쌍화점과 쌍화곡에 대한 음악적 고찰

• 영문명: A Study on the music of Ssangwhajeom and Ssangwhagok
• 발행기관: 국문학회
• 저자명: 문숙희(Sukhie Moon)
• 간행물 정보: 『국문학연구』제37호, 203~233쪽, 전체 31쪽
• 주제분류: 어문학 > 한국어와문학
• 파일형태: PDF
• 발행일자: 2018.05.30

국문 초록

본고에서는 『대악후보』 쌍화점과 『시용향악보』 쌍화곡의 음악적 내용을 악보를 통해 살펴보았다. 먼저 ‘기본박 찾기를 통한’ 해석이론으로 두 악곡의 리듬을 찾았고, 두 악곡의 구체적인 음악적 내용과 음악적 관계도 살펴보았다. 『대악후보』 쌍화점의 리듬은 3․2․3혼분박 3박자로 해석되었다. 쌍화점 장단은 『금합자보』 향악곡 장단에 장구점이 추가된 장단으로서, 장구점이 분박(分拍)에 연주된다. 그러나 정간시가에 있어서는 『금합자보』 향악곡과 같이 정간을 분박으로 하고 있다. 선율에는 반복음과 사이음이 나타나고, 가사붙임에는 당김음 현상이 나타나며, 세 절의 가사가 축소되면서 반복되는 음악형식을 취하고 있다. 『시용향악보』 쌍화곡의 리듬은 2분박 4박자로 해석되었다. 쌍화곡의 장단은 고려 향악곡의 대표적인 장단으로서, 장구점이 기본박에 연주된다. 음악형식은 쌍화점의 것을 그대로 따르고 있으나, 반복음․사이음․당김음은 전혀 보이지 않는다. 가사붙임은 한문가사에 맞게 一字一拍식으로 되어 있다. 『시용향악보』 쌍화곡이 모본(模本)으로 한 쌍화점은 『대악후보』 쌍화점이 아니고, 그 이전에 있던 원 쌍화점이다. 원 쌍화점의 리듬은 3분박 4박자이었을 것으로 추측된다. 즉, 고려로부터 전해진 3분박 4박자의 원 쌍화점이 있었고, 조선초기에 이 원 쌍화점을 모본으로 하여 한문가사 2분박 4박자의 쌍화곡이 만들어졌고, 『금합자보』 시절에는 원 쌍화점의 리듬이 3․2․3혼분박 3박자로 확장되었으며, 그 확장된 리듬의 쌍화점이 『대악후보』에 실렸다고 하겠다.

영문 초록

This paper studies the musical contents of Daeakhubo Ssangwhajeom and Siyong-Hyangakbo Ssangwhagok through their scores. It first finds the two song s rhythm with the interpretation of ‘finding the standard beat’, and then it examines the musical contents and their musical relationship. The rhythm of Daeakhubo Ssangwhajeom was interpreted as 3/♩.♩♩., three standard beats, two of which were divided by three and one of which was divided by two. Jangdan of Ssangwhajeom was the jangdan which added more touch points to that of Geumhapjabo Hyangak, and in which one touch point was played per divided beat. As in Geumhapjabo Hyangak, the time-value of one jeonggan was interpreted as one divided beat. Repeated tones and higher or lower tones between the same tones were used in the melody, and syncopation was used in the song. The music consisted of three sections, each of which was repeated, but was reduced gradually. The rhythm of Siyong-Hyangakbo Ssangwhagok was interpreted as 4/♩.♩♩., four standard beats, each of which was divided by two. Its jangdan was a typical jangdan of Goryeo Hyangak, one touch point of which was played per standard beat. The music form was the same as that of Ssangwhajeom, but repeated tones and higher or lower tones between the same tones were not found at all. Like other Chinese lyric song, one Chinese character was sung per standard beat. It seems that the Ssangwhajeom from which Siyong-Hyangakbo Ssangwhagok was arranged is not Daeakhubo Ssangwhajeom, but the original Ssangwhajeom prior to it. The rhythm of the original Ssangwhajeom would be 4/♩, four standard beats, each of which was divided by three. It could be said that there was the original Ssangwhajeom with 4/♩, rhythm which was transmitted from Goryeo dynasty, and in the early Joson period Ssangwhagok with Chinese lyric and 4/♩ rhythm was arranged from the original Ssangwhajeom. And the rhythm of the original Ssangwhajeom was expanded in the period of Geumhapjabo, and this Ssangwhajeom with the expanded 3/♩.♩♩. rhythm was written in Daeakhubo.

목차

Ⅰ. 머리말

Ⅱ. 『대악후보』 쌍화점의 음악적 특징

Ⅲ.『시용향악보』 쌍화곡의 음악적 특징

Ⅳ. 『시용향악보』 쌍화곡과 『대악후보』 쌍화점의 관계

Ⅴ. 맺는말

키워드

쌍화점 쌍화곡 고려 향악 대악후보 시용향악보 리듬 정간보 정간시가 Ssangwhajeom Ssangwhagok Goryeo Hyangak Daeakhubo Siyong- Hyanggakbo Rhythm Jeongganbo Time-value of Jeonggan