가곡 삭대엽(數大葉)의 음독(音讀)에 관한 연구 = Contemplation on the Phonetic Reading of a Chinese Character Su versus Sak in Reading the Title of Kagok (Traditional Korean Lyric Song), Sakdaeyop

다국어 초록 (Multilingual Abstract)

This paper is to examine two issues, One is the phonetic reading of a Chinese character su 數 versus sak 數, and the other is whether the letters man 慢, chung 中, and sak 數 indicate the tempo or the length of the piece. Although these two issues seem to be separate, yet they are closely related. The issue of the reading of the letter is about whether it is cardinal number or ordinal number, while the issue of man, chung, and sak is about whether they indicate the tempo or the length of its tune. The inseparable relation between the reading of the letter and the tempo lies in the fact that the letter means fast if it is read sak, and means the order if it is read su. If sak means fast, man and chung should be slower. This idea, however, is impossible both musically, and physically, considering human respiration. Thus I have come to an idea that it could not mean the tempo but the length of the tune. It is a fact that the music in the past was slow in terms of music philosophy. Of course the tempo of man, chung, and sak in a greater or less degree, could be flexible by the player with the arbitrariness and improvisation. With this premise, we would easily find the longer tune slower, and the shorter tune faster if the whole pieces are different in length. What could it mean by Even though Chungdaeyop 中大葉 is rather faster, they still don``t like it.? For instance, Yomillak 與民樂 (enjoy with the people) is hardly played in full. Only its first few rhythmic cycles and 4-5 phrases are played today. Considering that the foregoers minded stopping working halfway, I presume that they would have preferred Sakdaeyop 數大葉, which is rather shorter than Mandaeyop 慢大葉 or Chungdaeyop中大葉 in length, though they were played in progression. Since this study is not aimed at analysing the music, I have not included the time value of the first phrase of each piece, but have examined the length of Man, Jung, Sak in comparison and epitomized, on condition that the length or time of a phrase of each piece is by and large the same. According to Songho Sasol 『星湖僿說』 (Songho``s Encyclopedic Discourse), the musical forms are the same and there is no difference in length in daeyopjo 大葉調. However, it is found that Mandaeyop is long and Sakdaeyop is short when the two pieces in Hyongum Tongmun Yugi 『玄琴東文類記』 are compared. The four pieces of Chungdaeyop in Yanggumsinbo seem to be similar in length to Mandaeyop, but eventually Mandaeyop is the longest, Chungdaeyop is the medium in length and Sakdaeyop is the shortest. In this paper, the notes are calculated accordingly to the numbers marked in each phrase, from the first phrase to Youm in Pyongjo-Mandaeyop 平調慢大葉, Hyongum Tongmun Yugi. Summing up the numbers with the notes from the first phrase to Youm of the fifth phrase, and calculating the numbers for the pieces with no marking, I could find out that the number with the notes of the Mandaeyop is the largest, thus the longest, Chungdaeyop the medium, and Sakdaeyop is the smallest. The letter man has almost been meant for slow. Considering its usage in Book of Odes, and Annotated Book of History, it involves a meaning for long music along with a meaning for slow. This study leads to a conclusion that the letters man, chung, and sak are associated with the length of the tune rather than its tempo, which remains a question to answer until one finds a critical clue. Thus it is required to reconsider if it is desirable to understand the meaning of man, chung, and sak as tempo, as they have been used. Tongch``angi, the first piece of male kagok is recorded as Chosu taeyop 初數大葉. I have intended to determine whether to read the letter su or sak. If the letter is meant for the pieces of fast tempo, it should be read sak, whereas it should be read ``Su`` if it is meant for the order. Telling one from the other should be done first. In the course of transmission of kagok, ch``i`` in Gagok Scores by Yi Chu-hwan 李珠煥 indicates the order, so is read su. Whereas, sak in Chosak taeyop indicates the tempo. It is the very basis of learning to use the right terms.