이 각 1번씩 나타나고 있다.
둘째, 平調 貳數大葉·中擧·平擧·頭擧 4曲의 男·女唱을 비교하여 4번이상 나타나는 선율형 중에서 많이 나타나는 선율형의 순서대로 그 내용을 살펴보면 다음과 같다.
은 4曲을 통해 가장 많이 나타나는 선율형으로써 女唱이 仲㑲㣩의 선율로 되어 단6도장2도의 진행을 보여주는 女唱을 특징 지우는 선율형이다. 이에 해당하는 부분의 男唱은 4가지 다른 선율형으로 나타난다.
이렇게 女唱의 특징적인 선율이 나올 경우에 男唱은 □의 음을 쭉 뻗고 있게 된다.
은 男唱이 仲음으로 쭉 뻗는데 비하여 女唱은 단6도장2도의 특징적인 선율형을 보이면서 太음을 중심으로 단3도 밑으로 진행하는 선율형이다.
은 男唱에 비해서 女唱이 완전5도 밑으로 잠시 떨어졌다가 다시 男·女唱의 선율이 같아지는 선율형이다.
은 男唱에 비하여 女唱이 장6도 위로 올렸다가 다시 男唱의 음과 같아지는 선율형이다.
은 男唱에 비하여 女唱이 단3도 밑으로 내려갔다가 다시 男唱과 같아지는 선율형이다.
은 男唱에 비하여 女唱이 한 옥타브 밑으로 진행하는 선율형이다.
은 男唱에 비하여 女唱이 장2도 밑으로, 그리고 장2도 위로 진행하는 선율형이다.
은 男唱에 비하여 女唱이 완전5도·장2도 위로 음을 올렸다가 다시 男唱과 같아지는 선율형이다.
이상을 정리하면 女唱은 男唱보다 선율에 따라서 5도·6도 2도 위의 음정으로 올라가는 선율로 나타나기도 하며, 또는 반대로 2도 3도·4도·8도 밑의 음정으로 내려가는 선율로 나타나기도 한다. 그리고 단6도장2도의 진행을 보이는 女唱 특유의 선율이 많이 나타나고 있음을 알 수 있다.;Gagok(歌曲) which is also called Man Nyuˇn Cha´ng Hwanch明igot, (萬年長權之曲), is a song based on the words of sijo(traditional Korean short poems) and had been taken an imfortant position in the traditional Korean music owing to its artistic refinement and the variety of the songs. Gagok (歌曲) can be divided into two parts : songs for male and songs for female. It is a professional song performed to the accompaniment of the Korean orchestra. Compared with the songs for male, the songs for female have never been thoroughly studied so far.
Since there has been no study on the change of melodies in the songs for male ant the songs for female, the writer would like to investigate how the melody of the songs for female differs from that of the songs for male, what are the rules of the difference between them, and how many kinds of differing melodies cad. be found.
Gagok-Bo(歌曲譜) edited by Ju Hwan Lee and translated into western notation by me writer and the score of Gomuˇngo, P´iri and Haeguˇm from the Korean Music published by the National Classical Music Institute are used as reference scores.
The tone notated in the score of the book edited by Ju Hwan Lee is an octave higher than it really is.
The result of the study can be summarized as follows.
First, a total of 25 melody patterns have been found in the songs for male and the songs for female of the four pieces : P´yong-cho(平調), Ihsudaeyuˇp(貳數大葉), Chuˇnggoˇh(中擧), P´onggaˇh(平擧), and Dugoˇh (頭擧)., Pattern B is found most frequently (30 times), pattern C 8 times, pattern D 6 times, pattern G,H,J,M,N, 4 times respectively, pattern A.I.L.R.Y.U, 2 times respectively, and pattern E,F,K,O, P.Q.S.T.V.W,X and found only once respectively.
Secondly, the contents of the melody patterns of more than four-time frequency in the songs for male and the songs for female of the four pieces : P´yung-cho Ihsudaeuyˇp, Chuˇnggoˇh, P´yonggoˇh, and Duˇgoh are as follows.
Pattern B appears most frequently throughout the four pieces and shows the characteristics of the songs for female for it consists of Chuˇng Nam Ihm (仲□□) melody and progresses in minor-six-prime and major-two-prime. The songs for male corresponding to this part are found in four different melody patterns. The songs for male continues its tone of Ihm (□) in case the characteristic melodies of the songs for female are present. 무
In pattern C, the songs for male continues in Chuˇng(仲) tone while the songs for female show the characteristic melody pattern of minor-six-prime and maj or-two-prime and progress minor-three-prime lower than the Tae(太) tone.
In pattern D, the songs for female drop perfect-five-prime lower than the songs for male for a while and then rise back to the Level of the songs for male.
In pattern G, the songs for female rise major-six prime higher than the songs for male and then drop back to the level of the songs for male.
In pattern H, the songs for female drop minor-three-prime Lower than the songs for male and then rise back to the love of the songs for male.
In pattern J, the songs for female progress an octave lower than the songs for male.
In pattern M, the songs for female progress major-two-prime Lower and major-two-prime higher than the songs for male.
In pattern N, the songs for female rise perfect-five-prime and mater-two-prime higher than the songs for male and then return to the same Level of the songs for male.
In short, depending upon the melodies, the songs for female sometimes show both five-prime and six and two-prime risker than the songs for male or sometimes show two three four-, and eight-prime lower than the songs for male. Especially the characteristic female melody which progress in minor-six-and major-two-prime tone is frequently found