〈국문초록〉
창작국악관현악곡에 있어서 음계의 변화기법에 관한 연구
백대웅작곡 ‘회혼례를 위한 시나위’를 중심으로
이지연
우석대학교 일반대학원
국악학과 작곡전공
지도교수: 백성기
창작국악의 역사는 일제시대부터 해방을 거쳐 오늘날까지 다양한 발전을 거듭하며 각양각색의 곡이 쏟아져 나왔다. 특히 창작국악관현악곡의 경우 초기엔 양적인 부분만 팽창시켯을 뿐 질적인 부분의 고민이 부족하였다. 질적인 부분의 고민중 하나는 새로운 기법의 창작음악을 만들어내는 것이...
〈국문초록〉
창작국악관현악곡에 있어서 음계의 변화기법에 관한 연구
백대웅작곡 ‘회혼례를 위한 시나위’를 중심으로
이지연
우석대학교 일반대학원
국악학과 작곡전공
지도교수: 백성기
창작국악의 역사는 일제시대부터 해방을 거쳐 오늘날까지 다양한 발전을 거듭하며 각양각색의 곡이 쏟아져 나왔다. 특히 창작국악관현악곡의 경우 초기엔 양적인 부분만 팽창시켯을 뿐 질적인 부분의 고민이 부족하였다. 질적인 부분의 고민중 하나는 새로운 기법의 창작음악을 만들어내는 것이다. 특히 전통적 기법을 근간으로 특징적 요소를 활용한 창작음악이야말로 정체성있는 작품으로써 지속될 수 있음을 모두가 인정할 만한 일인 것이다. 따라서 기존 창작국악관현악곡의 다양한 작곡기법을 분석 연구하여 더 나은 예술적인 작품을 창조해내는 일은 아무리 강조해도 지나치지 않을 것이다. 그러므로 본고에서는 창작국악관현악곡에 있어서 주된 작곡 기법중의 하나인 음계의 변화기법을 구체적으로 연구하기위해 백대웅 작곡〈회혼례를 위한 시나위〉를 중심으로 분석하였다.
첫째, 굿거리악장을 분석해보면 1∼16마디는 평조/ 17∼26마디: 3음구성 계면조/ 27∼32마디: 경과구/ 33∼37마디: 남도계면조/ 38∼43마디: 메나리조/ 44∼48마디: 메나리조/ 49∼52마디: 경과구/ 53∼76 마디는 평조음계이다.
둘째, 자진모리악장을 분석해 보면 77∼87마디: 평조/ 88마디: 남도계면조/ 89∼92마디: 평조/ 93마디(대아쟁): 평조/ 93마디(가야금): 남도계면조/ 94∼98마디: 평조/ 99마디: 남도계면조/ 100마디: 평조/ 101(제1∼2박) 남도계면조/ 101(제3∼4박): 평조/ 102마디(제1∼2박) :남도계면조/ 102마디(제3∼4박): 평조/ 103마디: 남도계면조/ 104∼109마디: 평조/ 110마디: 남도계면조/ 111마디: 평조/ 112마디: 남도계면조/ 113마디: 평조/ 114마디: 남도계면조/ 115마디: 메나리조/ 116마디: 남도계면조/ 117마디: 메나리조/ 118마디: 계면조/ 119마디: 메나리조/ 120마디: 남도계면조/ 121〜123마디: 평조/ 124마디: 남도계면조/ 125∼128마디는 평조이다.
결론적으로 ‘회혼례를 위한 시나위’의 주된 작곡기법은 음계변화 기법이다. 통계적으로 볼 때 굿거리 장단 8회, 자진모리 장단 28회로 총36회의 변화과정을 거쳤으며 주로 사용된 음계의 종류는 평조, 남도계면조, 메나리조 3가지 음계로 나타났음을 알 수 있다. 또한 ‘회혼례를 위한 시나위’의 음계변화 형태는 다음과 같이 세가지로 집약된다.
첫째, 마디별로 음계변화를 보인 형태이다.
둘째, 동일마디라 할지라도 악기에 따라 서로 다른 음계 변화가 나타나는 형태이다.
셋째, 한 마디 안에서 서로 다른 음계가 복합적 변화 양상을 띠며 나타나는 형태이다.
