This paper analyzed the music of the Choi Ok-san style Gayageum Sanjo “Barim” from the perspective of Baek Daewoong’s Langue and Parole, and described the musical phenomenon in which two pieces of the Choi Ok-san style Gayageum Sanjo and orchestra concerto are created and fused into one new piece of...
This paper analyzed the music of the Choi Ok-san style Gayageum Sanjo “Barim” from the perspective of Baek Daewoong’s Langue and Parole, and described the musical phenomenon in which two pieces of the Choi Ok-san style Gayageum Sanjo and orchestra concerto are created and fused into one new piece of music from using traditional music usage and the perspective of music usage.
The “Barim” concerto consists of a total of 434 bars. The introduction consists of a total of 59 bars [introduction(1-16 bars) -(17-24 bars) -(25-32 bars) -(33-44 bars) -(45-59 bars)]. Jinyangjo consists of a total of 17 jangdans --(60-110 bars). Jungmori consists of a total of 29 jangdans ----(111-168 bars). Jungjungmori consists of a total of 30 jangdans -(169-198 bars). Late Jajinmori consists of a total of 38 jangdans ---(199-236 bars). Jajinmori consists of a total of 86 jangdans --(237-322 bars). Hwimori consists of a total of 104 jangdans ---(323-426 bars). Outro(Punungarak) consists of a total of 4 jangdans (427-434 bars).
The overall composition of the introductory orchestra is f minor. At the end of paragraph, a sound superposition (C.Db.G.Ab) effect was applied to the f minor main note. It is characterized by using a dominant seventh chord(V7) when changing large paragraphs and cadences. The synchronous melody is presented in paragraph by Daegeum.
In the introductory part, Parole has only an ambiguous sound using the tremolo technique like the ‘Barim technique’ in arts, then gradually adds color to make a clear musical expression.
In Jinyangjo, the Gayageum solo melodies are composed of Ujo-gil of C main tonic and Gyemyeon-gil of C main tonic. The orchestra takes over the momentary change to am at the end of the introductory part, and the Jinyangjo begins briefly in am, and then all the jangdans alternate between cm and CM.
In Jungmori, the Gayageum solo melody consists of the progress of Ujo-gil of C main tonic, Gyemyeon-gil of C main tonic, and Pyeongjo-gil of F main tonic. The beginning of the orchestra Jungmori started with unison, followed by imitation of homomorphic progression and canon format, and showed that the texture of the music was getting thicker with the polyphonic texture. It is characteristic that Sogeum plays the main melody of Kyongdurum independently with the melody of the oblique. The soft and supple melodic progression is shown in the solo method of Kyongdurum. The overall composition of the orchestra was CM and cm. After playing unison at the climax of Jungmori, breaking the harmony pattern through tremolo, unison proceeded, and the CM cadence connector was used and the cadence was terminated with Fm.
In Jungjungmori, the Gayageum solo melody is composed of C main tonic Ujo-gil and F main tonic Ujo-gil, and the orchestra composition consists of CM and Am, and ended with Cmⅱ7. The glockenspiel and the medium ocean drum reappeared in the intro in Measure 181 of Jungjungmori to increase the musical effect. The oblique melody of Sogeum appears again in Jungjungmori Seokhwaje, and the solo and string bass ends with an Am harmony progression. In the form of close imitation, a solo melody is played for each instrument.
The late Jajinmori Gayageum solo melody is composed of C main tonic Ujo-gil and Gyemyeon-gil of C main tonic, and the orchestra melody is the main composition of the CM. It shows the overall ensemble form of Unison and Solo. Rich in imitation, canon, heterophony forms and polyphonic textures, the progression of the piece is rising.
Jajinmori Gayageum solo melodies are composed of C main tonic Ujo-gil of and Gyemyeon-gil of C main tonic, and the imitation of the orchestra increased and the texture became thicker. The orchestral composition is composed of CM. The solo melody of the Gayageum's rainy melodies and the horse-riding melodies cadenza was composed to stand out. Jajinmori's rhythmic structure moves differently from the Gayageum solo melody, giving tension and reaching its climax due to the out of synch form.
The Hwimori Gayageum solo melody consists of C main tonic Ujo-gil and Gyemyeon-gil of C main tonic. The composition of the orchestra is CM and Cm. The entire ensemble of orchestra and the cadenza of solo Gayageum are connected. It shows a question-and-answer format and a form of imitation of a solo melody.
In Outro(Punungarak), The glockenspiel, vibraphone, and medium ocean drum at the beginning of the first part reappear to brighten the main theme of the main melody with CM.
The motive melody of composer Park Young-ran's “Barim” first appears in the Daegeum for 4 bars from bar 45-48. The compositional technique used in “Passacaglia” appeared. Representative examples are the misaligned structure of phrases, the canon and heterophony formats, and the unison progression. Also, the 25-string Gayageum's 2:3 rhythm type and the arpeggio note type are common.
