A geomungo duet with piri, called "Summer in Childhood", created by Yun Hwa-Jung, consisted of three movements. This study analyzed each movement in terms of form․melody, expression technique․rhythm, and beat, and finally the following results were obtained.
First, the first movement, 'S...
A geomungo duet with piri, called "Summer in Childhood", created by Yun Hwa-Jung, consisted of three movements. This study analyzed each movement in terms of form․melody, expression technique․rhythm, and beat, and finally the following results were obtained.
First, the first movement, 'Sky' was slow quadruple beat music of =50 and consisted of a total of 44 phrases. They were divided into three paragraphs according to the changes of melody. In the first paragraph(the 1st∼12th phrase), theme melody which was repeated most in the whole movement appeared and was performed by a geomungo solo. In the second movement(the 13th∼28th phrase), different theme melody was developed from the theme melody of the first paragraph and piri was played to a geomungo accompaniment. In the final paragraph(the 29th∼44th phrase), the main melody of geomungo played in the first paragraph replayed by piri. Geomungo played a role of accompaniment and sometimes played main melody. By using a tie of geomungo, phrases were not divided and the interlude of geomungo was performed to the maximum.
Second, the second movement, 'Play' consisted of a total of 80 phrases and was divided into three paragraphs according to tempo and rhythm. The first paragraph(the 45th∼79th phrase) was Eotmori rhythm with tempo of ♪=180. Geomungo was developed in connection with the theme melody of the first movement through rhythm transformation and performed by Eotmori rhythm and various tones. Piri was played with rhythm division. In the second paragraph(the 80th∼92nd phrase), the melody of a traditional nursery rhyme, called "Toad, Toad∼", appeared. Geomungo and piri were played alternately and the quadruple beat music of was divided into four triple beats for phrases to go to quick Eotmori rhythm. The final paragraph(the 93rd∼124th phrase) was very quick Eotmori rhythm(tempo of ♪=230) with a variation to Gyemyeon melody using theme melody of main tone of eb(la), the acciacatra from gb(do) to f(si), and vibrato of bb(mi) which contrasted with the first paragraph and was played vividly and lively. Eotmori rhythm was used for 10/8 beat and various main rhythms of Eotmori rhythm of geomungo appeared 28 times.
Finally, the third movement, 'Home-coming' consisted of a total of 78 phrases and was divided into three paragraphs. The first paragraph(the 125th∼183rd phrase) was Taryeong rhythm(tempo of =65). The theme melody of the first paragraph was emphasized by adding the theme melody of the first movement to Taryeong rhythm, and Gyemyeon technique was played by using acciacatra of gb(do) → f(si) to maximize the dissimulation of Taryeong rhythm. Furthermore, musical tension was given by rising accidental notations to a half tone and tension was maximized in the geomungo solo by using the highest tones of geomungo, gb(do) and f(si). By repeatedly playing triple and duple beats with an eight note, magnificent sound effects were given and tension reached the climax to go to piri cadenza. In the second paragraph(the 184th∼190th phrase), piri cadenza was played and a performer played optionally with reference to the score. The third paragraph(the 191st∼202nd phrase) replayed the theme melody of the first movement but was not boring because it used the last part of theme melody first and was finished by playing it repeatedly. Taryeong rhythm was used for 12/8 beat and various main rhythms of Taryeong rhythm of geomungo appeared 28 times.
Based on this result, it is expected that the detailed analysis of a geomungo duet called "Summer in Childhood" will contribute to creative activity by providing information on playing, appreciation, and methods to use the structure of geomungo.
A geomungo duet with piri, called "Summer in Childhood", created by Yun Hwa-Jung, consisted of three movements. This study analyzed each movement in terms of form․melody, expression technique․rhythm, and beat, and finally the following results were obtained.
First, the first movement, 'Sky' was slow quadruple beat music of =50 and consisted of a total of 44 phrases. They were divided into three paragraphs according to the changes of melody. In the first paragraph(the 1st∼12th phrase), theme melody which was repeated most in the whole movement appeared and was performed by a geomungo solo. In the second movement(the 13th∼28th phrase), different theme melody was developed from the theme melody of the first paragraph and piri was played to a geomungo accompaniment. In the final paragraph(the 29th∼44th phrase), the main melody of geomungo played in the first paragraph replayed by piri. Geomungo played a role of accompaniment and sometimes played main melody. By using a tie of geomungo, phrases were not divided and the interlude of geomungo was performed to the maximum.
Second, the second movement, 'Play' consisted of a total of 80 phrases and was divided into three paragraphs according to tempo and rhythm. The first paragraph(the 45th∼79th phrase) was Eotmori rhythm with tempo of ♪=180. Geomungo was developed in connection with the theme melody of the first movement through rhythm transformation and performed by Eotmori rhythm and various tones. Piri was played with rhythm division. In the second paragraph(the 80th∼92nd phrase), the melody of a traditional nursery rhyme, called "Toad, Toad∼", appeared. Geomungo and piri were played alternately and the quadruple beat music of was divided into four triple beats for phrases to go to quick Eotmori rhythm. The final paragraph(the 93rd∼124th phrase) was very quick Eotmori rhythm(tempo of ♪=230) with a variation to Gyemyeon melody using theme melody of main tone of eb(la), the acciacatra from gb(do) to f(si), and vibrato of bb(mi) which contrasted with the first paragraph and was played vividly and lively. Eotmori rhythm was used for 10/8 beat and various main rhythms of Eotmori rhythm of geomungo appeared 28 times.
Finally, the third movement, 'Home-coming' consisted of a total of 78 phrases and was divided into three paragraphs. The first paragraph(the 125th∼183rd phrase) was Taryeong rhythm(tempo of =65). The theme melody of the first paragraph was emphasized by adding the theme melody of the first movement to Taryeong rhythm, and Gyemyeon technique was played by using acciacatra of gb(do) → f(si) to maximize the dissimulation of Taryeong rhythm. Furthermore, musical tension was given by rising accidental notations to a half tone and tension was maximized in the geomungo solo by using the highest tones of geomungo, gb(do) and f(si). By repeatedly playing triple and duple beats with an eight note, magnificent sound effects were given and tension reached the climax to go to piri cadenza. In the second paragraph(the 184th∼190th phrase), piri cadenza was played and a performer played optionally with reference to the score. The third paragraph(the 191st∼202nd phrase) replayed the theme melody of the first movement but was not boring because it used the last part of theme melody first and was finished by playing it repeatedly. Taryeong rhythm was used for 12/8 beat and various main rhythms of Taryeong rhythm of geomungo appeared 28 times.
Based on this result, it is expected that the detailed analysis of a geomungo duet called "Summer in Childhood" will contribute to creative activity by providing information on playing, appreciation, and methods to use the structure of geomungo.
주제어
#Summer in Childhood
#유년의 여름
#거문고 창작곡
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