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As one can see from its title, Milyang Arirang represents the Milyang area and is one of the typical arirang in the nation along with other two arirangs, Jindo and Jungsun arirang. Jindo arirang is known for representing southern area and Jungsun arirang is for Gangwon area.
But compare to the fact that other two arirangs have been researched and studied completely, Milyang arirang has received less attention so far. Milyang arirang has been merely treated as one branch of these three arirang and did not conducted as individually, by itself. The latest research has been made on the book “The structure and formational process of Milyang arirang” by Ki-hyun Kim, 1991, but it has analyzed in the literature view, and have not focused its musical elements and characteristics.
In here, I would like to analyze Milyang arirang of its musical languages, such as the interrelations of lyrics and melodies, its musical characteristics and the meaning by looking at the intervals, melodic lines, scales and rhythmic beats. Followings are the results and conclusions from the study.
Firstly, after analyzing the verses of Milyang arirang along with its historical changes made, I was able to find that songs that appeared in early period from 1920~1968, are only using and repeating the verse ‘ari-ari-rang(아리랑)’ without “ssu-ri-rang(쓰리랑)”. Those early arirangs appeared in magazines such as “Hakjikwang(1920)”, “Chosun 152ho(1930)”. “Chosun Minyo arirang(1935)” and “Gyunsang Namdo ji(1978)”. After the war period, from 1967 to recent, those two verses ‘ari-ari-rang(아리랑)’ and ‘ssu-ri-ran(쓰리랑)’ has been used side by side.
Another big changes that has been made between early arirangs and the late ones, are the change of the verse.
The early arirang has verses such as ‘arirang ulssigu nal neom-gyeo juso(아리랑 얼씨구 날 넘겨주소)’, while we can only find simpler and redundant verse like ‘num-o-ganda(넘어간다)’. Considering these facts, we can reach a conclusion that the refrain verses of Milyang Arirang has been changed after the war period.
Secondly, regarding its melodic progression, there are octave skips made in the refrain part, which can be considered as the preparing progressions for the going down melodies. In other words, we can find melodic progressions like 〈ra-sol-mi〉 which goes down perfect 4th. right after the octave skip, which is one of the very typical melodic line of Menari Tori(메나리 토리). These types of octave skips make the music sound joyful and dynamic rather than sadness and sorrowful.
Thirdly, for the main melody, they used the newly created shouting vocalism instead using same melodic lines that has been showed at the refrain part.
Vocalism such as shouting/screaming bring and emphasizes certain tensions followed by relaxations at the end, that are definitely associated with the musical structures of typical Milyang Arirang. Moreover, sections like ‘jigemokbalsori(지게목발소리)’ definitely shows how they bring the brisk, energetic and impromptu pleasure by using certain regional dialect of Milyang.
Fourthly, the musical intervals of Milyang Arirang consists using Menari-jo(메나리조), but its vocal register are differ from the local folk songs as it uses wide range of perfect 8th(octave) combined with minor 6th. It is very unusual for the local folk songs to use such a wide range of intervals.
There is another distinctive character. If we looking at the melodic progressions, we can find there are lots of ‘sol’ have been used frequently with such a quantity. With all these informations, we can say that the Milyang Arirang must have been one of the fairly new folk song which has appeared after year 1900.
Fifthly, in the songs that has sung by singers such as Bichee Ahn, Gyewol Mook and Eunju Lee, the descending melodic lines were sung in major 3rd (ra-sol-fa) instead perfect 4th(ra-sol-mi), and the ‘fa’ specifically sung either by retrograded or transferred to avoid the perfect 4th progression between ‘ra’ and ‘mi’.
In this case, note ‘fa’ used to accentuate hidden ‘sol’. These specific melodic progressions seem to be very contrast to those of Menari tori-which uses perfect 4th melodic progression-and seem to inducement towards those of Gyung tori.
In conclusion, Milyang Arirang seems one of the newly made folk song that came out after year 1900.
I also think it is definitely one of the Yung-nam regions folk song because due to the fact differences between Milyang Arirangs sung by both Gyunggi-regional singers and native Milyang singers. This shows that the Milyang Arirang did out down roots in Milyang area and transmitted among the natives with regional distinction.
But we do not have singers who specifically handed down these songs excepts the very few initiators from “Milyang Baekjoong-Nori Bojon-hoi(밀양백중놀이 보존회)”. Most of the singers and performers from past already has been passed away or too old to teach or perform in the field.
I would like to strongly suggest that we should research and study about the Milyang Arirang continuously as well as promote the transmissions and development of these music among the musicians in order to keep the tradition handed down.
