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관악영산회상의 삼현·염불도드리·타령·군악 대금선율 비교분석 연구 : 이왕직아악부<<대금악보>>, <<한국음악>> 제8집 <오선악보>, 김성진 대금독주 음원을 중심으로
한국 전통음악 중에는 풍류음악을 대표하는 기악곡이 있다. 곧, ‘현악영산회상’, ‘평조회상’, ‘관악영산회상’ 등 세 종류의 영산회상이다. 여기에서 현악영산회상은 일명 중광지곡, 거문고회상, 줄풍류라 불리며, 평조회상은 현악영산회상을 4도 아래로 낮춘 것으로 일명 유초신지곡이라 불린다. 그리고 현악영산회상에서 삼현도드리와 염불도드리 사이의 ‘하현도드리’를 뺀 관악기 중심의 관악합주곡인 관악영산회상이 있는데, 삼현영산회상 혹은 표정만방지곡, 대풍류라고도 한다. 표정만방지곡이란 명칭은 대한제국(1897~1910) 교방사(敎坊司) 시절에 연례악과 정재 반주음악으로 연주된 "향당교주"(鄕唐交奏)의 아명(雅名)으로 알려지고 있다. 악기 편성은 삼현육각(三絃六角), 즉 피리 2 · 대금 1 · 해금 1 · 장구 1 · 좌고 1로 편성된다. 악곡형식은 상영산-중영산-세령산-가락덜이-삼현도드리-염불도드리-타령-군악의 순서로 구성되어 있는 일종의 모음곡인데, 여기에서 삼현도드리, 염불도드리, 타령, 군악만을 따로 떼어 함령지곡(咸寧之曲)이라고도 한다. 관악영산회상의 음악적 특징은 첫째, 매 장단 장구의 점수(點數)는 일정하지만 관악기 특유의 자유로운 리듬으로 연주하기 때문에 매 장단의 소요시간이 일정하지 않고 불규칙적인 리듬을 들 수 있다. 둘째, 주선율을 연주하는 피리가 한 장단을 끝내고 나면 대금·해금․소금·아쟁 선율이 이어지는 연음형식(連音形式)으로 되어 있다. 셋째, 청성(淸聲) 즉 높은 음이 많이 출현하며, 관악합주의 경우 장구 장단의 점수가 불규칙적이고 자유로운 리듬으로 연주되던 것이 무용반주음악으로 연주 될 경우에는 규칙적인 장단으로 변한 점도 주목할 만하다. 따라서 본 연구는 관악영산회상 중에서 삼현도드리, 염불도드리, 타령, 군악의 대금선율을 연구 대상으로 삼아, 이왕직아악부 《대금악보》와 현재 가장 많이 연주되고 있는 김기수 편저의 《한국음악》 제8집 〈오선악보〉, 국립문화재연구소 소장의 국가무형문화재 제20호, 김성진 대금독주 음원을 비교분석하였다. 나아가 비교분석은 이 세 악보의 장구 장단 수(數), 장구 장단 형(型) 그리고 선율을 살펴보았는데, 이왕직아악부 《대금악보》가 단3도 낮게 되어 있어서, 현재 가장 많이 연주되고 있는 김기수 편저의《한국음악》 제8집〈오선악보〉기보방식에 따라 단3도 높여서 대금선율을 비교분석하였다. In Korean traditional music, there is instrumental piece representing Poongryu music. That is 3 types of Youngsan Hoisang including 'Hyeonak Youngsan Hoisang', 'Pyeongjo Hoisang', 'Gwanak Youngsan Hoisang'. Where, Hyeonak Youngsan Hoisang also goes by the name of Joonggwangji-gok, Geomungo Hoisang, Joolpoongryu and Pyeongjo Hoisang that is 4 degree lower than Hyeonak Youngsan Hoisang also goes by the name of Yoocho Shinjo-gok. And in Hyeonak Youngsanhoisang, there is Gwanak Youngsanhoisang, a wind instrument based wind ensemble, in which 'Hahyeon Dodeuri' was omitted between Samhyeon Dodeuri and Yeombul Dodeuri and it is also called as Samhyeon Youngsan Hoisang or Pyojeong Manbangji-gok, Daepoongryu. It was learned that the title of Pyojeong Manbangji-gok is artistic name of ''Hyangdang Gyoju" having been played as ceremonial court music and Jeongjae accompanying music at the time of Gyobangsa in Daehan Jeguk (1897-1910). Musical instrument is organized by Samhyeon Yookgak, that is, Piri (pipe) 2, Daegeum 1, Haegeum 1, Janggu 1 (Korean traditional drum), Joago 1. Musical tune mode is a kind of suite being composed in the order of Sangyoungsan-Joongyoungsan-Seryeongsan-Garakdeoli-Samhyeon Dodeuri-Yeombul Dodeuri-Taryeong-Gunak and where, Samhyeon Dodeuri, Yeombul Dodeuri, Taryeong, Gunak are also separately called as Hamryeongji-gok. Musical characteristics of Gwanak Youngsanhoisang is that first, as it is played by free rhythm unique to wind instrument even though beating frequency of each rhythm Janggoo is constant, required time of every rhythm is not constant and irregular. Second, it is composed of lengthened sound mode in which when Piri playing main melody finishes one beat, Daegeum, Haegeum, Ajaeng melody is continued. Third, over-octave sound (Cheong-seong), that is, high tone is frequently appeared and in case of wind ensemble, it is noteworthy that if Janggoo beating played with irregular, free rhythm was played by dance accompanying music, its beating was changed to regular one. Therefore, in this study, Lee, Wang-Jik Aakbu <Daegeum Akbo(musical note)>, <Korean music> Vol. 8, <Oseon Akbo> compiled by Kim, Gi-Soo that is most frequently played at present and