모노래, 민아리 및 오독떼기의 비교연구

• 영문명: A Study of Monorae, Min-ari and Odokddegi
• 발행기관: 국립국악원
• 저자명: 이소라(Yi So ra)
• 간행물 정보: 『국악원논문집』제8집, 157~192쪽, 전체 36쪽
• 주제분류: 예술체육 > 음악학
• 파일형태: PDF
• 발행일자: 1996.12.31

영문 초록

Monorae is the rice planting song of Kyŏngsang Province. Odokddegi is the song sung when weeding a rice paddy in the areas of Kangnŭng City, the southeastern part of Yangyang District and a part of P yŏngch ang District, Kangwon Province.(cf. ) Min-ari is the song sung when planting rices or weeding paddies of non-rice or rice field in Kangwon Province. except Odokddegi areas. The origin of Min-ari(민아리) and Odokddegi(오독떼기) is Monorae(모노래). They have no refrain, common texture, and are sung with narrow range(below of 1 octave) of the similar modes. There are three kinds of modes in the each centric area of those songs ; The Mi mode(mi-sol-la-do-re ) and the Do mode(do-re-mi-sol-la) of diatonic scale, and so called Monorae mode which means the mode of quarta deficiens or major third or fourth plus minor third . In many cases, those modes terminate on a basic(central) tone or a middle tone(for exemple ; la of Mi mode, mi of Do mode). These basic tone and middle tone are frequently sung with a vibrato voice. The function of sol in Mi mode and of re in Do mode is weak in the farming songs of Korea. We can see a lot of Mi mode which terminate on its middle tone in Odokddegi pieces of Kangnŭng City, and which terminate on its basic or middle tone in Min-ari of Samch ok · Kosŏng · Hoengsŏng districts. But in Min-ari of Hongch on district Do mode maintains the superior position. And The Monorae of Yangsan, Pusan and Miryang situated in southeastern Kyŏngnam Province is sung with the Monorae mode. Otherwise in the Monorae of Sangju, Ch ŏngdo, Hapch ŏn, Ŭiryŏng and Koesan districts Do mode has superiority in number. These Monorae terminate on the basic tone. If you think, so called Menari mode is Mi mode, it s right except the areas of Monorae and Do mode from the areas of Menari mode . When sung in alternation by two parts, the relationship of corresponding passages of Monorae of the central areas in Kyŏngsang Province is more clearly defined, and tend to be sung in the morning, at noon, and in the evening in accordance with their respective contents. The relationship between coresponding passages of the song, for exemple, can be seen where the first team sings I have stealthily parboiled a wild brier rose and dyed the socks of my lover with it , and the second team follows by coupling it with But, after taking a look at him, there is no mind that I give him my beutifuJ socks. The singers of Min-ari and Odokddegi don t think of such the coresponding relation. The melodies by two parts of Monorae are formed as AA . Min-ari or Odokddegi sings only one part of Monorae. Monorae is composed of 4 phrases. In each one of its first 3 phrases are 6 beats immanent. The last phrase has 3 to 5 beats in many cases. But Odokddegi and Min-ari belong to the pieces of free rhythm. Min-ari is often sung by solo, but Poch on Menari by 5 parts. The singing method of Odokddegi is so called Sŏniphujech ang(先入後齊唱) which means Unison after Solo as the scores of . Its solo part. is always shorter than the unison part. The exemples of Odokddegi that the solo part indicates beforehand the first word (for exemple ; 줄 of ) and that the unison part repeats same word three times(for exemple ; 정자 of the 7th piece in ) are not found in Monorae and Min-ari. The disentangling of a word ( 하-으아-으아-으아안 instead of 한 or 나-아으아으이으아아 으아아으아앙게 instead of 낭게 as you see the exemple in ) appears to the greatest degree in Odokddegi among them.

목차

Ⅰ. 머리말

Ⅱ. 민요권과 용도

Ⅲ. 노래말과 선율

Ⅳ. 공통점과 차이점

Ⅴ. 모노래의 길

Ⅵ. 맺는말

Abstract