안현정 작곡 거문고 독주곡 ‘만추(晩秋)’ 분석연구

Abstract

본 논문은 안현정 작곡의 거문고 독주곡‘만추(晩秋)’(2021)를 연구 대상으로 하였다. 본 곡의 악곡구조는 1장, 2장, 3장, 4장, 5장 다섯 장으로 나누어지고 총 148마디로 구성되어있다. 곡 분석의 편의를 위해 악곡구조를 장별로 단락을 나누어 악곡의 형식을 제시하였다. 각 장별 선율과 리듬, 거문고 연주법을 분석한 결과는 다음과 같다. １장은 제 1마디~제 18마디까지이고 a단락, b단락, c단락, b'단락으로 구분된다. 조성은 A♭ Major (내림 가장조), 박자는 12/8박자, 출현음은 B♭, C , E♭, F , A♭이며 이중에 주요음은 B♭, E♭이다. 1장의 모티브는 제 2마디에 세 음으로(E♭, F , B♭)제시되어 1장의 네 단락 전체에서 사용된다. 모티브 세 음 안에 자출과 뜰의 연주법을 활용하여 모티브를 부각시킴과 동시에 작고 맑은 소리를 내어 거문고의 섬세함을 느끼는 효과를 담는다. 1장은 전체적으로 우조 분위기의 느린 템포에서 4도 상행하는 도약진행이 자주 등장하여 전통적인 선율진행이 돋보인 장이다. 2장은 제 19마디~제 38마디까지이고 d단락, e단락, d'단락, e'단락으로 구분된다. 조성은 F Major (바 단조), 박자는 9/8박자, 출현음은 C , E♭, F , A♭, B♭이며 이중에 주요음은 C , F 이다. 2장의 모티브는 제 19마디에 제시되어 동기①, 동기②와 같은 메나리토리 하행선율진행과 특정 리듬의 반복을 통해 모티브를 부각시킨다. 모티브 중 세 음(F , E♭, C) 사이에 자출이 특징적으로 사용되며 이는 모티브 선율을 부각시키는 효과를 나타낸다. 2장은 전체적으로 메나리토리의 전통적인 선율이 나타나고 1장의 주요음인 E♭을 부분적으로 길게 뻗는 느낌을 사용하여 전체적으로 통일감과 규칙성이 돋보인 장이다. 3장은 제 39마디~제 76마디까지이고 f단락, g단락, f'단락으로 구분된다. 조성은 F minor (바 단조), 박자는 8/8박자, 출현음은 임시표의 등장으로 다양한 음이 출현하였지만 주요음은 2장과 마찬가지로 C , F 이다. 3장의 모티브는 제 39마디에 제시되며 2장 제 35마디에 나타난 ˅음형이 반음간격으로 사용된다. 이 반음진행은 f단락과 f'단락에서 주요적으로 사용되어 현대음악적인 선율의 특징을 부각시킨다. 3장의 전체적인 특징은 ˅음형이 반음으로 사용되어 현대음악적인 선율이 부각되고 2분박과 3분박의 교차로 리듬또한 현대적이며 개방현과 뜰, 대점 등 다양한 주법을 사용함으로서 타악적인 효과의 다양한 변화로 거문고의 특징 및 장점을 최대한 부각시켰다는 점이다. 4장은 제 77마디~제 102마디까지이고 h단락, i단락, h'단락으로 구분된다. 조성은 C minor (다 단조), 박자는 3/4박자, 출현음은 3장처럼 임시표가 다양하게 등장하며 주요음은 동일하게 C , F 이다. 4장에서 등장한 intro에서는 불협화음(C , B♭)의 개방현, 트레몰로, 핑거링과 같이 다양한 주법이 사용되어 보다 현대적인 연주법들로 이어가는 것이 특징이다. 4장의 모티브는 제 82마디에 제시되며 스타카토의 활용으로 독특한 음색을 구현하고, 쉼표를 활용하여 선율보다는 리듬의 효과를 더 부각시킨다. 전통적인 선율이 부분적으로 등장하여 3장에 비해 현대적인 선율이 부각되진 않지만 fingering과 트레몰로, 스타카토와 같은 현대적인 특수주법을 활용한 다양한 연주법과 쉼표를 사용한 리듬진행과 문현의 활용은 여전히 현대음악적인 특징을 이어간다는 것이 4장의 전체적인 특징이다. 5장은 제 103마디~제 148마디까지이고 j단락, j'단락, a'단락으로 구분된다. 조성은 j단락이 C minor (다 단조), j'단락이 D minor (라 단조), a'단락이 A♭Major (내림 가 단조)로 두 번의 조성변화가 나타났다. j단락과 j'단락의 박자는 6/4박자, a'단락의 박자는 12/8박자이다. 출현음은 3장, 4장과 마찬가지로 여전히 현대적인 반음진행이 이어지며 j단락의 주요음은 G , C , j'단락의 주요음은 A , D , 그리고 a'단락의 주요음은 E♭, A♭이다. 5장의 모티브는 제 103마디에 제시되며 4장의 intro선율과 유사했다. 메나리토리와 육자배기토리의 선율을 교차로 사용하여 3장과 4장에 나타났던 현대적인 반음의 선율특징에서 다시 전통적인 선율 특징으로 재현하는 역할을 하는 것이 5장의 가장 큰 특징이다. 안현정 작곡의 거문고 독주곡‘만추(晩秋)’를 살펴본 결과, 본 곡은 메나리토리, 육자배기토리, 현대적인 반음 사용, 타악기적인 리듬과 다양한 연주법들의 조화로 거문고 본래의 악기 특성을 최대한 활용한 곡이다. 본 논문을 통하여 거문고 독주곡‘만추(晩秋)’의 작품이해를 돕고 실제 연주에 도움이 되기를 기대해본다.;This paper examines the geomungo solo piece“Manchu”(2021) composed by AN Hyeonjeong. This piece was premiered on December 9, 2020 by Son Soo-rim as a Ph.D. concert at Ewha Womans University. For the version of the concert“The Nature of Geomungo”performed on March 3, 2021, various detailed geomungo playing techniques were added by the composer, which further maximized musical effect. This paper analyzes melodies, rhythms, and playing techniques dividing the composition into five chapters. The results of the analysis are as follows: The first chapter has a total of 18 bars (bars 1-18) and is divided into four sections (sections a, b, c, and b'). The tonality is A♭ Major and the meter is 12/8; the appearance notes are B♭, C , E♭, F , and A♭with the main notes of B♭ and E♭. The motif of the first chapter is presented on three notes (E♭, F , and B♭) in bar 2 and used throughout the four sections of the chapter. The motif is highlighted by using techniques of jachul (hitting or plucking with left hand) and tteul (plucking upward) within three notes, the delicacy of the geomungo is presented by making small and clear sound, and the motif