Daegeum solo sound source of Kim, Sung-Jin (national intangible cultural heritage No. 20) being possessed by National Research Institute of Cultural Heritage was comparatively analyzed by targeting Daegeum melody of Samhyeon Dodeuri, Yeombul Dodeuri, Taryeong, Gunak in Gwanak Youngsan Hoisang. Furthermore, number, type of Janggoo beat and melody of three musical notes were observed and as Lee, Wang-Jik Akakbu <Daegeum Akbo> was lowered by Dan3 degree, Daegeum melody was comparatively analyzed by raising Dan3 degree based on music score mode of <Korean music> Vol. 8 <Oseon akbo> compiled by Kim, Gi-Soo that is most frequently played at present.
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Mixed PTL/Static Logic Synthesis Using Genetic Algorithems : Theory and Applications
조근래 Colorado State University 2003 해외박사
With the increasing demand of high-performance and high-density VLSI (Very Large Scale Integrated circuits) designs, technology scaling has been meeting the increasing demand and will continue in UDSM (Ultra Deep-SubMicron) regimes. As the complexity of a chip increases almost exponentially as CMOS (Complementary Metal-Oxide Semiconductor) technology scales to under 100nm, the difficulty of designing VLSI system has increased. Thus, the gap between design productivity and technology capability is increasing. Because of this gap, efficient and practical EDA (Electronic Design Automation) solutions have become more and more relevant in ensuring successful chip designs and time-to-market. Static CMOS logic style has long been used widely to realize a VLSI system because of ease to use and well-developed synthesis methods. With power becomes an increasingly limiting factor in high density and high-performance VLSI designs, a great deal of effort has been made to explore low-power design options without sacrificing performance. Pass-transistor logic (PTL) is being considered as an alternative logic style of static CMOS because static logic consumes a large amount of power due to large short circuit current. Generally, PTL consumes less power than static logic because of its small capacitive load and smaller area. However, PTL only circuits would increase the circuit delay caused by a long transistor chain in series. In this dissertation, a new mixed pass-transistor logic (PTL) and static CMOS logic synthesis method is presented. The main advantage of mixed PTL/Static circuits is that the static CMOS acts as a buffer as well as performs a logic function. The proposed synthesis method searches for possible matches between a logic structure and a set of predefined PTL/Static logic gates using Binary Decision Diagrams (BDDs). This proposed mixed PTL/Static synthesis method also optimizes the final mapped circuits on a global level by using genetic algorithms (GAs). Our experimental results demonstrate that circuits synthesized using our proposed mixed PTL/Static synthesis method outperform their static counterparts in delay or power consumption, or both in various CMOS technologies. The impacts of technology scaling on mixed PTL/Static circuits in terms of performance and power consumption are also examined by means of both theoretical projections and experiments. The projection and experimental results give more evidence that the mixed PTL/Static circuit style is a promising alternative to static and domino circuit styles for high-performance and low-power applications in the future.
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