〈국문초록〉
창작국악관현악곡에 있어서 음계의 변화기법에 관한 연구
백대웅작곡 ‘회혼례를 위한 시나위’를 중심으로
이지연
우석대학교 일반대학원
국악학과 작곡전공
지도교수: 백성기
창작국악의 역사는 일제시대부터 해방을 거쳐 오늘날까지 다양한 발전을 거듭하며 각양각색의 곡이 쏟아져 나왔다. 특히 창작국악관현악곡의 경우 초기엔 양적인 부분만 팽창시켯을 뿐 질적인 부분의 고민이 부족하였다. 질적인 부분의 고민중 하나는 새로운 기법의 창작음악을 만들어내는 것이다. 특히 전통적 기법을 근간으로 특징적 요소를 활용한 창작음악이야말로 정체성있는 작품으로써 지속될 수 있음을 모두가 인정할 만한 일인 것이다. 따라서 기존 창작국악관현악곡의 다양한 작곡기법을 분석 연구하여 더 나은 예술적인 작품을 창조해내는 일은 아무리 강조해도 지나치지 않을 것이다. 그러므로 본고에서는 창작국악관현악곡에 있어서 주된 작곡 기법중의 하나인 음계의 변화기법을 구체적으로 연구하기위해 백대웅 작곡〈회혼례를 위한 시나위〉를 중심으로 분석하였다.
첫째, 굿거리악장을 분석해보면 1∼16마디는 평조/ 17∼26마디: 3음구성 계면조/ 27∼32마디: 경과구/ 33∼37마디: 남도계면조/ 38∼43마디: 메나리조/ 44∼48마디: 메나리조/ 49∼52마디: 경과구/ 53∼76 마디는 평조음계이다.
둘째, 자진모리악장을 분석해 보면 77∼87마디: 평조/ 88마디: 남도계면조/ 89∼92마디: 평조/ 93마디(대아쟁): 평조/ 93마디(가야금): 남도계면조/ 94∼98마디: 평조/ 99마디: 남도계면조/ 100마디: 평조/ 101(제1∼2박) 남도계면조/ 101(제3∼4박): 평조/ 102마디(제1∼2박) :남도계면조/ 102마디(제3∼4박): 평조/ 103마디: 남도계면조/ 104∼109마디: 평조/ 110마디: 남도계면조/ 111마디: 평조/ 112마디: 남도계면조/ 113마디: 평조/ 114마디: 남도계면조/ 115마디: 메나리조/ 116마디: 남도계면조/ 117마디: 메나리조/ 118마디: 계면조/ 119마디: 메나리조/ 120마디: 남도계면조/ 121〜123마디: 평조/ 124마디: 남도계면조/ 125∼128마디는 평조이다.
결론적으로 ‘회혼례를 위한 시나위’의 주된 작곡기법은 음계변화 기법이다. 통계적으로 볼 때 굿거리 장단 8회, 자진모리 장단 28회로 총36회의 변화과정을 거쳤으며 주로 사용된 음계의 종류는 평조, 남도계면조, 메나리조 3가지 음계로 나타났음을 알 수 있다. 또한 ‘회혼례를 위한 시나위’의 음계변화 형태는 다음과 같이 세가지로 집약된다.
첫째, 마디별로 음계변화를 보인 형태이다.
둘째, 동일마디라 할지라도 악기에 따라 서로 다른 음계 변화가 나타나는 형태이다.
셋째, 한 마디 안에서 서로 다른 음계가 복합적 변화 양상을 띠며 나타나는 형태이다.
〈Abstract〉
Analysis on Scale Changing Technic in Original Korean Traditional Orchestral Music
In the Case of "Sinawui for 60th Wedding Anniversary" Composed by Dea-woong Baek
Ji-yeon Lee
Woosuk University, Graduate School
Department of Traditional Korean Music, Compo...
〈Abstract〉
Analysis on Scale Changing Technic in Original Korean Traditional Orchestral Music
In the Case of "Sinawui for 60th Wedding Anniversary" Composed by Dea-woong Baek
Ji-yeon Lee
Woosuk University, Graduate School
Department of Traditional Korean Music, Composition Major
Thesis Director: Sung-ki Baek
Korean traditional original music has experienced various advances from the Japanese ruling era through liberation and up to date. Many original pieces of music have been produced over the period. In particular, in the case of Korean traditional original orchestral music, even though many pieces of it were produced, there has been little consideration about how to raise its quality. A part of such consideration is to create original pieces of music based on new technic. Especially original music composed based on traditional technic with touch of special features can be appreciated by everyone as a music with unique identity. Accordingly, creating better pieces of music by thoroughly analyzing various composing technics of existing Korea traditional original orchestral music is very significant. In this regard, this research focused on "Sinawui for 60th Wedding Anniversary" composed by Dae-woong Baek, to analyze scale changing technic which is one of the major composing technics of Korean traditional original orchestral music.
First, in the Goodgeori Movement, 1st to 16th measures have plain key, 17th to 26th measures have Gyemyeon key composed of three note, 27th to 32nd measures have bridge passage, 33rd to 37th measures have South province Gyemyeon key, 38th to 43rd measures have Menari key, 44th to 48th measures have Menari key, 49th to 52nd measures have bridge passage, and 53rd to 76th measures have plain key.
