In this study, we decoded the『Daejeon Joolpoongryu Hanja (Chinese character) Kooeumbo』which was arranged by Lee Kyung Ho in 1935 and studied about Daejeon Poongryu's transmission style to know about the transmission of Daejeon Poongryu. And to fin...
In this study, we decoded the『Daejeon Joolpoongryu Hanja (Chinese character) Kooeumbo』which was arranged by Lee Kyung Ho in 1935 and studied about Daejeon Poongryu's transmission style to know about the transmission of Daejeon Poongryu. And to find the Daejeon Joolpoongryu's musical feature focused on the Daejeon, Eeli and the Kookakwon's (Classical Music Institute) Kayaguem melody based on the Lee Kyung Ho's 『Daejeon Joolpoongryu Hanja (Chinese character) Kooeumbo』, Kang Nak Seung's『Hyangje Joolpoongryu Kayageum Jeungbo』and a coauthor Kim Ki Soo and Choi Choong Oong's 『Kayaguem Jeongakbo』by comparing law of tuning, law of oral sound, division of scene, number of rhythm beat, way of rhythm beat, organization tune and melody, following conclusions can be drawn.
First, Daejeon Poongryu has been a Youlhoe from the era of rule of Japanese imperialism. After liberation, YoulKaek (member of Youlhoe) had a Youlhoe in YoulKaek's home without name of Youlhoe until the early on 1960's. Daejeon Jeongakwon which was set up in 1965 was flourishing until in the late 1970's. It made a Choongnam university's Kookak meeting in 1976, taught Daejeon Poongryu and performed local Kookak related events. However, due to the foundation of Daejeon City Kookakwon early on 1980's, it had a off season. And then, a meeting of Hanbat Jeongak was established in 1991 to transmit the Poongryu culture tradition and to cultivate individual's gift. It has been flourished up to now. A music score of the Daejeon Poongryu handed down both Kwanak score which is used in the 1960's and Hyunak score - Daejeon Poongryu Hanja (Chinese character) Kooeumbo and Daejeon Poongryu Hanguel (Korean character) Kooeumbo - which was arranged by Lee Kyung Ho in 1935.
Second, Daejeon Joolpoongryu's law of Johyun and law of oral sound are same as those of Eeli's because Daejeon and Eeli utilize Sanjo Kayaguem. In case of Kookakwon, it has Jeongak’s law of Johyun and law of oral sound since it utilizes Jeongak Kayaguem. Therefore in the case of law of Johyun and law of oral sound, Daejeon and Eeli are the same but different to Kookakwon.
Third, Daejeon and Eeli is same but different to Kookakwon in Seryungsan · Karakjeji · Sanghyundodri's division of scene. Hahyundodri · Yeombooldodri · Taryung · Koonak's division of scene is all different but the total number of rhythm beat is all the same.
Forth, a rhythm of Daejeon Joolpoongryu's Taryung · Koonak was written by hand in score as 8 beat but 12 beat in both Eeli's and Kookakwon's. Actually written by hand in score as 8 beat but due to the ornament, real performance was considered as a 12 beat. The reason can be drawn owing to the different publishing year.
Fifth, Daejeon Joolpoongryu's appeared sound from Seryungsan to Taryung is Hwang, Tae, Choong, Im, Moo, Koonak is Hwang, Tae, Ko, Choong, Im, Nam. Tae and Moo are frequently used in Daejeon Poongryu. The reason of Tae's frequent appearance is due to the differences of law of Johyun and passing sound. Different states account for law of Johyun is when the process is going from the Daehwang to Hwang in Kookakwon. Also passing sound is appeared when Hwang is going up to the Choong and Choong is going down to the Hwang. The reason of Moo is the difference method of performance. In the case of using Im 'Dduldong' in Kookakwon, Moo-Im sound is performed as same portion not used 'Dduldong' method. So that sounds are remarkably appeared.
Sixth, the melody of Daejeon, Eeli and Kookakwon Joolpoongryu is almost similar but they have different characteristics due to the differences such as tune method, techniques, melody, rhythm beat, and passing sound etc. In the case of Daejeon two minute rhythm and passing sound are frequently appeared. It is considered as a long rhythm which is appeared in Kookakwon is segmented in Daejeon. 'Sllkidoong', 'Ssaraeng', 'Dduldong', 'Ddul', 'Jeonsung and 'Yuntwingkim' techniques which are observed in Kookakwon are appeared in Daejeon with short rhythm and different sound.