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초록· 키워드
오류제보하기
This study is intended to examine the effect of the performance of the actual labor of fishery on the improvising of Eo-Eop-Yo (traditional Korean fishing song), and to clarify what should be emphasized in the teaching and learning of Eo-Eop-Yo.
The objects of the study were ‘Yeo-cheon Geo-mun-do Baen-no-rae(Boating Song of Geomun Island, Yeo-cheon)’, No. 1 of Jeollanado’s intangible cultural assets, and ‘Sin-an Ga-geo-do Myeol-chi-ja-bi So-ri(Song of Catching Anchovy of Ga-geo-do, in Sin-an)’, No. 22 of Jeonnam’s intangible cultural assets. The analysis was based on video data, which included the songs sung in the context of the accompanying fishing behavior, recorded for the preservation of an intangible cultural property, and on audio data containing only the songs. First of all, the songs were identified according to the procedures of fishing behavior, and the relationship between the fishing behavior and the musical improvisation was then analyzed.
In terms of the musical characteristics commonly shown in both of the above Eo-Eop-Yo, a song that is intended to accompany a repetitive fishing action, both have a tempo that is faster than moderato tempo, a high pitch and a regular beat (jangdan). On the other hand, songs that are not related to a fishing action have an Andante tempo, and use a regular beat(jangdan) or an irregular beat (jangdan). In addition, the melodies of Eo-Eop-Yo are diverse, and feature broad pitch spans.
The improvisation of Jeollanado Eo-Eop-Yo has two major characteristics. The first is musical improvisation according to the fishing action, and the second is the variation of the melody expressed to reflect a particular characteristic.
Improvisation that is related to a specific fishery action follows. In the study of the song 〈Yeo-cheon Geo-mun-do Baen-no-rae〉 there was no big musical difference observed between the VCD and CD. However, the sound of ‘Ol-Rae-So-Ri (Song of Ol-Rae)’ incorporates three types of the responding sound of ‘Noh-jeon-neun So-ri(song of oaring)’ in the VCD. Eo-Yeong-Cha-So-Ri (Song of Eo-Yeong-Cha), which is not included in the CD, is called in between ‘Ga-Rae-So-Ri(Song of Ga-Rae)’ and ‘Sseol-So-Ri(Song of Sseol)’. This proves that the characteristic of the actual labor affects the improvisation of the song.
On the other hand, when the VCD and CD data were compared for the song 〈Ga-geo-do Myeol-chi-ja-bi So-ri〉, the tone interval of the song was changed, and the tempo was faster in the VCD. Also, it can be said that a different type of melody is generated, because words of the song were frequently added and omitted in the VCD compared to the CD. This difference was due to the fact that labor similar to the actual type of labor referred to in the song was performed.
When the melodies of the songs are analyzed according to the relationship between the actual labor and the words of the song, based on the first note of Jeollanado Eo-Eop-Yo, the following types of melodies are shown. The first melody type is “high-pitched & continuous”, which shows almost no change of tone in the basic pitch. The second type is “high-pitched & descending”, in which the melody starts on a high pitch and descends to a low tone. The third type is the “crooked type”, in which the melody starts in a mid-range and ascends to a high pitch. The fourth type is “the shouting type”, in which the melody is cried out loud, and is rooted in mid-range and low pitches. These melody types are changed through the influence of the labor and the songs of Eo-Eop-Yo.
The characteristics of improvisation shown by the actual labor of Eo-Eop-Yo are classified, and the teaching & learning method phase for improvisation are established as follows.
〈이미지 참조〉
In conclusion, the change of the lyrics of the song caused by the performance of actual fishery labor can bring about an improvised change of rhythm and melody, because the words of the song are combined with the labor itself. That is, the labor forms the song’s basic beat, and the change of the words leads to variation in the beat and rhythm. This becomes a factor that expresses the pitch within the basic pitch line impromptu. In addition, the labor type that Eo-Eop-Yo accompanies works as a significant factor forming the basic melody line, and the reality of actual fishery labor becomes an essential condition, leading the song’s improvisation. Therefore, Eo-Eop-Yo must be taught based on the actual practice of fishery, with the possibility of improvisation.
