한국 전통음악 음조직론의 검토

• 영문명: A Review of Theories of Korean Traditional Tone Structure
• 발행기관: 국립국악원
• 저자명: 최헌(Choi Heon)
• 간행물 정보: 『국악원논문집』제9집, 129~191쪽, 전체 63쪽
• 주제분류: 예술체육 > 음악학
• 파일형태: PDF
• 발행일자: 1997.12.31

영문 초록

The Samguksagi , the oldest source dealing with Korean traditional tone structure, names the scale modes for hyang ak and tang ak. Another source, Koryŏsa , mentions the scales employed in the new music of a ak. However, these old sources lack specific details to give us clear data. Unlike the above mentioned documents, the notations found in the Sejongsillok are comprehensive enough for us to examine the actual pentatonic p yŏngjo (the sol-mode) and kyemyŏnjo (the la-mode) in hyang ak, the heptatonic mode in a ak, and the music used for royal processions (koch wi ak). The Akhakgwebŏm documents in great detail the contents, characteristics, and the practice of tonal structure in a ak, tang ak, and hyang ak. This is provided through theories of tonal structure and inscriptions found alongside the instrument drawings in the book. However, scholars interpret the data differently. The significance of Yanggŭmsinbo in ,the history of studies on tonal structure is outlined in Lee Hye-ku s study. Based on his analysis of the source, Lee has theorized that tonal structure in this period consisted of 4 pentatonic modes, namely, p yŏngjo, p yŏngjo kyemyŏnjo, ujo, and ujo kyemyŏnjo. Ŏ ŭnbo, a kŏmun go tablature presumably published between Hangŭmsinbo (l724) and Yuyeji (1779), has received scholarly attention as evidencing the transition of kyemyŏnjo from a pentatonic mode to a tritonic mode. One of the more recent scholars of tonal structure is An Hwak. His monumentary work Chosŏn ŭmak yŏn gu (1930) covers the tonal structures of hyang ak, tang ak, and a ak in terms of all major issues that are still being studied by present-day scholars. However, his research bears too many inconsistancies to be taken at face value. Ham Hwa-chin s theory on tonal structure is outlined in his book Chosŏn ŭmak t ongnon, published in 1948. What differentiates his study from others is his sambunsonikbŏp for producing the scale tones and his categorization of modes into kungjo, sangjo, kakjo, pyŏnch ijo, ch ijo, ujo, and pyŏn gungjo, regardless of whether they are used in a ak, tang ak, or hyang ak. One may become familiar with the theories of tonal structures of contemporary scholar Lee Hye-ku through his analysis of kagok, sujech on, or pieces found in old scores, although Lee has never produced a separate study on tonal structures per se. Lee explains that during the first half of the Chosŏn dynasty, there were two modes of tonal structure, pyŏngjo and kyemyŏnjo, and the latter changed after the mid-Chosŏn period. His study focuses on the pitch and scale-degrees of the tones, focusing primarily on scales. However, Chang Sa-hun, in his book Hankuk ŭi ŭmkye (1992), extends Lee s studies on tonal structure to include a consideration of vibrations and slides of tones. According to Chang, kyemyŏnjo in Yŏngsanhwesang is a combination of the kyemyŏnjo in which Yimjong is the tonic and the kyemyŏnjo with Hwangjong as the tonic. Thus his research concentrates more on modes than scales . Han Man-yong s research on tonal structure is twofold. First is his study of the relations between pŏmp ae and other folk music, and the second is his investigation into the folksong modes from the Eastern provinces (east of t aebaek mountains). In terms of hyang ak music, his discovery of the Yŏk-kwe-bŏp in Kagok is worthy of note. Like Chang, he emphasizes the vibrational and sliding qualities of the scale tones, and he designates the three tones in Namdo mode as vibrating , plain , and sliding tones respectively. Kwon O-sung asserts that the folksong modes in Kyŏngsang and Chŏlla provinces are each based on the concatenation or the transposition of two tetrachords, which are Mi-La + La-re, and Mi-La + Si-Mi respectively. Kwon also argues for the use of number no

목차

Ⅰ. 머리말

Ⅱ. 한국전통음악의 음조직론

Ⅲ. 전통음악 음계론의 현황

Ⅳ. 맺는말

Abstract