현행 상영산에 나오는 ‘동’ 태주음

• 영문명: The Note F in Sangyŏngsan
• 발행기관: 국립국악원
• 저자명: 이혜구(Lee Hye ku)
• 간행물 정보: 『국악원논문집』제11집, 7~20쪽, 전체 14쪽
• 주제분류: 예술체육 > 음악학
• 파일형태: PDF
• 발행일자: 1999.12.31

영문 초록

Sangyŏngsan, the first movement of yŏngsanhŏsang, a kind of chamber music, is in the mode of kyemyŏnjo. Its scale is eb, ab, bb, essentially a tritonic scale lacking the note f which is characteristic of ujo. The kyemyŏnjo and ujo scales are as follows: kyemyŏnjo : eb, ab, bb (eb being the central tone) ujo : eb, f, ab, bb, c (eb being the central tone) Later, Sangyŏngsan in kyemyŏnjo adopted the note f which belongs to ujo, blurring its kyemyŏnjo. It thus makes some scholars assume that it is not kyemyŏnjo but ujo. The structure of Sangyŏngsan is as follows: Section 1 of sangyŏnsan consists of 3 lines (rhythmic cycles): section 2 of 4 lines; section 3 of 4 lines; section 4 of 6 lines. The note f occurs in the following five cases; 1) At the end of line 3, section 4: originally this part was the end of the piece, but later it came to be followed by 3 additional lines. The note f, a second above the central tone eb occuring at the end of this part, indicates that the music does not end at line 3, but continues. 2) At the beginning of line 4, section 4: there are three ways of starting the music: a fourth below the central tone, a second above it, a fifth above it. Now the note f preceding the initial central tone eb belongs to the second of these. 3) Line 1, section 4: the descending motion, bb-eb being too abrupt, is altered to bb-f, the corresponding part of it in the old music, yuyeji being ab-eb. 4) Line 3, section 4: the note f as a passing tone between eb and bb. 5) Line 3, section 2: originally the melody of lines 3 and 4, section 2, was simply repeated in the following lines 3 and 4, section 3, effecting a kind of monotony. Even its modern kayagŭm part retains its old melody. The mŏdem kŏmun’go part of it varied the old melody of the first half of line 3, ab eb bb / ab eb into f eb bb / f eb, altering the note ab to f. Lowering the note ab to f makes section 3 into the climax of the piece The note f in kyemyŏnjo might be a wrong note or parallel to the enemy tone of Javanese gamelan music. Whether wrong or enemy , such expressions point to the resisting character of kyemyŏnjo mode.

목차

Ⅰ. 서론

Ⅱ. 본론

Ⅲ. 결론

참고문헌

Abstract