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국립국악원 줄풍류와 지영희 줄풍류의 비교

Title
국립국악원 줄풍류와 지영희 줄풍류의 비교
Authors
박혜진
Issue Date
2003
Department/Major
대학원 음악학부
Publisher
이화여자대학교 대학원
Degree
Master
Advisors
조운조
Abstract
This study aims at clarifying differences and similarities between the Joolpoongryu performed by the National Classical Music Institute(NCMI) and that by Ji, Yeonghui, by comparing their structures, movement divisions, jangdans(rhythms), appearing notes, ending styles and melodies. The comparison leads to the following conclusions: First of all, there is a difference in the structure. The NCMI's joolpoongryu has two kinds of performance styles, which are Minhwesang and Gajunhwesang. Minhwesang is performed from Sangnyeongsan, and then comes Joongnyeongsan, Seryeongsan, Garakdori, Sanghyeon-dodeuri, Hahyeon-dodeuri, Yeombool-dodeuri, Taryeong and Gunak in that order; Gajunhwesang has Mihwanip between Sanghyeon-dodeuri and Hahyeon-dodeuri of Minhwesang and three more pieces called Cheonnyeonmanse, which includes Gyemyeongarak-dodeuri, Yangcheong-dodeuri and Woojogarak-dodeuri, after the Gunak of Minhwesang. By comparison, Ji, Yeonghui's Joolpoongryu has three kinds of the performance styles, which are Bonpoongryu, Jadpoongryu and Dewitpoongryu: Bonpoongryu is performed in order of Dasreum, Bonyeongsan and Joongyeongsan; Jadpoongryu performed in order of Garakdori, Sanghyeon-dodeuri, Jan-dodeuri, Hahyeon-dodeuri, Yeombool-dodeuri, Taryeong and Gunak; Dewitpoongryu performed in order of Gyemyeongarak-dodeuri, Yangcheong-dodeuri, Woojogarak-dodeuri and Poongryu-gutgori. Ji, Yeonghui's Joolpoongryu has Dasreum and Poongryu-gutgori which are not included in Gajunhwesang by the NCMI. Secondly, there is a difference in the movement division of Sangnyungsan. The NCMI's Sangnyungsan is composed of four movements and seventeen jangdans(three jangdans in the first movements, four in the second, four in the third and six in the fourth movement, respectively). By contrast, Ji, Yeonghui's Bonyeongsan is composed of five movements and seventeen jangdans(three jangdans in the first movement, four in the second, four in the third, four in the fourth and two in the fifth movement, respectively). This is because the six jangdans in the fourth movement of the NCMI's Sangnyungsan are divided into four jangdans in the fourth movement and two in the fifth movement in Ji, Yeonghui's Bonyeongsan. Their movement divisions are different, though the total number of jangdans is the same. Thirdly, the jangdan of the NCMI's Sangnyungsan, twenty beats per one jangdan, is the same as that of Ji, Yeonghui's Bonyeongsan. It is also the same that one jangdan is divided into four daegangs, each of which includes six, four, four and six beats. Fourthly, the NCMI's Sangnyungsan and Ji, Yeonghui's Bonyeongsan have the same appearing notes, which are Jung(A^(b)), Lim(B^(b)), Mu(D^(b)), Hwang(E^(b)), Tae(F) and those of an upper octave. Fifthly, the ending styles of the NCMI's Sangnyungsan and Ji, Yeonghui's Bonyeongsan are the same; both of them ended by Hwang(E^(b)) which comes after Jung(A^(b)). It seems that the fourth movement of Sangnyungsan is divided into two movements in Bonyeongsan because this kind of ending style appears at the last daegang of the fourth movement in Bonyeongsan. Finally, comparing the melodies of the NCMI's Sangnyungsan and Ji, Yeonghui's Bonyeongsan, it is concluded that 143 notes(43.33%) are the same, 73(22.12%) are similar and 114(34.54%) are different among the whole 330 notes in 17 jangdans. A sum of the same or similar notes holds 65.45 percents, that is, over half the notes are alike. It means that the two pieces are similar in the whole frame, but partly, they have some different melodies.;본 논문은 국립국악원 줄풍류(이하 국악원 줄풍류라고 칭한다)와 지영희 줄풍류(이하 지영희 줄풍류라고 칭한다)를 악곡구성과 악장구분의 차이점 및 상령산의 장구장단, 출현음, 종지형, 선율등으로 나누어 비교함으로써 두 곡이 어떠한 차이점과 유사점이 있는지 밝히는 것을 목적으로 한다. 국립국악원 줄풍류의 상령산과 지영희 줄풍류의 본영산을 비교한 결과를 요약, 정리하면 다음과 같다. 첫째, 상령산의 악장구분이 다르다. 국악원 상령산은 총 4장 17장단(1장 3장단, 2장 4장단, 3장 4장단, 4장 6장단)으로 구성되어 있고 지영희 본영산은 총 5장 17장단(1장 3장단, 2장 4단장, 3장 4장단, 4장 4장단, 5장 2장단)으로 구성되어 있다. 장(章) 수가 틀린 것은 국악원 상령산의 4장 6장단을 지영희 본영산이 4장 4장단과 5장 2장단으로 나누었기 때문이다. 총 장단수가 17장단이라는 점에서는 동일하지만 악장구분의 차이가 있다. 둘째, 국악원 상령산과 지영희 본영산의 장구장단은 1장단 20박으로 동일하며 한 장단을 6·4, 4·6의 4대강으로 나누어 치고 있는 것 역시 동일하다. 셋째, 국악원 상령산과 지영희 본영산의 출현음은 중-남-무-黃-太-仲-林-無-潢-汰로 동일하다. 넷째, 국악원 상령산과 지영희 본영산의 종지형은 仲(A^(b))음에서 黃(E^(b))음으로 하강 종지하는 형태로 동일하다. 상령산 4장이 본영산에서 4장과 5장으로 나뉜것은 본영산 4장 4각의 마지막 대강에서 仲(A^(b))음에서 黃(E^(b))음으로 하강하는 종지형태가 나타났기 때문으로 보여진다. 다섯째, 국악원 상령산과 지영희 본영산의 선율을 비교해본 결과 동일한 음은 총 17장단 330박 중 143박으로 전체의 43.33%, 유사한 음은 총 17장단 330박 중 73박으로 전체의 22.12%, 다른 음은 총 17장단 330박 중 114박으로 전체의 34.54%를 차지하는 것으로 나타났다. 동일한 음과 유사한 음을 합하면 총 330박 중 216박으로 65.45%, 즉 전체의 50%가 넘고 완전히 다른 음은 34.54%이므로 이는 전체적인 골격은 비슷하지만 부분적으로는 다른 진행을 한다는 것을 의미하는 것이다.
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