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歌曲 平調의 男ㆍ女唱 旋律 比較

Title
歌曲 平調의 男ㆍ女唱 旋律 比較
Other Titles
(The) Comparison Between 'Song for Male' and 'Song for Female' in P'yongjo in Kagok
Authors
朴誠雨
Issue Date
1983
Department/Major
대학원 음악학과
Keywords
가곡평조남창여창선율
Publisher
이화여자대학교 대학원
Degree
Master
Advisors
황병기
Abstract
"Kagok(歌曲)". which can be subsumed under the category of "Classic Vocal Music(正歌)", is one of the oldest forms of vocal music, and its aesthetic value has been highly esteemed. It is a special genre of vocal music which is performed to the accompaniment of the chamber ensemble of string, wind, and percussion instruments, and subdivided into song for male and song for female. Since there has been no treatise which compares the melodies of "Song for male" and "Song for female", in this essay, the writer would like to elucidate the relationship between the melody of "Song for male" and the melody of "Song for female" written in P'yoˇngjo(平調) which has the same title by the method of comparison. The pieces with which I want to compare are 4 'songs for male' and 4 'songs for female' : Isudaeyoˇp(貳數大葉), Chunggoˇ(中學), P'yoˇunggoˇ(平學), Tugoˇ(頭學). Kagokbo(歌曲譜) which was edited by Ju Hwan Lee(李珠煥) is being used as a reference score, and is translated into western notation from its original notation Choˇngganbo(井間譜) for convenience' sake. In translating, the following method is used. Since 16 choˇnggan(井間) the complex rhythm of 11 beats, and 5 beats, it is indicated as 11+5/♩,. Though 'hwangjong' is E^(b), it is written as D for convenience' sake, and likewise 't'aeju' as E, 'chungnyoˇ' as G, 'imjong' as A, 'namnyoˇ' as C. In comparing the pieces, the writer uses the following conventions. If the same tone emerges per one beat, square box is used to signify the fact. And the number of the beats which has the same tone is enumerated in not identical, they are treated as the same tone, if the major tone is equal. The consequence of the study can be summarized as follows. The relative frequency of the case of the same 'song for male Isudaeyoˇp(貳數大葉)'and 'song for female Isudaeyoˇp' to all of the cases is 49%; 'song for male Chunggoˇ' and ' song for female Chunggoˇ' is 59%; 'song for male P'yoˇunggoˇ' and ' song for female P'yonggoˇ' is 53%: 'song for male Tugoˇ' and ' song for female Tugoˇ' is 53%. Moreover, all the pieces being compared mark the highest relative frequency in the fourth vocal section Since 'Isudaeyop'and 'P'yoˇnggoˇ' is 82% and 'Chunggoˇ' and Tugoˇ' is 93% the melody of the fourth vocal section is shown to be almost indentical. In conclusion, we can understand that since more than half of the 'song for male' and 'song for female' of 'Isudaeyoˇp','Chunggoˇ','P'yoˇuggoˇ', and 'Tugoˇ' is compared of the same melody they have the close correlationship with the relative frequency 49-59%.;正歌에 속하는 歌曲은 우리나라에서 가장 오래뒨 聲樂曲의 하나로 그 藝術性이 높이 評價되고 있다. 歌曲은 男唱과 女唱으로 나누어져 있으며 관현악 반주에 맞춰서 부르는 전문적인 노래이다. 필자는 지금까지 歌曲 硏究에서 男唱과 女唱의 旋律을 比較한 論文이 없음에 착안하여 平調 歌曲 중에서 男唱과 女唱의 旋律을 比較하여 그 연관성을 밝히려고 한다. 比較하려는 曲은 平調 중에서 貳數大葉, 中擧, 平擧, 頭擧로 男唱 4曲과 女唱 4曲이다. 參考 樂譜로는 李 珠煥 編「歌曲譜」를 使用하였으며 比較하기 쉽도록 井間譜를 五線譜로 驛譜하였다. 驛譜함에 있어 다음의 方法을 使用하였다. 16井間은 11拍과 5拍의 複合 長短이므로 五線譜에는 11+5/□로 표시하였다. 黃鐘은 E^(b)이나 편의상 D로 반음을 내려서, 太簇는 E로, 仲呂를 G로, 林鍾을 A로, 南呂를 C로 記譜하였다. 旋律 比較는 한 拍을 單位로 하여 같은 音을 나타낼 때는 네모칸을 그려서 표시하였고 一致하는 音의 수를 세어서 全體 拍수와 比較하였다. 1拍의 구성음이 2/3 以上 같을 때 같은 旋律로 보았으며 16분음표 이하의 음은 모두 장식음으로 처리하였다. 이와같은 硏究로 얻어진 결과는 男唱 貳數大葉 女唱 貳數大葉의 같은 旋律은 49%이며 男唱 中擧와 女唱 中擧는 59%, 男唱 平擧와 女唱 平擧는 53%, 男唱 頭擧와 女唱 頭擧는 53%로 나타난다. 또 比較한 曲들은 모두 4장에서 가장 높은 相關値를 나타내고 있다. 貳數大葉과 平擧는 82%, 中擧와 頭擧는 93%로 4章은 旋律이 거의 같음을 보여준다. 結論的으로 平調 歌曲 貳數大葉, 中擧, 平擧, 頭擧의 男唱과 女唱은 半以上이 같은 旋律로 되어있어 49∼59% 정도의 연관성을 갖고 있음을 알 수 있었다.
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