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초록· 키워드
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Chuita(吹打) is a form of Korean traditional music, which was used in various ceremonies involving a high office and the kings. These were distinguished from the late Chosun(朝鮮)-Dynasty marching band music, such as Dae-chuita(大吹打), and the wind instrumental Chuita, organized around Taepyungso(太平簫) arrangements.
Todays, Chuita music is classified into three different kinds of performance. Even though, Each Chuita music have a distinct style, they all follow the suite format, and the melody is similar. This thesis concentrates on tracing relationship of those three kinds of Chuita suites by comparing and analyzing them.
Although it is uncertain under what background Chuita music originated and when it began, it may be deduced that Chuita comprised in the form of "Chuita Kyejoo" in 1930's based upon the fact that all five pieces of "Chuita Kyejoo" was found to be recorded on the score of the Aakbu(court music of the Chosun-Dynasty). However, literatures and musical recordings of those five pieces are not handed down. It can be said that though Gilgunak and Giltaryong were played after Chuita because the track of Chuita was short, all 5 pieces of "Chuita Kyejoo" are not used as performance music together. After this, it is confirmed that "Chuita kyejoo Hanbatang" was played for the first time by the National Center for Korean Traditional Performing Art in 1976 and the record of "Chuita Pungryoo Hanbatang" by the folk music society in 1978 was remained as the first data. Therefore, it may be concluded that it is after 1970's that Chuita music having the form of suite music became staged music of the present time.
The analysis of the "Chuita Kyejoo", "Chuita Pungryoo", and "Ritual Chuita Pungryoo" excluding Giltaryong and Byulwoojo-Taryong of Chuita Kyejoo which show different melodic structure from the others are below.
First, it is confirmed that all three kinds of Chuita are composed with seven chapters and 21 different rhythms, and the general structures of "ChuiKye" and "GutPung" are the same with each other but it of "ChuiPung" is different from those two suite. The rhythm structure of "ChuiKye" and the "ChuiPung" used the 12 beats per rhythm, but "GutPung" used the Hutton-Taryung normally used in shamanic music, so shamanic tradition was shown there. The melodic structures are the same for the three different suites. The suites all consisted five notes of Im?-Nam?-Hwang黃-Tae太-Go姑. The common rhythms in three kinds of Chuita were nine patterns out of 68, and Chuita is not a repeating music. It is confirmed that all three had same melodic structure, while having difference in details in music.
Second, the three suites had different Gilgun-ak structure, but for its rhythmic structure, only "GutPung" has different rhythmic structure from the others. The melody were all similar, but about nine measures out of 24 were distinct in each. All the major notes were Im?-Nam?-Hwang黃-Tae太-Go姑 for all three suites. The 8 out of 62 rhythms were recurring, and all three suites had repeating structure. So the melodic structure and the chords were the same, while the rhythms were different.
Third, for Gun-ak and Byulgok-Taryong(別曲打令), "ChuiPung" and "GutPung" had same general structure while "ChuiKye" had it different. They were all in 4-beat 1-rhythm structure used in Taryong(打令). The melodic structure was shared, and 9 measures out of 45 were distinct. All the major notes were Im?-Nam?-Hwang黃-Tae太-Go姑 for all three suites. The same rhythms were 3 patterns out of possible 61 and while "ChuiKye" was not of repeating style, "ChuiPung" and "GutPung" were. So the melodic structure and the chords were the same, while the rhythms were different.
Forth, for Giltaryong "ChuiPung" and "GutPung" had same general structure.They were all in 4-beat 1-rhythm structure, but "GutPung" did not use Taryong rhythm but used the 'slow Dang-ak(唐樂)' used in 'SaenamGut'. The melodic structure was shared, and only one measure out of 16 was distinct. All the major notes were Hwang黃-Tae太-Jung仲-Im林-Nam南 for both suites. The rhythmic structure was shared in one measure out of 22, and it is the simplest in "ChuiPung" and "GutPung" performances. That proves that the melodic structure and the chords were the same, while the rhythms were different.
Fifth, for Yumbool-taryong(念佛打令) "ChuiPung" and "GutPung" had same general structure. Both had a rhythm based on a structure where ♩. is of six beats. The melodic structure was shared in all measures. All the major notes were Hwang黃-Tae太-Jung仲-Im林-Nam南 for both suites. The rhythmic structure was shared in five measures out of 22, and both "ChuiPung" and "GutPung" had repeating structure. It is shown that the melodic structure and the chords were the same, with only minor rhythmic differences.
Sixth, for Samhyun-taryong(三絃打令) "ChuiPung" and "GutPung" had same general structure, with 23 rhythms and Taryong rhythm. The melodic structures were the same, and it is the only piece in the whole suite where the tune changes. The "ChuiPung" mainly used Hwang黃-Tae太-Jung仲-Im林-Nam南, while "GutPung" used Hwang黃-Tae太-Jung仲-Im林-Mu無, making the distinction of Nam南 and Mu無. The rhythmic structure was shared in 10 measures out of 37, and both "ChuiPung" and "GutPung" had non-repeating structure. It is shown that the melodic structure and the chords were the same, with only minor rhythmic differences.
As a result of this study, it can be known that the three kinds of Chuita suite are originated from the same music because they have the same scale structure. "Ritual Chuita Pungryoo" have many peculiar beat and rhythm that are common in shamanic rituals and show characteristic melody, because it has developed as a ritual ceremony music while "Chuita Kyejoo" and "Chuita Pungryoo" was developed as performance music. Therefore, it can be concluded that each Chuita music handing down through different three kinds of route was modified by its characteristic style and performance form.
