大樂後譜 靈山會相의 第二旋律

• 영문명: The Second Melody of Yŏngsan Hoesang in the TAEAK HUBO(1759)
• 발행기관: 국립국악원
• 저자명: 黃後淵(Hwang Jun yon)
• 간행물 정보: 『국악원논문집』제1집, 67~92쪽, 전체 26쪽
• 주제분류: 예술체육 > 음악학
• 파일형태: PDF
• 발행일자: 1989.12.31

영문 초록

The Taeak Hubo contains two melodies of Yŏngsan Hoesang, the first melody(in the right column of the manuscript) of which is the string line, and the second melody(in the left column) is vaguely believed the wind instrumental part up to the present. Bur the notational situation of the Taeak Hubo in Yŏngsan Hoesang is not similar to that of the Sejongsillok Akho or Ansang Kumho. The melodic structure of the second melody is much different from that of the first melody. Because, the central tones 宮 and the second below thones 下二 of the first melody changed into the first below tones 下一 and the third below tones 下三 of the second melody respectively. In this essay, paying attention to the fact that not only the centre tone of the second melody is different from the centre tone of the first melody but also this changed downward into that, the history of Pyŏngjo Hoesang, one of the three versions of Yŏgsan Hoesang nowaday, is researched. Therefore each section of the essay has been dealt with as follows. Firstly, the difference of the melodic structure between the first melody and the second melody and the fact that the second melody is not .simply wind line of Yŏngsan Hoesang but the new virsion are studied one by one. Secondly, Pyŏngjo Hoesang in Samjuk Kumho which is the first entitled virsion in old manuscripts has been transcribed for the first time. And lastly, the correlation between the second melody of Taeak Huho with Pyŏngjo Hoesang in Samjuk Kumbo and modern virsion has been investigated. In conclusion, the second melody, derived from the first melody, is not wind instrumental melody but the first new virsion of Yongsan Hoesang, the former Pyŏngjo Hoesang. And the centre tone, d flat(㒇), of this new virsion thereafter changed into c (㑲) in Samjuk Kumbo, and settled to B flat in modern virsion.

목차

Ⅰ. 머리말

Ⅱ. 제2선율의 선율구조

Ⅲ. 三竹琴譜 平調靈山會像과의 관계

Ⅳ. 삼죽금보와 현행의 평조회상

Ⅴ. 맺음말

참고문헌

Abstract