads are struck together and where the left side is struck with the hand. The sul-kidung technique is employed in Sangryongsan on the first and second beat and on the 11th and 12th beat, spanning two beats at a time. In Chungryongsan, it is played on the 5th, 6th, 7th, and 8th beats, thereby spanning a total of 4 beats altogether. Though the function of hung is to serve as a passing tone, it only does so between two beats, that of the 5th and 6th, and that of the 15th and 16th.