melody of the second chapter is prepared in the section c and b'. In the first chapter, the () rhythm, which is a long rhythm, and the () rhythm suggested in the motif are mainly used and further a jump progression that goes up 4 degrees in a slow tempo of a ujo-mode atmosphere frequently appears, which demonstrates that the traditional melodic progression is outstanding. The second chapter has a total of 20 bars (bars 19-38) and is divided into four sections (sections d, e, d', and e'). The tonality is F major and the meter is 9/8; the appearance notes are C , E♭, F , A♭, and B♭, among which the major notes are C and F. The motif of the second chapter is presented in bar 19; the motif is emphasized through the repetition of the specific rhythms () and () and a descending melodic progression of the menari-tori such as motive ① and motive ②. Jachul is characteristically used among the three notes (F , E♭, C), showing the effect of emphasizing the motif melody. The motif of section d is carried out with regularity in section d and d', which shows a musical contrast to the long rhythm in section e. In bar 35, the V-shaped melody and the () rhythm are presented, and this is the preparatory part for sound pattern and rhythm of the motive of the third chapter. The second chapter shows the traditional melody of menari-tori as a whole, and uses the feeling of partially extending E♭, the main note of the first chapter, to show a sense of unity and regularity as a whole. The third chapter has a total of 38 bars (bars 39-76) and is divided into three sections (sections f, g, and f'). The tonality is F minor and the meter is 8/8; As for the appearance notes, various notes appear due to the appearance of the temporary key signature, but the main notes are C and F as in the second chapter. The motif of the third chapter is presented in bar 39, and the V-shaped melody shown in bar 35 of the second chapter is used at semitone intervals. This semitone progression is mainly used in section f and f', highlighting the characteristics of modern musical melodies. The motif rhythm is indicated by the (++) rhythmic phrase. The () rhythm, which appeared once in the first and second chapters, is dealt with as the first beat of the motif, and is presented the same in the first part of all measures in section f. In section g, the meter 8/8 mixes the triple and duple divisions and thus the standard beat is divided into () and (); in this process, percussive elements are more effectively expressed by highlighting consecutive strokes through the use of daejeom (striking technique to make loudest sound) and tteul. Section f' is changed to 6/8 meter, and the V-shaped melody with semitone interval of section f and the () and () rhythms of section g are used to make it a rhythmic section. In bar 64, the melodic progression is partially shown for the first time, and the melodic progression of F , A♭, F , B♭, A♭, and F in bar 73 is preparatory for the fourth chapter. The overall characteristic of the third chapter is that the V-shaped melody is used in semitones and the duple and the triple divisions are used alternately, which highlights modern musical components, and various percussive effects by using various playing techniques such as open strings, tteul, and daejeom emphasize the features and advantages of the geomungo to the maximum. The fourth chapter has a total of 26 bars (bars 77-102) and is divided into three sections (sections h including intro, i, and h'). The tonality