Todays, Chuita music is classified into three different kinds of performance. Even though, Each Chuita music have a distinct style, they all follow the suite format, and the melody is similar. This thesis concentrates on tracing relationship of those three kinds of Chuita suites by comparing and analyzing them.
Although it is uncertain under what background Chuita music originated and when it began, it may be deduced that Chuita comprised in the form of "Chuita Kyejoo" in 1930's based upon the fact that all five pieces of "Chuita Kyejoo" was found to be recorded on the score of the Aakbu(court music of the Chosun-Dynasty). However, literatures and musical recordings of those five pieces are not handed down. It can be said that though Gilgunak and Giltaryong were played after Chuita because the track of Chuita was short, all 5 pieces of "Chuita Kyejoo" are not used as performance music together. After this, it is confirmed that "Chuita kyejoo Hanbatang" was played for the first time by the National Center for Korean Traditional Performing Art in 1976 and the record of "Chuita Pungryoo Hanbatang" by the folk music society in 1978 was remained as the first data. Therefore, it may be concluded that it is after 1970's that Chuita music having the form of suite music became staged music of the present time.
The analysis of the "Chuita Kyejoo", "Chuita Pungryoo", and "Ritual Chuita Pungryoo" excluding Giltaryong and Byulwoojo-Taryong of Chuita Kyejoo which show different melodic structure from the others are below.
First, it is confirmed that all three kinds of Chuita are composed with seven chapters and 21 different rhythms, and the general structures of "ChuiKye" and "GutPung" are the same with each other but it of "ChuiPung" is different from those two suite. The rhythm structure of "ChuiKye" and the "ChuiPung" used the 12 beats per rhythm, but "GutPung" used the Hutton-Taryung normally used in shamanic music, so shamanic tradition was shown there. The melodic structures are the same for the three different suites. The suites all consisted five notes of Im?-Nam?-Hwang黃-Tae太-Go姑. The common rhythms in three kinds of Chuita were nine patterns out of 68, and Chuita is not a repeating music. It is confirmed that all three had same melodic structure, while having difference in details in music.
Second, the three suites had different Gilgun-ak structure, but for its rhythmic structure, only "GutPung" has different rhythmic structure from the others. The melody were all similar, but about nine measures out of 24 were distinct in each. All the major notes were Im?-Nam?-Hwang黃-Tae太-Go姑 for all three suites. The 8 out of 62 rhythms were recurring, and all three suites had repeating structure. So the melodic structure and the chords were the same, while the rhythms were different.
Third, for Gun-ak and Byulgok-Taryong(別曲打令), "ChuiPung" and "GutPung" had same general structure while "ChuiKye" had it different. They were all in 4-beat 1-rhythm structure used in Taryong(打令). The melodic structure was shared, and 9 measures out of 45 were distinct. All the major notes were Im?-Nam?-Hwang黃-Tae太-Go姑 for all three suites. The same rhythms were 3 patterns out of possible 61 and while "ChuiKye" was not of repeating style, "ChuiPung" and "GutPung" were. So the melodic structure and the chords were the same, while the rhythms were different.
Forth, for Giltaryong "ChuiPung" and "GutPung" had same general structure.They were all in 4-beat 1-rhythm structure, but "GutPung" did not use Taryong rhythm but used the 'slow Dang-ak(唐樂)' used in 'SaenamGut'. The melodic structure was shared, and only one measure out of 16 was distinct. All the major notes were Hwang黃-Tae太-Jung仲-Im林-Nam南 for both suites. The rhythmic structure was shared in one measure out of 22, and it is the simplest in "ChuiPung" and "GutPung" performances. That proves that the melodic structure and the chords were the same, while the rhythms were different.
Fifth, for Yumbool-taryong(念佛打令) "ChuiPung" and "GutPung" had same general structure. Both had a rhythm based on a structure where ♩. is of six beats. The melodic structure was shared in all measures. All the major notes were Hwang黃-Tae太-Jung仲-Im林-Nam南 for both suites. The rhythmic structure was shared in five measures out of 22, and both "ChuiPung" and "GutPung" had repeating structure. It is shown that the melodic structure and the chords were the same, with only minor rhythmic differences.
Sixth, for Samhyun-taryong(三絃打令) "ChuiPung" and "GutPung" had same general structure, with 23 rhythms and Taryong rhythm. The melodic structures were the same, and it is the only piece in the whole suite where the tune changes. The "ChuiPung" mainly used Hwang黃-Tae太-Jung仲-Im林-Nam南, while "GutPung" used Hwang黃-Tae太-Jung仲-Im林-Mu無, making the distinction of Nam南 and Mu無. The rhythmic structure was shared in 10 measures out of 37, and both "ChuiPung" and "GutPung" had non-repeating structure. It is shown that the melodic structure and the chords were the same, with only minor rhythmic differences.
As a result of this study, it can be known that the three kinds of Chuita suite are originated from the same music because they have the same scale structure. "Ritual Chuita Pungryoo" have many peculiar beat and rhythm that are common in shamanic rituals and show characteristic melody, because it has developed as a ritual ceremony music while "Chuita Kyejoo" and "Chuita Pungryoo" was developed as performance music. Therefore, it can be concluded that each Chuita music handing down through different three kinds of route was modified by its characteristic style and performance form.
목차
Ⅰ. 서론
Ⅱ. 취타계주와 취타풍류, 굿 취타풍류의 취타, 길군악, 별곡타령 비교
Ⅲ.〈취타풍류〉와〈굿 취타풍류〉의 길타령, 염불타령, 삼현타령 비교
Ⅳ. 결론
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