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
The author of this paper is taught the song titled “Gin, Jajin Aari” from the famous vocal artist, Oh Bok Nyu, who was the 29th Important and Intangible Cultural Asset. The song, “Ryong Gang Ginaree,” currently being favored by the North Korean, was introduced to the author while she collected some materials about the traditional vocal music in the North Korea from the professor Jun Hwa Ja, the Vocal artist at the Yun Byun Art Graduate School in China. In this paper we have studied and compared the two songs in the aspect of story telling, vocalization, shigeemsae, chulhyun-note, melody, and rhythms.
First of all, in the story telling of the two songs the lyrics are somewhat similar, but it is contrasted by that the lyric of the song in the North Korea, “Ryong Gang Ginari,” is more contemporary while the other song, “Gin, Jajin Aari” expresses closer to the classic.
Secondly, in terms of vocalization “Gin, Jajin Aari”requires natural voice as well as extremely vibration, and the curbed (similar to the staccato) vocalization, while a vocalist uses the JuChe vocalization developed in the North Korea, which a singer uses a very high and pure tone when sings the song, “Ryong Gang Ginari.” The characteristic of this song in the North Korea is that a vocalist sings a main note in no variation until the end with the trills of major two steps up or down, or whole four steps down. Also in the form of ornaments (agrement) in “Gin, Jajin Aari” the C is used with the A note while the E and the B are used with the A note as well as the E is used with the D note in “Ryong Gang Ginari”.
Thirdly, the similar pattern is found in “Ryong Gang Ginari” and “Gin, Jajin Aari” in that the ChoolHyun note proceeds as D?E?G?A?C, and the main body melody proceeds the completed 5th note upwardly as D?A or the completed 5th note downwardly as A?D.
Lastly, the basis or modification of the Gutguri rhythm in “Jajin Aari” is used in variety form. In contrast, the Taryung in the North Korea is less diversified and frequently repetitive.
In conclusion, “Ryong Gang Ginari” of the North Korea is rooted in the SeoDo folk song, “Gin, Jajin Aari” and the lyric is modified and revised to be suitable to the political system of the North Korea. While it retains the same melody with the song in the South Korea it is recreated with the variations of the agreements, the vibrations, the consistent rhythms. The traditional folk songs in the North Korea are based on the SeoDo songs that have been known to the people in the South Korea, and the new songs created and arranged in the North Korea. Therefore the author of this paper hopes that the studies of the similarity and the comparativeness in the traditional music will be proliferated in the future.
First of all, in the story telling of the two songs the lyrics are somewhat similar, but it is contrasted by that the lyric of the song in the North Korea, “Ryong Gang Ginari,” is more contemporary while the other song, “Gin, Jajin Aari” expresses closer to the classic.
Secondly, in terms of vocalization “Gin, Jajin Aari”requires natural voice as well as extremely vibration, and the curbed (similar to the staccato) vocalization, while a vocalist uses the JuChe vocalization developed in the North Korea, which a singer uses a very high and pure tone when sings the song, “Ryong Gang Ginari.” The characteristic of this song in the North Korea is that a vocalist sings a main note in no variation until the end with the trills of major two steps up or down, or whole four steps down. Also in the form of ornaments (agrement) in “Gin, Jajin Aari” the C is used with the A note while the E and the B are used with the A note as well as the E is used with the D note in “Ryong Gang Ginari”.
Thirdly, the similar pattern is found in “Ryong Gang Ginari” and “Gin, Jajin Aari” in that the ChoolHyun note proceeds as D?E?G?A?C, and the main body melody proceeds the completed 5th note upwardly as D?A or the completed 5th note downwardly as A?D.
Lastly, the basis or modification of the Gutguri rhythm in “Jajin Aari” is used in variety form. In contrast, the Taryung in the North Korea is less diversified and frequently repetitive.
In conclusion, “Ryong Gang Ginari” of the North Korea is rooted in the SeoDo folk song, “Gin, Jajin Aari” and the lyric is modified and revised to be suitable to the political system of the North Korea. While it retains the same melody with the song in the South Korea it is recreated with the variations of the agreements, the vibrations, the consistent rhythms. The traditional folk songs in the North Korea are based on the SeoDo songs that have been known to the people in the South Korea, and the new songs created and arranged in the North Korea. Therefore the author of this paper hopes that the studies of the similarity and the comparativeness in the traditional music will be proliferated in the future.
목차
Ⅰ. 서론
Ⅱ. 본론
Ⅲ. 결론
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UCI(KEPA) : I410-ECN-0101-2010-679-001461012