가야금산조의 구성법에 대한 연구

Abstract

A series of systematic analysis in the mode, constitution, and progression of the tone in JIN YANG JO was carried out in an effort to find out certain criteria by which some parts of the melody may rightly be omitted in the performance. Comparisons of several cases in omission among the three types of Kim's, Kang's, and Kim Tun's were made to find out the criteria where and when its emission can be possible. It takes about twenty minutes to play the whole melody of JIN YANG JO, but if in need according to the performer's own desire, it is sometimes played only in three, five, or in ten minutes. Then, are such iomissions just due to the limitation of time or is there any reasonable criteria? This article is not extended to the analysis of the mode in detail, but just clarifies the scale in each case of playing the types of the melody with several types of three, five, or ten-minute omission. The common findings in its omission, finales, and form in the three schools of Kim's Kang's, and Kim Yun's are as follows. In case of the ten-minute playing, all the portion of the Kemyon mode was played but small portion of less important and needless repititions were omitted in accordance with general principle of playing each mode every. In case of the five-minute playing, the main portion of the first and second movements which represent the "Woo" mode, and small portion of the Kemyon mode were played, but the Pyong mode was completely omitted. In case of the three-minute playing, only the first phrse of the "Woo" mode was played with the natural progression by a transition. Pattern of finales was noticed to be always ended with the same tone, no matter how the melodic patterns are used. Accurate Transcribing the original note could be one of the important role in the study of mode, and establishment of the system in Korea traditional music. And further systematic studies in this part is expected.