Second, in the Jajinmori Movement, 77th to 87th measures have plain key, 88th measure has South province Gyemyeon key, 89th to 92nd measures have plain key, 93th measure(Big Ajaeng) has plain key, 93rd measure(gayageum) has South province Gyemyeon key, 94th to 98th measures have plain key, 99the measure has South province Gyemyeon key, 100th measure has plain key, 101th measure(1st to 2nd time) has South province Gyemyeon key, 102nd measure(1st to 2nd time) has South province Gyemyeon key, 102nd measure(3rd to 4th time) has plain key, 103rd measure has South province Gyemyeon key, 104th to 109th measures have plain key, 110th measure has South province Gyemyeon key, 111st measure has plain key, 112nd measure has South province Gyemyeon key, 113rd measure has palin key, 114th measure has South province Gyemyeon key, 115th measure has Menari key, 116th measure has South province Gyemyeon key, 117th measure has Menari key, 118th measure has Gyemyeon key, 119th measure has Menari key, 120th measure has South province Gyemyeon key, 121st to 123rd measures have plain key, 124th measure has South province Gyemyeon key, and 125th 128th measures have plain key.
In conclusion, the primary composing technic used for "Sinawui for 60th Wedding Anniversary" is scale changing technic. Statistically, the music goes through 36 changes including 8 Goodgeori rhythm and 28 Jajinmori rhythm and three major scales, plain key, South province Gyemyeon key, and Menari key were mainly used. In addition, the three major forms of scale change in "Sinawui for 60th Wedding Anniversary" are as following.
First, scale change appears at each measure.
Second, even in the same measure, different scale changes appear according to what instrument is being played.
Third, different scales appear in a measure, being changed variously.
〈Abstract〉
Analysis on Scale Changing Technic in Original Korean Traditional Orchestral Music
In the Case of "Sinawui for 60th Wedding Anniversary" Composed by Dea-woong Baek
Ji-yeon Lee
Woosuk University, Graduate School
Department of Traditional Korean Music, Composition Major
Thesis Director: Sung-ki Baek
Korean traditional original music has experienced various advances from the Japanese ruling era through liberation and up to date. Many original pieces of music have been produced over the period. In particular, in the case of Korean traditional original orchestral music, even though many pieces of it were produced, there has been little consideration about how to raise its quality. A part of such consideration is to create original pieces of music based on new technic. Especially original music composed based on traditional technic with touch of special features can be appreciated by everyone as a music with unique identity. Accordingly, creating better pieces of music by thoroughly analyzing various composing technics of existing Korea traditional original orchestral music is very significant. In this regard, this research focused on "Sinawui for 60th Wedding Anniversary" composed by Dae-woong Baek, to analyze scale changing technic which is one of the major composing technics of Korean traditional original orchestral music.
First, in the Goodgeori Movement, 1st to 16th measures have plain key, 17th to 26th measures have Gyemyeon key composed of three note, 27th to 32nd measures have bridge passage, 33rd to 37th measures have South province Gyemyeon key, 38th to 43rd measures have Menari key, 44th to 48th measures have Menari key, 49th to 52nd measures have bridge passage, and 53rd to 76th measures have plain key.
Second, in the Jajinmori Movement, 77th to 87th measures have plain key, 88th measure has South province Gyemyeon key, 89th to 92nd measures have plain key, 93th measure(Big Ajaeng) has plain key, 93rd measure(gayageum) has South province Gyemyeon key, 94th to 98th measures have plain key, 99the measure has South province Gyemyeon key, 100th measure has plain key, 101th measure(1st to 2nd time) has South province Gyemyeon key, 102nd measure(1st to 2nd time) has South province Gyemyeon key, 102nd measure(3rd to 4th time) has plain key, 103rd measure has South province Gyemyeon key, 104th to 109th measures have plain key, 110th measure has South province Gyemyeon key, 111st measure has plain key, 112nd measure has South province Gyemyeon key, 113rd measure has palin key, 114th measure has South province Gyemyeon key, 115th measure has Menari key, 116th measure has South province Gyemyeon key, 117th measure has Menari key, 118th measure has Gyemyeon key, 119th measure has Menari key, 120th measure has South province Gyemyeon key, 121st to 123rd measures have plain key, 124th measure has South province Gyemyeon key, and 125th 128th measures have plain key.
In conclusion, the primary composing technic used for "Sinawui for 60th Wedding Anniversary" is scale changing technic. Statistically, the music goes through 36 changes including 8 Goodgeori rhythm and 28 Jajinmori rhythm and three major scales, plain key, South province Gyemyeon key, and Menari key were mainly used. In addition, the three major forms of scale change in "Sinawui for 60th Wedding Anniversary" are as following.
First, scale change appears at each measure.
Second, even in the same measure, different scale changes appear according to what instrument is being played.
Third, different scales appear in a measure, being changed variously.
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