지원사업
학술연구/단체지원/교육 등 연구자 활동을 지속하도록 DBpia가 지원하고 있어요.
커뮤니티
연구자들이 자신의 연구와 전문성을 널리 알리고, 새로운 협력의 기회를 만들 수 있는 네트워킹 공간이에요.
초록· 키워드
오류제보하기
This study is aimed to clear up ambiguity of the relation that Ginyumbul(긴염불) and Banyumbul(반염불) are originated from Yuyuejy(유예지, 遊藝志).
Even though there is no clue to find out what is source between the two of pieces, generally, Banyumbul is believed as origin of Ginyumbul.
Comparing with melodies, main notes, Jangdane(장단,長短) and tempo, Banyumbul is more coordinate with Yumbulhwanip(염불환입,念佛還入) which is found in Yuyuejy and Suhgumbo(서금보 西琴譜).
For these possibly reasons, Ginyumbul can be a varied form of Banyumbul by reducing details and expanding tempo of each Jangdans and also the other way around.
The specific results are as follows;
1. Both Ginyumbul and Banyumbul consist of at least 6-Jangdan as a unit. So, repeated 2 or 3 times, it can be enlarged 12 or 18-Jangdan as a whole. Especially, the 1st Jangdan, as a fundamental structure, it is showed in the beginning and ending of each pieces.
2. Both of these have Dodri-Jangdan(도드리), the pattern of rhythm, which is made of 6 beats; Ssang (쌍, 雙 ) includes the 1st and 2nd beat of Jangdan as Yo(요, 搖) does the 5th and 6th beat of that, and Pyun(편, 鞭) is the 3rd as Go(고, 鼓) is the 4th.
In Ginyumbul, Jangdan is little bit different from original form in Banyumbul; the 2nd beat becomes Go and the 3rd, Pyun, divided into two third of Giduk and one third of Duck.
3. When it comes to melody, Ginyumbul has more details and ornaments every single Jangdans than Banyumbul does. In addition, because of tempo, Ginyumbul shows more frequent pauses like 2 or 3 times more than Banyumbul does.
4. The notes which is presented in Ginyumbul and Banyumbul are normaly e<SUP>b</SUP>, f, a<SUP>b</SUP>, b<SUP>b</SUP>, d<SUP>b</SUP> and, morever, it can be shortened three of main note, such as e<SUP>b</SUP>, a<SUP>b</SUP>, b<SUP>b</SUP>.
Even though there is no clue to find out what is source between the two of pieces, generally, Banyumbul is believed as origin of Ginyumbul.
Comparing with melodies, main notes, Jangdane(장단,長短) and tempo, Banyumbul is more coordinate with Yumbulhwanip(염불환입,念佛還入) which is found in Yuyuejy and Suhgumbo(서금보 西琴譜).
For these possibly reasons, Ginyumbul can be a varied form of Banyumbul by reducing details and expanding tempo of each Jangdans and also the other way around.
The specific results are as follows;
1. Both Ginyumbul and Banyumbul consist of at least 6-Jangdan as a unit. So, repeated 2 or 3 times, it can be enlarged 12 or 18-Jangdan as a whole. Especially, the 1st Jangdan, as a fundamental structure, it is showed in the beginning and ending of each pieces.
2. Both of these have Dodri-Jangdan(도드리), the pattern of rhythm, which is made of 6 beats; Ssang (쌍, 雙 ) includes the 1st and 2nd beat of Jangdan as Yo(요, 搖) does the 5th and 6th beat of that, and Pyun(편, 鞭) is the 3rd as Go(고, 鼓) is the 4th.
In Ginyumbul, Jangdan is little bit different from original form in Banyumbul; the 2nd beat becomes Go and the 3rd, Pyun, divided into two third of Giduk and one third of Duck.
3. When it comes to melody, Ginyumbul has more details and ornaments every single Jangdans than Banyumbul does. In addition, because of tempo, Ginyumbul shows more frequent pauses like 2 or 3 times more than Banyumbul does.
4. The notes which is presented in Ginyumbul and Banyumbul are normaly e<SUP>b</SUP>, f, a<SUP>b</SUP>, b<SUP>b</SUP>, d<SUP>b</SUP> and, morever, it can be shortened three of main note, such as e<SUP>b</SUP>, a<SUP>b</SUP>, b<SUP>b</SUP>.
목차
Ⅰ. 머리말
Ⅱ. 긴염불과 반염불의 악곡 구성
Ⅲ. 긴염불의 장단과 반염불의 장단
Ⅳ. 긴염불과 반염불의 선율비교
Ⅴ. 주요 출현음의 비교
Ⅵ. 맺음말
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