「 동동 」(동동(動動))의 구조 = The Structure of Dongdong

다국어 초록 (Multilingual Abstract)

Dongdong which means movement, is a kind of dance music. It has about a 500 year old history. This dance music is composed of several sounds such as taeju(太簇)·hwangjong(黃鐘)·muyoˇk(無易)·namryoˇ(南呂)·imjong(林鐘)·chungryoˇ(仲呂) and hyoˇpjong(來鍾), Muyoˇk and hyoˇpjong are exotic sounds, and these two sounds are use only once while the music is played. They may be considered as pitch accents like two other sounds choˇngtaeju(淸太簇, f$quot;) and paeimjong (倍林鐘, b^b), which are the highest sound and the lowest sound. These pitch accents can be a symbol of moderation related to the oriental morality because those accents tend to be very moderate.
In the first period of Dongdong, there is a period in which attack and cadence are the same. This is called the tendency of a mode. However, it is difficult to find the tendency of the mode in other phrases since modification is always added to either the, starting sound or the ending sound.
The method of development of Dongdong is the absolute repeat of the same phrase. A drum plays the absolute rhythm of the bar rhythm of 18 times. According to the point of view of Confucian morality, the matter of repeat is connected to the character of recreation because Dongdong is a dance music.
In Dongdong, the third bar each period is placed by imjong. This theroretically proves that Dongdong is based on the mode of irrljong.
From the 4th period to the 8th one, the sound of chungryoˇ placed on the fourth bar is the secondary structure when compared to imjong. However, this sound functions to neutralize the dominating sound of imjong. The sound of imjong is united with the drum side which is the accent of a drum, this sound can be emphasized as the accent when compared to the sound of imjong considered as the tone value.
Dongdong uses insertions as the most common ways for development and modification. Generally there are many inserted phrases in the sounds of imjong. The melodies of the 8th period are inserted sounds of hwangjong, and they give signs of modulation. This is an intention to neutralize the imjgong dominating theory.
Like all the other wood-wind instrumemts, piri(腎築) can make two sounds at one position. I call this kind of instrumemtation an artificial sound. Dongdong uses these artificial sound several times.
Like any other Korean music, Dongdong has a number of perfect intervals of the 4th. A different thing about Dongdong, however, is that the sounds are all upward intervals of the 4th. This may be due to the characteristic of Dongdong, which is a wood-wind work. and this wood-wind work tends easily to make a skipping sound using wood-wind instruments. As Colaer argues that the physiological structure of the vocal apparatus among all men accounts for the special importance of the interval of the fourth it is worth paying attention to the theory that Dongdong was originally the accompaniment for the song of Chongeupsa(井邑詞).
Generally in Korean instrumental music, piri play the main melody. In Dongdong's ensemble, choˇtte(大　) and tangjoˇk(唐笛) function as an obbrigato, which is the main melody played above one octave of piri and as a break which can help piri relax as well. Especially the sound that function as a break is called a yoˇneum(連音) in Korea. This kind of music style is also used in other music.
The structure of Dongdong is very much related to my work. This relationship creates an intention to pursue the study of work done in the past. In relation to that work I want to make possible a better understanding of future music.