The objects of the study were ‘Yeo-cheon Geo-mun-do Baen-no-rae(Boating Song of Geomun Island, Yeo-cheon)’, No. 1 of Jeollanado’s intangible cultural assets, and ‘Sin-an Ga-geo-do Myeol-chi-ja-bi So-ri(Song of Catching Anchovy of Ga-geo-do, in Sin-an)’, No. 22 of Jeonnam’s intangible cultural assets. The analysis was based on video data, which included the songs sung in the context of the accompanying fishing behavior, recorded for the preservation of an intangible cultural property, and on audio data containing only the songs. First of all, the songs were identified according to the procedures of fishing behavior, and the relationship between the fishing behavior and the musical improvisation was then analyzed.
In terms of the musical characteristics commonly shown in both of the above Eo-Eop-Yo, a song that is intended to accompany a repetitive fishing action, both have a tempo that is faster than moderato tempo, a high pitch and a regular beat (jangdan). On the other hand, songs that are not related to a fishing action have an Andante tempo, and use a regular beat(jangdan) or an irregular beat (jangdan). In addition, the melodies of Eo-Eop-Yo are diverse, and feature broad pitch spans.
The improvisation of Jeollanado Eo-Eop-Yo has two major characteristics. The first is musical improvisation according to the fishing action, and the second is the variation of the melody expressed to reflect a particular characteristic.
Improvisation that is related to a specific fishery action follows. In the study of the song 〈Yeo-cheon Geo-mun-do Baen-no-rae〉 there was no big musical difference observed between the VCD and CD. However, the sound of ‘Ol-Rae-So-Ri (Song of Ol-Rae)’ incorporates three types of the responding sound of ‘Noh-jeon-neun So-ri(song of oaring)’ in the VCD. Eo-Yeong-Cha-So-Ri (Song of Eo-Yeong-Cha), which is not included in the CD, is called in between ‘Ga-Rae-So-Ri(Song of Ga-Rae)’ and ‘Sseol-So-Ri(Song of Sseol)’. This proves that the characteristic of the actual labor affects the improvisation of the song.
On the other hand, when the VCD and CD data were compared for the song 〈Ga-geo-do Myeol-chi-ja-bi So-ri〉, the tone interval of the song was changed, and the tempo was faster in the VCD. Also, it can be said that a different type of melody is generated, because words of the song were frequently added and omitted in the VCD compared to the CD. This difference was due to the fact that labor similar to the actual type of labor referred to in the song was performed.
When the melodies of the songs are analyzed according to the relationship between the actual labor and the words of the song, based on the first note of Jeollanado Eo-Eop-Yo, the following types of melodies are shown. The first melody type is “high-pitched & continuous”, which shows almost no change of tone in the basic pitch. The second type is “high-pitched & descending”, in which the melody starts on a high pitch and descends to a low tone. The third type is the “crooked type”, in which the melody starts in a mid-range and ascends to a high pitch. The fourth type is “the shouting type”, in which the melody is cried out loud, and is rooted in mid-range and low pitches. These melody types are changed through the influence of the labor and the songs of Eo-Eop-Yo.
The characteristics of improvisation shown by the actual labor of Eo-Eop-Yo are classified, and the teaching & learning method phase for improvisation are established as follows.
〈이미지 참조〉
In conclusion, the change of the lyrics of the song caused by the performance of actual fishery labor can bring about an improvised change of rhythm and melody, because the words of the song are combined with the labor itself. That is, the labor forms the song’s basic beat, and the change of the words leads to variation in the beat and rhythm. This becomes a factor that expresses the pitch within the basic pitch line impromptu. In addition, the labor type that Eo-Eop-Yo accompanies works as a significant factor forming the basic melody line, and the reality of actual fishery labor becomes an essential condition, leading the song’s improvisation. Therefore, Eo-Eop-Yo must be taught based on the actual practice of fishery, with the possibility of improvisation.
목차
Ⅰ. 머리말
Ⅱ. 전라남도 어업요의 노동 기능적 연행
Ⅲ. 전라남도 어업요의 음악적 특징
Ⅳ. 전라남도 어업요의 연행과 즉흥 표현 양상
Ⅴ. 전라남도 어업요의 연행과 즉흥 표현의 음악교육적 활용과 의미
Ⅵ. 맺음말
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