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
YukJaBaeGi is well known as a representative of NamDoMinYo(a folk song sung in southern area of Korea) and has unique MiBunEum and SiGimSae. This research compares and analyzes the various music with its emphasis on JaJinYukJaBaeGi rather than GinYukJaBaeGi, two streams of YukJaBaeGi,
We found several characteristics based on the analysis on eight kinds of YukJaBaeGi materials.
First, YukJaBaeGi progresses with certain melody forms. Out of 57 JangDan, [melody form 1] has 12 JangDan, [melody form 2] has 17 JangDan, [melody form 3] has 17 JangDan, and the rest 11 JangDan show various other forms. Therefore, the melody of YukJaBaeGi can be roughly divided into 3 forms, and each material has different number of JangDan. Considering 6 Bak as 1 Gak, 4 Gak as 1 JangDan, and 3 JangDan as 1 Jeol, we found that the 5 materials have the same JangDanTeul, of which 1 Jeol consists of 3 JangDan. However, the rest 3 materials show Jeol, which consists of 2 or 4 JangDan. In addition, YukJaBaeGi in 『Tree with deep root』 and 『Korean music volume 4』, and 『YukJaBaeGi of IHwaJungSeon』 have JangDan which has 2 or 3 Gak rather than 4 Gak. We think the difference of singers and words resulted in such different structures of JangDan in each material. It is similar to SanJo where the performers play slightly differently, make and set up their own "Ryu" in the end. This characteristic also appears in Pansori, and it is one of the factors of Korea music which promotes autonomy and creativity.
Accordingly, we could find that YuJaBaeGi could be different based on the person who sings and the words it has and is not always the same.
Secondly, YukJaBaeGi follows the scale of GaeMyeonJo, g, b, c, d, e b, f. Most of the JongJiEum of each JangDan is g scale, and the JongJiEum of each Jeol with burden is c scale. We noticed an unusual fact that the end scale of Gak which is right before the c scale, the JongJiEum of each Jeol, is almost always g scale.
We found that in most of the melody 1 Jeol consists of 3 JangDan from the fact that 1 Jeol with 3 JangDan are 16 cases, 1 Jeol with 2 JangDan are 5 cases, and 1 Jeol with 4 JangDan are 2 cases, out of the total melodies we analyzed.
Further studies on Korean folk songs including YukJaBaeGi should be made from new research aspects. Folk Songs reflect characteristic emotion of their original provinces and those can be found both in melodies and in words. However, researches to date seem to place too much emphasis only on melody or scale. Scholars of Korean language also actively do researches on folk songs and the genre of music literature has been formed showing the breadth and depth of the ongoing folk song research. Words of folk songs may be what attract the scholars. 『Study on Korean GaAk(music)』 written by a Korean language scholar, approaches the words through the musical analytic methods as good as those of music scholars. It means that the music with words such as folk songs have substantial value. In this respect, the researches on the correlation between melodies and words of folk songs should be thoroughly made.
We found several characteristics based on the analysis on eight kinds of YukJaBaeGi materials.
First, YukJaBaeGi progresses with certain melody forms. Out of 57 JangDan, [melody form 1] has 12 JangDan, [melody form 2] has 17 JangDan, [melody form 3] has 17 JangDan, and the rest 11 JangDan show various other forms. Therefore, the melody of YukJaBaeGi can be roughly divided into 3 forms, and each material has different number of JangDan. Considering 6 Bak as 1 Gak, 4 Gak as 1 JangDan, and 3 JangDan as 1 Jeol, we found that the 5 materials have the same JangDanTeul, of which 1 Jeol consists of 3 JangDan. However, the rest 3 materials show Jeol, which consists of 2 or 4 JangDan. In addition, YukJaBaeGi in 『Tree with deep root』 and 『Korean music volume 4』, and 『YukJaBaeGi of IHwaJungSeon』 have JangDan which has 2 or 3 Gak rather than 4 Gak. We think the difference of singers and words resulted in such different structures of JangDan in each material. It is similar to SanJo where the performers play slightly differently, make and set up their own "Ryu" in the end. This characteristic also appears in Pansori, and it is one of the factors of Korea music which promotes autonomy and creativity.
Accordingly, we could find that YuJaBaeGi could be different based on the person who sings and the words it has and is not always the same.
Secondly, YukJaBaeGi follows the scale of GaeMyeonJo, g, b, c, d, e b, f. Most of the JongJiEum of each JangDan is g scale, and the JongJiEum of each Jeol with burden is c scale. We noticed an unusual fact that the end scale of Gak which is right before the c scale, the JongJiEum of each Jeol, is almost always g scale.
We found that in most of the melody 1 Jeol consists of 3 JangDan from the fact that 1 Jeol with 3 JangDan are 16 cases, 1 Jeol with 2 JangDan are 5 cases, and 1 Jeol with 4 JangDan are 2 cases, out of the total melodies we analyzed.
Further studies on Korean folk songs including YukJaBaeGi should be made from new research aspects. Folk Songs reflect characteristic emotion of their original provinces and those can be found both in melodies and in words. However, researches to date seem to place too much emphasis only on melody or scale. Scholars of Korean language also actively do researches on folk songs and the genre of music literature has been formed showing the breadth and depth of the ongoing folk song research. Words of folk songs may be what attract the scholars. 『Study on Korean GaAk(music)』 written by a Korean language scholar, approaches the words through the musical analytic methods as good as those of music scholars. It means that the music with words such as folk songs have substantial value. In this respect, the researches on the correlation between melodies and words of folk songs should be thoroughly made.
목차
Ⅰ. 머리말
Ⅱ. 육자배기 선율구조 분석
Ⅲ. 맺음말
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UCI(KEPA) : I410-ECN-0101-2009-679-016570812