The characteristics of composer Park Youngran's “Barim” are as follows.
First, the Gayageum solo melody is not over yet, but a new phrase for the orchestra begins first. It is a form of a misaligned oppositional structure of phrase endings, which is also characteristic of “Passacaglia”.
Second, it is a form in which the main melody changes as it goes until the end of the music.
Third, the form of isomorphic repetition continues to appear. (isomorphic progression of rhythm, isomorphic progression of melody)
Forth, various forms of counterpoint appear. Invention, a progression of canon-style imitation melodies, and It shows a heterophonic texture, a Synawi-style ensemble form, along with a polyphonic form of fugue-style and a solo melody.
Fifth, the progression of the 25-string Gayageum's 2:3 rhythm and arpeggio notes are expressions that appear frequently in “Passacaglia”.
Sixth, a dominant seventh chord(V7) is used at the end of a large passage. (example, f minor;V7, a minor;V7)
Seventh, the unison progression appears frequently because it is suitable for revitalizing the main melody of Sanjo.
Eighth, it shows the main melody(B-C-Ab-F) and the main harmony(Fm, Am, CM, Cm).
Ninth, the chromatic descending progress of the bass often appears, and the descending progress and ascending progress of the 3rd leap also appear.
The technique of composing the “Barim” concerto is interpreted as follows. It is a composition technique in which the canon type of homogeneous progression, the invention type of the chromatic descending progression of the bass, and the polyphonic texture expand the imitative melody and play abundantly. It is the unison progression, which is a major characteristic of the Sanjo concerto. The solo melody stands out, and it is a representative form of a concerto, and it expands to the texture of the heterophony type.
As a result of analyzing a music for “Barim” a Gayageum Sanjo concerto on style of the Choi, Ok-san as above, the contrapuntal composition technique of music is variously fused within the framework of the traditional music Sanjo's selection, scale, and rhythm, so that traditional music Sanjo can collaborate with world music. It was confirmed that it was a more advanced piece of music.
The specificity of traditional music is judged to be possible when it is reborn like “Barim” by applying the systematic composition technique of music theory with universality in order to develop into world music.
In the future, I think that composing and performing more steadily and actively progressing and challenging in order to be recognized for their excellence in the world of various music based on traditional music. Collaboration and trials in all fields of K-music, not just K-pop, are expected to succeed and develop in both traditional and contemporary music.
This paper analyzed the music of the Choi Ok-san style Gayageum Sanjo “Barim” from the perspective of Baek Daewoong’s Langue and Parole, and described the musical phenomenon in which two pieces of the Choi Ok-san style Gayageum Sanjo and orchestra concerto are created and fused into one new piece of music from using traditional music usage and the perspective of music usage.
The “Barim” concerto consists of a total of 434 bars. The introduction consists of a total of 59 bars [introduction(1-16 bars) -(17-24 bars) -(25-32 bars) -(33-44 bars) -(45-59 bars)]. Jinyangjo consists of a total of 17 jangdans --(60-110 bars). Jungmori consists of a total of 29 jangdans ----(111-168 bars). Jungjungmori consists of a total of 30 jangdans -(169-198 bars). Late Jajinmori consists of a total of 38 jangdans ---(199-236 bars). Jajinmori consists of a total of 86 jangdans --(237-322 bars). Hwimori consists of a total of 104 jangdans ---(323-426 bars). Outro(Punungarak) consists of a total of 4 jangdans (427-434 bars).
The overall composition of the introductory orchestra is f minor. At the end of paragraph, a sound superposition (C.Db.G.Ab) effect was applied to the f minor main note. It is characterized by using a dominant seventh chord(V7) when changing large paragraphs and cadences. The synchronous melody is presented in paragraph by Daegeum.
In the introductory part, Parole has only an ambiguous sound using the tremolo technique like the ‘Barim technique’ in arts, then gradually adds color to make a clear musical expression.
In Jinyangjo, the Gayageum solo melodies are composed of Ujo-gil of C main tonic and Gyemyeon-gil of C main tonic. The orchestra takes over the momentary change to am at the end of the introductory part, and the Jinyangjo begins briefly in am, and then all the jangdans alternate between cm and CM.
In Jungmori, the Gayageum solo melody consists of the progress of Ujo-gil of C main tonic, Gyemyeon-gil of C main tonic, and Pyeongjo-gil of F main tonic. The beginning of the orchestra Jungmori started with unison, followed by imitation of homomorphic progression and canon format, and showed that the texture of the music was getting thicker with the polyphonic texture. It is characteristic that Sogeum plays the main melody of Kyongdurum independently with the melody of the oblique. The soft and supple melodic progression is shown in the solo method of Kyongdurum. The overall composition of the orchestra was CM and cm. After playing unison at the climax of Jungmori, breaking the harmony pattern through tremolo, unison proceeded, and the CM cadence connector was used and the cadence was terminated with Fm.
