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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 article analyzed the "GunriYurakdo"(composed by Won, Han-key) in structure and form, scale, melody, rhythm and playing technique, and the analyzed results are summarized as follows.
1. Structure & Form
This music consists of three movements. In more detail, the 1st movement is divided into three groups of A-B-C, the 2nd movement is divided into two groups, i.e., the introduction A including connection(a), and the conclusion B including connection(b), and the 3rd movement has no groups but progressions of introduction progression conclusion. Moreover, an interrogatory form appears remarkably in the 1st movement; an imitative form does in the 2nd movement; and a refrain form does in the 3rd movement.
2. Scale
In all of the 1st, 2nd and 3rd movements, the scale consists of 5 scales of d, e, g, a, and b scales with priority given to "d" scale, and it was examined that d and g scales appearfrequently.
3. Melody
The 1st movement advances with single melody and chord, while, the first Kayagum of the 2nd movement advances with single melody and the 2ndkayagum advances with single melody and chord. Moreover, particularly, the lst and 2nd movements show the unique change by tremolo technique and glissando technique. The 3rd movement advances with single melody and chord melody.
4. Rhythm
The lst movement leads the entire melodies through changes of various rhythms by disruption of quarter notes of 40 rhythms of the first Kayagum. and 36 rhythms of the second Kayagum, and the 2nd movement shows changes of various rhythms by disruption of a third notes of 25 rhythms of the first Kayagum. and 14 rhythms of the second Kayagum. The 3rd movement shows disruption of a sixteenth notes of 18 rhythms of the first Kayagum and 15 rhythms of the second Kayagum.
5. Playing technique
This music is based on the traditional technique of Sanjo and the court music technique. The 1st movement shows arpeggio technique, the 2nd movement shows two-hand technique, and the 3rd movement shows a playing technique for plucking 3 chords at the same time.
In conclusion, this music pursues various rhythms and changes of melodies, and shows a melody structure providing various types in sound part changeof the first and second Kayagum. In addition, this music expands compass by the interrogatory form, the imitative form and the refrain form through a duetto form, and makes the entire construction by advance of harmonic melody, thereby maximizing power of musical expression.
1. Structure & Form
This music consists of three movements. In more detail, the 1st movement is divided into three groups of A-B-C, the 2nd movement is divided into two groups, i.e., the introduction A including connection(a), and the conclusion B including connection(b), and the 3rd movement has no groups but progressions of introduction progression conclusion. Moreover, an interrogatory form appears remarkably in the 1st movement; an imitative form does in the 2nd movement; and a refrain form does in the 3rd movement.
2. Scale
In all of the 1st, 2nd and 3rd movements, the scale consists of 5 scales of d, e, g, a, and b scales with priority given to "d" scale, and it was examined that d and g scales appearfrequently.
3. Melody
The 1st movement advances with single melody and chord, while, the first Kayagum of the 2nd movement advances with single melody and the 2ndkayagum advances with single melody and chord. Moreover, particularly, the lst and 2nd movements show the unique change by tremolo technique and glissando technique. The 3rd movement advances with single melody and chord melody.
4. Rhythm
The lst movement leads the entire melodies through changes of various rhythms by disruption of quarter notes of 40 rhythms of the first Kayagum. and 36 rhythms of the second Kayagum, and the 2nd movement shows changes of various rhythms by disruption of a third notes of 25 rhythms of the first Kayagum. and 14 rhythms of the second Kayagum. The 3rd movement shows disruption of a sixteenth notes of 18 rhythms of the first Kayagum and 15 rhythms of the second Kayagum.
5. Playing technique
This music is based on the traditional technique of Sanjo and the court music technique. The 1st movement shows arpeggio technique, the 2nd movement shows two-hand technique, and the 3rd movement shows a playing technique for plucking 3 chords at the same time.
In conclusion, this music pursues various rhythms and changes of melodies, and shows a melody structure providing various types in sound part changeof the first and second Kayagum. In addition, this music expands compass by the interrogatory form, the imitative form and the refrain form through a duetto form, and makes the entire construction by advance of harmonic melody, thereby maximizing power of musical expression.
목차
Ⅰ. 서론
Ⅱ. 본론
Ⅲ. 결론
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