韓國傳統音樂의 樂調(平調와 界面調) = The TONAL SYSTEM OF KOREAN TRADITIONAL MUSIC

다국어 초록 (Multilingual Abstract)

The 15 Century 『Annals of King Sejong』 世宗莊憲大王實錄 and the 16 Century 『Akh Gwehbum』 樂學軌範 (Treatise on Music) show that the two main tonal systems o Korean music are the Pyong-Jo 平調 and the Kyemyon-Jo 界面調 (Jo 調 being t system). Also, 『Shiyong Hyangakho』 時用鄕樂譜 (Current Korean Music Manuscript) the same period does not contain any record of Jo other than the two mentioned above. Literature on Jo from the early Chosen period states that Korea s Pyong-Jo is th same as Chih-Jo 徵調 which is one of the five Jo belonging to China and that th Korean Kyemyon-Jo is the same as China s Yu-Jo 羽調. This would conclude that Pyong-Jo and Kyemyon-Jo of this period were considered to be a pentatonic scale built Sol and La respectively. And since then, there have been many thesises written using this basis of explanation. But as the music of Korea became more complex and varied, many have come to say that it would be unfitting to try and describe today s music with such simple definitions. I believe this stem from the fact that scholars think that the music theories of the olden days does not do justice the traditional music of today as well as the fact that there was a new system needed for explaining folk music(Minsogak 民俗樂) tha they believed didn t exist before. As a result, in trying to systemize the tonal system of Korean music, many have approached it from the view that there are five sets of pentatonic scales (scales built on Do; built on Re; built on Mi; built on Sol; and built on La). But this attempt would conclude that Korean music would be no different from Chinese. I believe this would not be the most correct way of describing Korean music which surely has its own characrteristics that are independent from that of Chinese music. In describing the Korean tonal system, one must be able to show the very features that separate Korean music from its neighbors and to represent the music itself in a correct way; and with this, one must be able to understand the total music picture including the music of the old as well as the traditional music of today; and it must represent both the Chongak 正樂 (Classical) and the Minsogak 民俗樂 (Folk) in balanced manner. Researching this period s material, literature and the music with this in mind, one might come to the following conclusions. Firstly, whether it be traditional music from the past or it be of today; or that it be Chongak or Minsogak; there is a general agreement that Korean music is divided in two main tonal systems, namely Pyong-Jo and Kyemyon-Jo. Secondly, whether or not it be Pyong-jo or Kyemyon- Jo, the center tone is the K 宮(or Chong 淸). But this Kung, being different from the Kung of China, lies in t middle of the scale in both Chongak and Minsogak. That is to say, the Kung(center ton in Korean music is in the middle of each of the two pentatonic scales and is not the lowest or the first note of the scale as has been stated by many. (With the influence of Chinese music, inevitably there are some pieces of the old classics that have Kung which lie on the bottom of the scale.) The structure of these scales are such that they build on the interval of a 4th below the Kung (or Chong) up to an interval of a 5t above the Kung (as in one of Korea s traditional notation system of the Oumyakbo 五音略譜: Ha 下 2 - Ha 1 - Kung - Sang 上: 1 - Sang 2 - Sang 3 ; this being similar t plagal mode and not the authentic mode of the Middle Ages). So, if one were to build a scale with Kung being the bottom note, the scale would end up being entirely different from the actual one used in the piece. The habitual Sol-scale and the La-scale theory can not be accredited.

목차 (Table of Contents)

• Ⅰ. 머리말
• Ⅱ. 본론
• Ⅲ. 맺음말
• 參考文獻
• Abstract