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
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This study intended to investigate Kayagum Concerto No.1 composed by Lee, Kang-Duk in 1970. It analyzed its musical formation, its melodies including sikmsae, its rhythms in each movement. It was based on the composer's own hand-written score and its three kinds of the audio-taped performance. It acquired its studying results as followings:
Firstly, this concerto has a five-movement structure though the composer did not named each part as a movement : he distinguished each part using A,B,C,D,Guknza, and E for Gutgori, Tong-salpuri, Chungmori, Gutgori, Cadenza, and Coda, Therefore, its whole formation can be defined as a five-movement one, that adopted the structure of a concerto in the West.
Secondly, this study examined its melodies and its tuning way of the kayagum based on its emerging tones. Then, it found out that this work used a Re-Mi-Sol-Ra-Do system in each movement, which was similar in its constitution of the tones with P'youngjo Hoesang, one of the Korean traditional musical pieces. And its characteristic types of melodies are represented as one having the perfect 4 degrees, one replayed continuously, one borrowed the playing technique of sulkidung. One using both hands, ones giving and taking, one descending, in a semitone scale, one rhythmically ascending with a linked four notes, and one adopted a huimori karak.
Thirdly, this study analyzed its rhythm in each movement. The first movement is in the Gutgori rhythm; 28 beats are the standard ones and the other 23 are its variations. The second movement is in the Tong-salpuri rhythm; 28 beats are the standard ones and the others are adopting huimori rhythm with using no chaepyun, or transforming the standard one partially. The third movement has 15 beats in total; 9 beats are the standard chungmori rhythm and the others are its variations. The fourth and the last movement have no variations but the former uses the standard Gutgori and the latter does the Tong-salpuri rhythm only.
Korean music has had the chongganbo system for its own music notation but it has not created any alternative way so far. Therefore, it has used the staff notation from the West since the late 19th century. nus concerto also used the staff notation to represent the music by each Korean traditional instrument though it frequently lost the consistence in keeping the notation rules and caused a confusion in the music. However, it should be highly estimated that this work has suggested a prospective view of Korean music composition to composers of Korean music by harmonizing the Korean traditional music with a western style of music composition.
Firstly, this concerto has a five-movement structure though the composer did not named each part as a movement : he distinguished each part using A,B,C,D,Guknza, and E for Gutgori, Tong-salpuri, Chungmori, Gutgori, Cadenza, and Coda, Therefore, its whole formation can be defined as a five-movement one, that adopted the structure of a concerto in the West.
Secondly, this study examined its melodies and its tuning way of the kayagum based on its emerging tones. Then, it found out that this work used a Re-Mi-Sol-Ra-Do system in each movement, which was similar in its constitution of the tones with P'youngjo Hoesang, one of the Korean traditional musical pieces. And its characteristic types of melodies are represented as one having the perfect 4 degrees, one replayed continuously, one borrowed the playing technique of sulkidung. One using both hands, ones giving and taking, one descending, in a semitone scale, one rhythmically ascending with a linked four notes, and one adopted a huimori karak.
Thirdly, this study analyzed its rhythm in each movement. The first movement is in the Gutgori rhythm; 28 beats are the standard ones and the other 23 are its variations. The second movement is in the Tong-salpuri rhythm; 28 beats are the standard ones and the others are adopting huimori rhythm with using no chaepyun, or transforming the standard one partially. The third movement has 15 beats in total; 9 beats are the standard chungmori rhythm and the others are its variations. The fourth and the last movement have no variations but the former uses the standard Gutgori and the latter does the Tong-salpuri rhythm only.
Korean music has had the chongganbo system for its own music notation but it has not created any alternative way so far. Therefore, it has used the staff notation from the West since the late 19th century. nus concerto also used the staff notation to represent the music by each Korean traditional instrument though it frequently lost the consistence in keeping the notation rules and caused a confusion in the music. However, it should be highly estimated that this work has suggested a prospective view of Korean music composition to composers of Korean music by harmonizing the Korean traditional music with a western style of music composition.
목차
Ⅰ. 머리말
Ⅱ. 전체악곡의 구성
Ⅲ. 가야금 독주 선율과 관현악의 선율 분석
Ⅳ. 독주악기와 관현악의 장단분석
Ⅴ. 맺음말
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