영산회상 중 군악의 가야금 연주법 연구 = Study for Gayageum technique of Kunak in Yeongsanhoesang

다국어 초록 (Multilingual Abstract)

The purpose of this study is to know the techniques for playing the Gayageum of Kunak out of Yeongsanhoesang. In order to do that, this study analyzed appearing tones, got to know the modes of Kunak and examined the functions according to the modes using the existing theories. The conclusion is as follows:
The constituent tones of the 1st and 2nd phrases of the first movement are Hwangjong, Taeju, Jungryeo, Imjong and Namryeo. The mode is Pyeongjo with the fundamental tone of Hwangjong. Those of the rest part from the 3rd phrases of the first movement are Imjong, Namryeo, Hwangjong, Taeju and Goseon. The mode is Pyeongjo with the fundamental tone of Imjong.
The techniques for Pyeongjo mode are Yoseong for the fundamental tone, Pyeongseong for Sangil, Toiseong or Chuseong for Sangi, Yoseong for Sangsam and Toiseong for Sangsa in accordance with the existing theories.
This study analyzed the constituent tones, centering on Toiseong because the positions for Toiseong are important in order to make the techniques clear in accordance with the mode. The positions for Toiseong are Hwangjong(Sangi) and Goseon(Sangsa) from the 3rd phrase of the first movement considering the mode of Kunak.
The techniques for playing Piri of the current Kunak harmonize with the techniques for the existing theories. But, Gayageum plays Toiseong for Goseon and Namryeo and this causes disharmony when playing Orchestra.
Therefore, Gayageum should play Toiseong for Hwangjong and Goseon from the 3rd phrases of the first movement so the techniques for Kunak can harmonize with other instruments.
Gayageum players can establish the correct mode and proper technique by modifying techniques.

국문 초록 (Abstract)

본 연구는 영산회상 중 군악의 가야금 연주법을 연구하기 위해 출현음을 분석하여 군악의 선법을 알아보았고 선법에 따른 음의 기능은 기존이론을 검토해 봄으로써, 다음과 같은 결론을 얻게 되었다.
군악의 출현음을 분석한 결과 군악의 초장 제1, 2각 부분은 黃鐘, 太簇, 仲呂, 林鐘, 南呂를 구성음으로 黃鐘을 宮으로 하는 평조선법이고, 초장 제3각 이하 부분은 林鐘, 南呂, 黃鐘, 太簇, 姑洗을 구성음으로 林鐘을 宮으로 하는 평조선법이다.
평조선법의 연주법은 기존이론을 검토한 결과 宮은 요성(搖聲), 上一은 평성(平聲), 上二는 퇴성(退聲) 또는 추성(推聲). 上三은 요성(搖聲), 上四는 퇴성(退聲)을 해야 한다.
본고에서는 선법에 맞는 정확한 연주법을 밝히는데 있어 퇴성의 위치가 중요하다 생각되어 퇴성을 중심으로 분석하였다. 군악의 선법에 맞는 퇴성위치는 초장 제3각 이하에서 黃鐘(上二)과 姑洗(上四)이다.
현행 군악의 피리연주는 기존이론의 연주법과 일치하지만 현행 가야금 연주는 姑洗과 南呂를 퇴성함으로써 관현악 합주시 선율상 부조화를 이루고 있다.
그러므로 군악의 연주법이 일치될 수 있도록 가야금의 연주는 초장 제3각 이하 부분에서 黃鍾과 姑洗을 퇴성하는 것이 옳다 하겠다.
이렇게 연주법을 바로잡음으로써 현행 가야금 연주자들은 악곡의 올바른 선법과 그 선법에 따른 올바른 연주법의 정립이 가능하리라 생각된다.

목차 (Table of Contents)

• 목 차
• Ⅰ. 서론 ····················································································· 1
• 1. 연구 목적·········································································· 1
• 2. 연구 범위 및 방법···························································· 3
• Ⅱ. 본론 ····················································································· 5
• 1. 군악의 출현음과 선법····················································· 5
• 2. 현행 군악의 피리 연주법 분석······································· 24
• 3. 현행 군악의 가야금 연주법 분석··································· 30
• Ⅲ. 결론······················································································· 48
• 참고문헌················································································ 50
• 영문초록 ··············································································· 52