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
Jeon Yong-seon, who was a great master of Danso in modern musical history of Korea, was born as the eldest son of Jeon Hi-jo and Jo Seong-nyeo at 474 Cheonwon-ri, Ibam-myeon, Jeongeup-gun in 1890 and began to learn pungryu from Jeon Gye-mun at the age of 17 and became skillful generally in wind and stringed instruments through utmost efforts. Based mainly on Honam and Yeongnam provinces for musical activities, Jeon specialized in Gurye Hyangjaepungryu and Iri Hyangjaejulpungryu, created Danso Sanjo, held a recital at Wongaksa in 1957, and won a promotion prize from the National Center for Korean Traditional Performing Arts (NCKTPA). He died at 36 Taepyeong-dong, Jeonju-si on November 3, 1965.
Jeon and NCKTPA have different Julpungryu in terms of composition, use of names, and performance order. According to investigation on Bonyong san for Jeon’s Julpungryu and Sangyong san for NCKTPA Julpungryu, first, Bonyong san divided a total of 17 times into five movements while Sangyong san divided them into four movements, with the same beat of 6, 4, 4, 6, in terms of composition.
Second, as for Danso melody of Bonyong san and Sangyong san, both pieces mainly used five notes, with cadence in Hwangjong. No identical melody appeared, with similar melody in 142 beat (43%) and different melody in 187 beat (57%). Although no identical melody appeared, basis on five notes, cadence in Hwangjong, similar melody forming 43% of the entire piece, repetitive progression into refrain, and different melody forming 57% of the entire piece demonstrate that two pieces were certainly identical but changed and developed into different music.
Third, in terms of Sigimsae, Bonyong san and Sangyong san most frequently used Λ (Nire) among graces; the former just has some ornaments giving simple acciaccatura as compared with magnificent and refined graces for the latter.
Expression of vibrating function is more remarkable in Danso melody for Bonyong san; vibrating function for Cheonghwangjong and Imjong has strong and powerful expression like Sanjo. Vibrating function for Cheonghwangjong all has strong tremble from the beginning but the 13th beat of the first time in section frist line while that for Jungcheonghwang has weak, slow tremble. Vibrating function for Cheongimsong has tremble like turning function (toesong) in the beginning, gives flat expression for about one beat in the middle, followed by fine tremble, and makes breath position treatment in Cheongmuyeok, which was expressed in several positions regardless of the position of janggo changdan.
Bonyong san has more breath positions than Sangyong san. In particular, the former has remarkable treatment of acciaccatura by graces and expression of strong vibrating function and was seen to make performance with time for breath by short beat in terms of vibrating function.
Fourth, Danso Jeon used has higher pitch by semitone half step, relatively shorter distance of the first hole at the back side from the mouth piece, and generally shorter length by about 20㎜ than woojo gyemyeonjo Danso for NCKTPA, with the almost same open and stop total finger hole notes.
Fifth, there were some differences between Jeon’s Julpungryu and that for NCKTPA in fingering for Danso. Third, they had different third (left Myeongji) and fourth holes (right forefinger). Second, they had different open and stop positions of finger holes for Cheonghwang, Cheongtae, and Jungcheongjung. Third, the latter used the half stop finger hole method for the fifth hole while the former didn’t use it.
While Bonyong san for Jeon’s Julpungryu and Sangyong san for NCKTPA Julpungryu were found to originate in the same piece, they confirmed that Korean traditional music had been developed into diverse forms due to differences in purposes of musical performance, transmission areas, natures of performance places, and transmission methods.
Jeon and NCKTPA have different Julpungryu in terms of composition, use of names, and performance order. According to investigation on Bonyong san for Jeon’s Julpungryu and Sangyong san for NCKTPA Julpungryu, first, Bonyong san divided a total of 17 times into five movements while Sangyong san divided them into four movements, with the same beat of 6, 4, 4, 6, in terms of composition.
Second, as for Danso melody of Bonyong san and Sangyong san, both pieces mainly used five notes, with cadence in Hwangjong. No identical melody appeared, with similar melody in 142 beat (43%) and different melody in 187 beat (57%). Although no identical melody appeared, basis on five notes, cadence in Hwangjong, similar melody forming 43% of the entire piece, repetitive progression into refrain, and different melody forming 57% of the entire piece demonstrate that two pieces were certainly identical but changed and developed into different music.
Third, in terms of Sigimsae, Bonyong san and Sangyong san most frequently used Λ (Nire) among graces; the former just has some ornaments giving simple acciaccatura as compared with magnificent and refined graces for the latter.
Expression of vibrating function is more remarkable in Danso melody for Bonyong san; vibrating function for Cheonghwangjong and Imjong has strong and powerful expression like Sanjo. Vibrating function for Cheonghwangjong all has strong tremble from the beginning but the 13th beat of the first time in section frist line while that for Jungcheonghwang has weak, slow tremble. Vibrating function for Cheongimsong has tremble like turning function (toesong) in the beginning, gives flat expression for about one beat in the middle, followed by fine tremble, and makes breath position treatment in Cheongmuyeok, which was expressed in several positions regardless of the position of janggo changdan.
Bonyong san has more breath positions than Sangyong san. In particular, the former has remarkable treatment of acciaccatura by graces and expression of strong vibrating function and was seen to make performance with time for breath by short beat in terms of vibrating function.
Fourth, Danso Jeon used has higher pitch by semitone half step, relatively shorter distance of the first hole at the back side from the mouth piece, and generally shorter length by about 20㎜ than woojo gyemyeonjo Danso for NCKTPA, with the almost same open and stop total finger hole notes.
Fifth, there were some differences between Jeon’s Julpungryu and that for NCKTPA in fingering for Danso. Third, they had different third (left Myeongji) and fourth holes (right forefinger). Second, they had different open and stop positions of finger holes for Cheonghwang, Cheongtae, and Jungcheongjung. Third, the latter used the half stop finger hole method for the fifth hole while the former didn’t use it.
While Bonyong san for Jeon’s Julpungryu and Sangyong san for NCKTPA Julpungryu were found to originate in the same piece, they confirmed that Korean traditional music had been developed into diverse forms due to differences in purposes of musical performance, transmission areas, natures of performance places, and transmission methods.
목차
Ⅰ. 서론
Ⅱ. 본론
Ⅲ. 결론
참고문헌
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