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
오류제보하기
The purpose of this article is to survey for the history of jangdan(rythymic modes) after 15 century to 19 century in Korean music.
In the 15 century Korean music, it is often difficult to follow the stream of the music. To solve this problem, the bakpan(clappers 拍板) was used to clarify the important beginnings of each cycle recurrence. The function of the bagpan was therefore to establish the three different kinds of musical tempo, slow, moderate and fast. In the slowest tempo, the bakpan would sound at the beginning of the 64-beat form; in the medium tempo, the bagpan would sound at the beginning of the 32-beat form; and in the fast tempo, the bagpan would sound at the beginning of the 16-beat form. A similar relationship thus exists between the tempo and metrical divisions within the go-yo-pyeon-ssang rhythmic system, the ssang-pyeon-go-pyeon rhythmic system, the Chinese bansi(板式) system and the Indian tala system of the Natya Sastra. There are two category of jangdan in 15 century Korean music, bagpan jangdan which is devided by hagpan(calppers) and janggujeom jangdan which is devided by jang-gu(hour-glass drum).
In the seventeen century korean music, the basic form is go-yo-pyeon-ssang is derived from yeominlak jang-gu form, transformed into three level, slow-moderate- fast; 64 : 32 : 16. In the go-yeo-pyeon-ssang rhythmic system, there are three kinds of tempo; the slowest one lasts for 64 beats, the middle one lasts for 32 beats and the fast one lasts for 16 beats. In the ssang-pyeon-go-pyeon rhythmic system there are again three kinds of tempo - slow, medium and fast, lasting for 20, 10 and 6 beats respectively.
In the nineteen century korean music, the basic form is four janggo strokes, ssang-pyeon-go-yo which is may derived from yeominlak jang-gu form, transformed into three level, slow-moderate-fast; 6 : 4 : 4 : 6, 3 : 2 : 2 : 3 and 2 : 1 : 1 : 2 ratio.
The Chinese Bansi also uses three kinds of tempo, the slowest one using measures of 8/4 or 4/4, the middle one using measures of 4/4 or 2/4, and the fast one using measures of 2/4 or 1/4. Similarly, the Indian tala-system, at an earlier time in its history, had three kinds of tempo; the slowest one involved a 32- beat cycle, the middle one used a 16-beat cycle, and the fast one used a 8-beat cycle (in the cancatputa tala of Natya Sastra). Otherwise, the Indian tala system involved cycles of 24, 12 or 6 beats according to the speed-again, slow, medium or fast. In all these systems, therefore, the slower the music is, the longer the metre becomes. Significantly, the metrical relations between these cycles of differing tempo all manifest the ratio of 1 : 2.
It is concluded that the Korean three level of tempo, slow-moderate-fast, bears its origins in ancient India and that there are striking similarities between the metrical systems used in many Asian countries, including Chinaㆍand Thailand. It is suggested that these similarities are evidence of the cultural diffusion that undeniably occured many centuries ago.
In the 15 century Korean music, it is often difficult to follow the stream of the music. To solve this problem, the bakpan(clappers 拍板) was used to clarify the important beginnings of each cycle recurrence. The function of the bagpan was therefore to establish the three different kinds of musical tempo, slow, moderate and fast. In the slowest tempo, the bakpan would sound at the beginning of the 64-beat form; in the medium tempo, the bagpan would sound at the beginning of the 32-beat form; and in the fast tempo, the bagpan would sound at the beginning of the 16-beat form. A similar relationship thus exists between the tempo and metrical divisions within the go-yo-pyeon-ssang rhythmic system, the ssang-pyeon-go-pyeon rhythmic system, the Chinese bansi(板式) system and the Indian tala system of the Natya Sastra. There are two category of jangdan in 15 century Korean music, bagpan jangdan which is devided by hagpan(calppers) and janggujeom jangdan which is devided by jang-gu(hour-glass drum).
In the seventeen century korean music, the basic form is go-yo-pyeon-ssang is derived from yeominlak jang-gu form, transformed into three level, slow-moderate- fast; 64 : 32 : 16. In the go-yeo-pyeon-ssang rhythmic system, there are three kinds of tempo; the slowest one lasts for 64 beats, the middle one lasts for 32 beats and the fast one lasts for 16 beats. In the ssang-pyeon-go-pyeon rhythmic system there are again three kinds of tempo - slow, medium and fast, lasting for 20, 10 and 6 beats respectively.
In the nineteen century korean music, the basic form is four janggo strokes, ssang-pyeon-go-yo which is may derived from yeominlak jang-gu form, transformed into three level, slow-moderate-fast; 6 : 4 : 4 : 6, 3 : 2 : 2 : 3 and 2 : 1 : 1 : 2 ratio.
The Chinese Bansi also uses three kinds of tempo, the slowest one using measures of 8/4 or 4/4, the middle one using measures of 4/4 or 2/4, and the fast one using measures of 2/4 or 1/4. Similarly, the Indian tala-system, at an earlier time in its history, had three kinds of tempo; the slowest one involved a 32- beat cycle, the middle one used a 16-beat cycle, and the fast one used a 8-beat cycle (in the cancatputa tala of Natya Sastra). Otherwise, the Indian tala system involved cycles of 24, 12 or 6 beats according to the speed-again, slow, medium or fast. In all these systems, therefore, the slower the music is, the longer the metre becomes. Significantly, the metrical relations between these cycles of differing tempo all manifest the ratio of 1 : 2.
It is concluded that the Korean three level of tempo, slow-moderate-fast, bears its origins in ancient India and that there are striking similarities between the metrical systems used in many Asian countries, including Chinaㆍand Thailand. It is suggested that these similarities are evidence of the cultural diffusion that undeniably occured many centuries ago.
목차
Ⅰ. 머리말
Ⅱ. 중세음악의 장단
Ⅲ. 근대 음악의 장단
Ⅳ. 맺음말
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