傳統 歌曲의 伴奏旋律에 關한 分析的 硏究 : 男唱, 羽調 二數大葉 系列曲의 奚琴 伴奏 旋律을 中心으로 Centering on the Haegum Part of the Male Voice of UJO I SAKATAEYOP and its Variations = A Analytic Study on the Melody of the Traditional Kagok

다국어 초록 (Multilingual Abstract)

Kagok, one of the most traditional Lyric songs of Korea, is called one of three Chongga together with kasa, sijo. This Lyric song has larger sectional structure and scale, and is accompanied to the musical instruments such as komungo, Kayagum, taegum , p'iri, haegum ,tanso, yanggum, changgo, etc. This Lyric song, beginning in mandaeyop and developing into chungtaeyop, saktaeyop and its variations , nong, nak, p'yon, is considered very important.
The purpose of this study is to make a comparative analysis of the melodic differences between ujo i saktaeyop and its variations of male voice part, between voice part and aegum part. The conclusions of the analysis areas follows:
Firstly, comparing song part of i saketaeyop with that of its variations in view of melody, the ratio of difference reachs 22.2% in u-chung, 9.9% in u-p'p'yong, 11.1% in u-tu. But the ratio of difference amounts to 22.8% comparing p'yonggo 'kyong-song-ch'ul....' with p'yonggo 'saed-pyol-chi-cha...,' the ratio indicates 14.6% comparing chunggo 'in-shim-un...' with chunggo 'ch'ong-gang-e...'. The musics with the same title, but with different poem may be regarded as more independent than the variations of i saktaeyop with different title.
Secondly, as shown in the charter 11, the melody of song part in u-chung, u-p'yong, and u-tu is the reduced or enlarged pattern of the rhythm of u-i for song part, and shows the difference of arranfementcompared with the melody of u-i.
Thirdly, as can be noticed in Chart 11, the melodies of song part of u-i, u-chung, u-p'yong,u-tu consist of 'melody A' to 'melody F'. In addition to these 6 kinds of melodies, haegum part includes, melody G' to 'melody J' and the songs are acompaied to the haegum with its distinctive 'melodies, different but harmonious. Its key melody is 'melody A', which its distinctive melodies, diffrent but harmonious. Its key melody is 'melody A', which amosts to 35%(84 melodic patterns of 240).
Fourthly, the melodies of haegum part are made up of the almost same as that of song part, but the number of the sounds, different with its corresponding sounds of song parts, increases. (the rate of difference. 25.9%(41 out 158 beats) in u-i, 27.8%(44 out of 158) in uc-hung 36.1%(57 out of 158) in u-'pyong, 46.8%(57 out of 158) in u-tu.) This increase indicates that haegum part comprehends the unique technique of haegum and the distinctive melodies, and has been changed into the unique melodies.
Finally, investigating the interval between the sound of haegum part and its counterpart of song part, the interval is mostly composed of fourth interval, that is, when the sound of song part is hwang(Eb), its counterpart of the haegum part is, chung(Ab), when tae(F), it is im or chung(Ab), when chung(Ab), it is tae(F), or im(Bb), when im(Bb), it is chung(Ab) or tae(F) or hwang(Eb), when nam(C), it is tae(F).
So far, the melodic comparison between haegum part and song port for male voice of ujo i saktaeyop, chunggo, p'yonggo, tugo have been referred. But many questions remain to be solved;
1) a analysis of the tone before or after the tone which shows difference in both parts.
2) a study of the melodic comparison between song parts and other accompaniment part.
3) a study of the melodies which vary according to poem.

목차 (Table of Contents)

• Ⅰ.緖 論
• 1.硏究의 必要性과 目的
• 2.硏究의 方法 및 範圍
• 3.奚琴의 構造와 按絃法
• Ⅱ.本 論
• 1.男唱 <羽二>와 <羽中>, <羽平>, <羽頭>의 歌譜 旋律 比較
• 2.男唱 <羽二>, <羽中>, <羽平>, <羽頭>의 歌譜와 奚琴 伴奏 旋律의 比較
• 1)二數大葉
• 2)中擧
• 3)平擧
• 4)頭擧
• Ⅲ.結 論
• 參考文獻
• SUMMARY