But compare to the fact that other two arirangs have been researched and studied completely, Milyang arirang has received less attention so far. Milyang arirang has been merely treated as one branch of these three arirang and did not conducted as individually, by itself. The latest research has been made on the book “The structure and formational process of Milyang arirang” by Ki-hyun Kim, 1991, but it has analyzed in the literature view, and have not focused its musical elements and characteristics.
In here, I would like to analyze Milyang arirang of its musical languages, such as the interrelations of lyrics and melodies, its musical characteristics and the meaning by looking at the intervals, melodic lines, scales and rhythmic beats. Followings are the results and conclusions from the study.
Firstly, after analyzing the verses of Milyang arirang along with its historical changes made, I was able to find that songs that appeared in early period from 1920~1968, are only using and repeating the verse ‘ari-ari-rang(아리랑)’ without “ssu-ri-rang(쓰리랑)”. Those early arirangs appeared in magazines such as “Hakjikwang(1920)”, “Chosun 152ho(1930)”. “Chosun Minyo arirang(1935)” and “Gyunsang Namdo ji(1978)”. After the war period, from 1967 to recent, those two verses ‘ari-ari-rang(아리랑)’ and ‘ssu-ri-ran(쓰리랑)’ has been used side by side.
Another big changes that has been made between early arirangs and the late ones, are the change of the verse.
The early arirang has verses such as ‘arirang ulssigu nal neom-gyeo juso(아리랑 얼씨구 날 넘겨주소)’, while we can only find simpler and redundant verse like ‘num-o-ganda(넘어간다)’. Considering these facts, we can reach a conclusion that the refrain verses of Milyang Arirang has been changed after the war period.
Secondly, regarding its melodic progression, there are octave skips made in the refrain part, which can be considered as the preparing progressions for the going down melodies. In other words, we can find melodic progressions like 〈ra-sol-mi〉 which goes down perfect 4th. right after the octave skip, which is one of the very typical melodic line of Menari Tori(메나리 토리). These types of octave skips make the music sound joyful and dynamic rather than sadness and sorrowful.
Thirdly, for the main melody, they used the newly created shouting vocalism instead using same melodic lines that has been showed at the refrain part.
Vocalism such as shouting/screaming bring and emphasizes certain tensions followed by relaxations at the end, that are definitely associated with the musical structures of typical Milyang Arirang. Moreover, sections like ‘jigemokbalsori(지게목발소리)’ definitely shows how they bring the brisk, energetic and impromptu pleasure by using certain regional dialect of Milyang.
Fourthly, the musical intervals of Milyang Arirang consists using Menari-jo(메나리조), but its vocal register are differ from the local folk songs as it uses wide range of perfect 8th(octave) combined with minor 6th. It is very unusual for the local folk songs to use such a wide range of intervals.
There is another distinctive character. If we looking at the melodic progressions, we can find there are lots of ‘sol’ have been used frequently with such a quantity. With all these informations, we can say that the Milyang Arirang must have been one of the fairly new folk song which has appeared after year 1900.
Fifthly, in the songs that has sung by singers such as Bichee Ahn, Gyewol Mook and Eunju Lee, the descending melodic lines were sung in major 3rd (ra-sol-fa) instead perfect 4th(ra-sol-mi), and the ‘fa’ specifically sung either by retrograded or transferred to avoid the perfect 4th progression between ‘ra’ and ‘mi’.
In this case, note ‘fa’ used to accentuate hidden ‘sol’. These specific melodic progressions seem to be very contrast to those of Menari tori-which uses perfect 4th melodic progression-and seem to inducement towards those of Gyung tori.
In conclusion, Milyang Arirang seems one of the newly made folk song that came out after year 1900.
I also think it is definitely one of the Yung-nam regions folk song because due to the fact differences between Milyang Arirangs sung by both Gyunggi-regional singers and native Milyang singers. This shows that the Milyang Arirang did out down roots in Milyang area and transmitted among the natives with regional distinction.
But we do not have singers who specifically handed down these songs excepts the very few initiators from “Milyang Baekjoong-Nori Bojon-hoi(밀양백중놀이 보존회)”. Most of the singers and performers from past already has been passed away or too old to teach or perform in the field.
I would like to strongly suggest that we should research and study about the Milyang Arirang continuously as well as promote the transmissions and development of these music among the musicians in order to keep the tradition handed down.
목차
Ⅰ. 들어가는 말
Ⅱ. 후렴구의 사설과 선율과의 관계
Ⅲ. 질러내는 소리 〈날좀보소〉의 음악적 분석
Ⅳ. 맺는말
〈참고문헌〉
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