is C minor and the meter is 3/4. As in the third chapter, the appearance notes appear along with various temporary key signatures and the main notes are C and F. The intro of the fourth chapter is characterized by the use of various playing techniques such as open strings of dissonant notes (C , B♭), tremolo, and fingering, leading to more modern playing techniques. The motif of the fourth chapter is presented in bar 82, and the use of staccato creates a unique tone, and the () rhythm along with the two rhythms (, ) of the motif are mainly used in the fourth chapter, highlighting the effect of rhythm rather than melody. The playing techniques using munhyeon (String 1) and yuhyeon (String 2) in section i are found in section g of the third chapter while the V-shaped semitone progression in section f and f' in the third chapter, which shows unity with the third chapter. In section h’, descriptive words for fingering techniques such as 'striking with the 2nd, 3rd fingernails' or 'striking with 2nd, 3rd and 4th fingernails' are presented, further highlighting the unique tone and maximizing the musical effect. Although the modern melody is not emphasized compared to the third chapter due to the partial appearance of the traditional melody, various playing techniques using modern techniques such as fingering, tremolo, and staccato, rhythm progression using commas, and the use of munhyeon, in the fourth chapter, show the continuation of modern musical characteristics. The fifth chapter has a total of 46 bars (bars 103-148) and is composed of section j using the melodic features of menari-tori and yukjabaegi-tori, section j's succeeding to the melody of menari-tori, and section a' repeating section a. The tonality starts with C minor, is transformed into D minor in section j', and then is transformed into A♭ Major in section a'. The meter of section j and j' is 6/4 while that of section a' is 12/8. As in the third and fourth chapter, the appearance notes continuously feature the modern semitone progression, and the main notes of section j are G and C, those of section j' are A and D , and those of section a' are E♭and A♭. The motif of the fifth chapter is presented in bar 103, and it is similar to the intro melody of the fourth chapter. The motif of section j is used in various forms, and partially maintains the rhythmic components of the third and fourth chapters by using the 16th-note () rhythm and the playing techniques of tteul and daejeom. By using the melodies of menari-tori and yukjabaegi-tori alternately, it plays a role in reproducing the traditional melodic features as opposed to the modern semitone melodic features that appeared in the third and fourth chapters. Section a' has the same playing technique and musical components as the first chapter, and the greatest characteristic of the fifth chapter is that it ends with sumi (intro-end) correlation structure that reverses section a as a whole. Asaresultofexaminingthegeomungo solo piece “Manchu”composed by AH Hyeon-jeong, after the premiere in 2020, the techniques of playing the geomungo were added more delicately in the reenactment in 2021, improving the level of musical expression. It is a work that maximizes the original characteristics of the instrument geomungo by harmonizing menari-tori, yukjabaegi-tori, modern semitones, percussive rhythm, and various playing techniques. It is my hope that this thesis will help with the understanding and practice of the geomungo solo work “Manchu”.