In Jungjungmori, the Gayageum solo melody is composed of C main tonic Ujo-gil and F main tonic Ujo-gil, and the orchestra composition consists of CM and Am, and ended with Cmⅱ7. The glockenspiel and the medium ocean drum reappeared in the intro in Measure 181 of Jungjungmori to increase the musical effect. The oblique melody of Sogeum appears again in Jungjungmori Seokhwaje, and the solo and string bass ends with an Am harmony progression. In the form of close imitation, a solo melody is played for each instrument.
The late Jajinmori Gayageum solo melody is composed of C main tonic Ujo-gil and Gyemyeon-gil of C main tonic, and the orchestra melody is the main composition of the CM. It shows the overall ensemble form of Unison and Solo. Rich in imitation, canon, heterophony forms and polyphonic textures, the progression of the piece is rising.
Jajinmori Gayageum solo melodies are composed of C main tonic Ujo-gil of and Gyemyeon-gil of C main tonic, and the imitation of the orchestra increased and the texture became thicker. The orchestral composition is composed of CM. The solo melody of the Gayageum's rainy melodies and the horse-riding melodies cadenza was composed to stand out. Jajinmori's rhythmic structure moves differently from the Gayageum solo melody, giving tension and reaching its climax due to the out of synch form.
The Hwimori Gayageum solo melody consists of C main tonic Ujo-gil and Gyemyeon-gil of C main tonic. The composition of the orchestra is CM and Cm. The entire ensemble of orchestra and the cadenza of solo Gayageum are connected. It shows a question-and-answer format and a form of imitation of a solo melody.
In Outro(Punungarak), The glockenspiel, vibraphone, and medium ocean drum at the beginning of the first part reappear to brighten the main theme of the main melody with CM.
The motive melody of composer Park Young-ran's “Barim” first appears in the Daegeum for 4 bars from bar 45-48. The compositional technique used in “Passacaglia” appeared. Representative examples are the misaligned structure of phrases, the canon and heterophony formats, and the unison progression. Also, the 25-string Gayageum's 2:3 rhythm type and the arpeggio note type are common.
The characteristics of composer Park Youngran's “Barim” are as follows.
First, the Gayageum solo melody is not over yet, but a new phrase for the orchestra begins first. It is a form of a misaligned oppositional structure of phrase endings, which is also characteristic of “Passacaglia”.
Second, it is a form in which the main melody changes as it goes until the end of the music.
Third, the form of isomorphic repetition continues to appear. (isomorphic progression of rhythm, isomorphic progression of melody)
Forth, various forms of counterpoint appear. Invention, a progression of canon-style imitation melodies, and It shows a heterophonic texture, a Synawi-style ensemble form, along with a polyphonic form of fugue-style and a solo melody.
Fifth, the progression of the 25-string Gayageum's 2:3 rhythm and arpeggio notes are expressions that appear frequently in “Passacaglia”.
Sixth, a dominant seventh chord(V7) is used at the end of a large passage. (example, f minor;V7, a minor;V7)
Seventh, the unison progression appears frequently because it is suitable for revitalizing the main melody of Sanjo.
Eighth, it shows the main melody(B-C-Ab-F) and the main harmony(Fm, Am, CM, Cm).
Ninth, the chromatic descending progress of the bass often appears, and the descending progress and ascending progress of the 3rd leap also appear.
The technique of composing the “Barim” concerto is interpreted as follows. It is a composition technique in which the canon type of homogeneous progression, the invention type of the chromatic descending progression of the bass, and the polyphonic texture expand the imitative melody and play abundantly. It is the unison progression, which is a major characteristic of the Sanjo concerto. The solo melody stands out, and it is a representative form of a concerto, and it expands to the texture of the heterophony type.
As a result of analyzing a music for “Barim” a Gayageum Sanjo concerto on style of the Choi, Ok-san as above, the contrapuntal composition technique of music is variously fused within the framework of the traditional music Sanjo's selection, scale, and rhythm, so that traditional music Sanjo can collaborate with world music. It was confirmed that it was a more advanced piece of music.
The specificity of traditional music is judged to be possible when it is reborn like “Barim” by applying the systematic composition technique of music theory with universality in order to develop into world music.
In the future, I think that composing and performing more steadily and actively progressing and challenging in order to be recognized for their excellence in the world of various music based on traditional music. Collaboration and trials in all fields of K-music, not just K-pop, are expected to succeed and develop in both traditional and contemporary music.
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#Music analysis Barim Gayageum Sanjo Concerto Style of Choi Ok-san Langue and Parole
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