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
Pungmul Gut Jangdan is progressed as an instant variation keeping some rules of rhythmic cycle or rhythmic pattern and making control of automatic rhythm. Among the Korea traditional rhythms it has the most diverse rhythm structure making various mixing meters in the alternation of two times and three times, which seems to be penetrated in the Samjinbak.
Pungmul Gut Jangdan involving Gutgerijangdan, Jajinmorijangdan, and Whimorijangdan has been incorporated with folk music and traditional rhythm, creating various modes of major scale and the diverse names in each region. The phrase is rendering various complex mixing meters receiving two time rhythm to the main three time rhythm. The phrase has a structure of diverse rhythm rate, keeping minute and precise form. Among the diverse rhythms the rhythm of 1:2 and 2:1 are the most remarkable ones, showing more irregular long or short rhythm than regular ones. The rhythmic structure of those mathematical system of the phrase can be defined as following.
First, it has a particular rhythm structure transformed into Samjinbak from one time beat. The phrase has a mathematic structure which consists of principle of Samjinbak transformed from the installed time rhythms by the set theory. The value of time continues to be kept freely in the mean time during the play, in which small beat and very small beat are changed into another value of time.
Second, the phrase of the rhythm patterns a mathematic system by freely crossing the major scales, Whimorijangdan in Jajinmorijangdan major scale and Jajinmorijangdan and Whimorijangdan in Gutgerijangdan major scale. The receiving major scale divides three parts and two parts mixing both of them. Reconstructed into the principle of Samjinbak, the rhythm creates free mixing of major scales. Although it is mixed with different rhythms complexly, the principle of Samjinbak is penetrated in one time beat. In addition, the structure of odd meter and hemiola type appears mostly on the basis of the principle.
Third, a variation in case of body gesture adjusts such various gestures on the rhythm of Jing and drums. The rhythm of body gestures in empty creates Vium-Samjinbak like the order of Samjinbak. Another characteristic of body gestures enjoys taking a walk in the real time-space, experiencing an Muhanjinbak of life as Shinmyung.
The principle of rhythmic structure shows long and short rate of breath rhythm in the irregular from the lungs of rhythm in the regular form like pulse. The stream of rhythm can be controled in the meter of long and short value of time playing the tension and relaxation in a frame. We can find out the particular principle keeping the principle of Samjinbak controlling its speed freely.
In the thesis a mathematic system and aesthetic significance are illuminated in the rhythmic structure of major scales in Pungmul Gut Jangdan. Rhythmic structure of the phrase combined with sound and dance should be studied continuously to find out the principle of Samjinbak used.
Pungmul Gut Jangdan involving Gutgerijangdan, Jajinmorijangdan, and Whimorijangdan has been incorporated with folk music and traditional rhythm, creating various modes of major scale and the diverse names in each region. The phrase is rendering various complex mixing meters receiving two time rhythm to the main three time rhythm. The phrase has a structure of diverse rhythm rate, keeping minute and precise form. Among the diverse rhythms the rhythm of 1:2 and 2:1 are the most remarkable ones, showing more irregular long or short rhythm than regular ones. The rhythmic structure of those mathematical system of the phrase can be defined as following.
First, it has a particular rhythm structure transformed into Samjinbak from one time beat. The phrase has a mathematic structure which consists of principle of Samjinbak transformed from the installed time rhythms by the set theory. The value of time continues to be kept freely in the mean time during the play, in which small beat and very small beat are changed into another value of time.
Second, the phrase of the rhythm patterns a mathematic system by freely crossing the major scales, Whimorijangdan in Jajinmorijangdan major scale and Jajinmorijangdan and Whimorijangdan in Gutgerijangdan major scale. The receiving major scale divides three parts and two parts mixing both of them. Reconstructed into the principle of Samjinbak, the rhythm creates free mixing of major scales. Although it is mixed with different rhythms complexly, the principle of Samjinbak is penetrated in one time beat. In addition, the structure of odd meter and hemiola type appears mostly on the basis of the principle.
Third, a variation in case of body gesture adjusts such various gestures on the rhythm of Jing and drums. The rhythm of body gestures in empty creates Vium-Samjinbak like the order of Samjinbak. Another characteristic of body gestures enjoys taking a walk in the real time-space, experiencing an Muhanjinbak of life as Shinmyung.
The principle of rhythmic structure shows long and short rate of breath rhythm in the irregular from the lungs of rhythm in the regular form like pulse. The stream of rhythm can be controled in the meter of long and short value of time playing the tension and relaxation in a frame. We can find out the particular principle keeping the principle of Samjinbak controlling its speed freely.
In the thesis a mathematic system and aesthetic significance are illuminated in the rhythmic structure of major scales in Pungmul Gut Jangdan. Rhythmic structure of the phrase combined with sound and dance should be studied continuously to find out the principle of Samjinbak used.
목차
Ⅰ. 서론
Ⅱ. 풍물 굿 장단의 리듬유형과 수리체계
Ⅲ. 몸짓리듬에 따른 변용
Ⅳ. 리듬의 수리적 특색 및 미적 의미
Ⅴ. 결론
〈참고문헌〉
〈Abstract〉
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