자진아라리류 선율 연구

최헌 한국민요학회 2019 한국민요학 Vol.57 No.-

아리랑류 선율의 골격구조를 그와 관련되는 <정자소리>, <물레타령> <방아타령> 등의 악곡들과 같이 비교 분석하여 이들이 서로 동일류의 구조를 갖는다는 것은 이미 선행논문에서 발표한 바 있다. 그러나 여기에서는 선율을 구성하는 원점-간점-장식음-시김새의 각 구성음별 특징을 설명하지 못해 사실상 선율관계를 명확히 하지 못한 아쉬움이 있었다. 그래서 본 논문에서는 자진아라리류의 선율만을 추려서 원점, 간점, 장식음, 시김새 각각의 특징을 살펴서 각곡의 선율 관계를 설명하고자 하였다. 강원도의 산간노래 <자진아라리>, 들노래 모심기소리로서 <자진아라리>의 선율이 충청북도의 <자진아라리(방아타령)>, 경상남도의 <방아소리(방아타령)>, <물레소리(물레타령)>, 전라남도의 <물레소리(물레타령)>과 같은 선율형이라는 것을 재차 확인하였다. 이 과정에서 원점의 골격선율형으로만 그 유사성을 논의했던 「아리랑의 선율구조 비교 분석」(최헌,「아리랑의 선율구조 비교 분석」, 『한국민요학』 6(한국민요학회, 1999))에서 밝히지 못했던 간점과 장식음 시김새의 역할과 특징을 살펴보면서 각 지역 자진아라리류 선율로된 민요의 선율구조를 분석하였다. 이로써 이미 논의됐던 강원도 <자진아라리>, 충청북도의 <자진아라리(방아타령)>, 경상남도의 <방아소리(방아타령)>, <물레소리(물레타령)>, 전라남도의 <물레소리(물레타령)>이 각 지역의 민요 토리로 되었지만 원점 골격구조 선율은 동일하다는 것을 재차 확인하였다. 이와 아울러 원점을 연결하는 간점의 기능을 반복형 간점, 선행형 간점, 장식형 간점으로 구분하여 설명하였다. 장식음은 선율의 첫머리에서 첫음을 내면서 강세가 들어가 앞 전타음형태의 장식음이 붙기도 하고, 시김새인 요성이나 전성이 선율형태로 형상화되어 장식음을 구성하는 예도 있다. 또 시김새는 각기 주요한 원점과 시가가 긴 간점을 꾸며주는 양상을 설명하였다. 즉, 원점은 변형구조와 골격구조로 이루어져있고, 변형구조는 낮게 숙여 시작하는 것이거나 높게 질러서 시작하여 선율구조의 변화를 꾀하는 기능을 한다. 따라서 뒤의 반복되는 골격구조는 악구의 반복을 통해 곡 전체의 통일성을 꾀하는 기능을 갖는다고 하겠다. 이어 간점은 구조를 이루는 원점을 연결하는 기능을 가지며, 그 형태는 원점을 반복하는 반복형, 다음 원점의 연결을 부드럽게 하기위해 원점을 미리 내주는 선행형과 넓게 간격이 떨어져있는 원점의 사이에서 부드럽게 연결해주는 사이음으로 구분할 수 있다. 또 장식은 악구나 소절의 첫음에 전타음형, 그리고 음을 강하게 굴리는 轉聲형 장식음으로 나타나 주로 강박에서 음을 강하게낼 때 사용된다. 시김새는 주로 搖聲이 사용되는데, 메나리토리에서는 선법적 특징으로서라기보다는 2소박이상 길게 끌 때 자연스럽게 나타나는 요성이 사용되었다. 이로써 한국전통음악의 선율이 원점, 간점, 장식음, 시김새로 구분할 수 있고, 이들이 각기 서로 유기적이면서 각각 선율에서 서로 다른 역할을 하고 있음을 살필 수 있게 되었다. 이와 관련한 선율구조론에 대한 연구는 좀더 다양한 선율에 대한 구조 분석을 통해 더 분명한 정의와 기능에 대한 설명이 가능해 지리라 생각한다. 한편 강원도의 태백산맥을 중심으로 산간노래로서의 <자진아라리>에서 들노래로서의 모심기 <자진아라리>가 나오고, 산간노래는 광주산맥, 차령산맥, 소백 ... The framework structure of the Arirang melody has been compared and analyzed with the related musical pieces such as <Pertain Sound>, <Mulletaryeong> and <Bangataryeong>, and it has already been published in the preceding paper that they have the same kind of structure. Here, however, there was a regret that the original-point-to-point-length notes that constitute the melody, and the characteristics of each composed sound, were not explained, effectively failing to clarify the melody relationship. Thus, in this paper, we tried to explain the melody relation of each song by looking at the characteristics of the original-point-to-point-to-point-to-touch-to-situation sound by only calculating the melody of the self-inflicted arachnid. The melody of the song <Jajin Aarari>, the song <Jajin Aarari> as the sound of mothering in Gangwon Province, <Jajin Aarari> in North Chungcheong Province, <Bangatharyeong> in South Gyeongsang Province, <Mulletaryeong>, and <Mulle Taryeong] in South Jeolla Province. In this process, the melody structure of the folk song, which was composed of local voluntary aarifi, was analyzed, looking at the role and characteristics of the decorative sound shimae, which was not revealed in the "Comparison Analysis of the Yield Structure of Arirang," which discussed the similarity only in the bone-line model of origin. This confirms that the previously discussed tories of Jajin Aarari in Gangwon Province, Jajin Aarari in North Chungcheong Province, Banga Sori in South Gyeongsang Province, Moulesori (Mulletaryeong) and Jeollanam-do’s Mulletaryum (Mulletaryeong) have become folk songs of each region, but the original frame rates are identical. In addition, the functions of the points connecting the origin are described by dividing them into repeatable, pre-emptive, and decorative ones. As the first syllable of the melody was first made, the pre-title type was accentuated, and Yoseong or Jeonseong, which is a poem, was shaped into a melody form, which is an example of the composition of the decorative sound. In addition, Sigimae explained the main origin and the long poem of each type. This allows us to distinguish the melody of traditional Korean music into the original, the main point, the decorative sound and the poetic sound, and to see that they are organic and each play a different role in the melody. I think the study of the theory of rate structure in this regard is based on the structural analysis of more diverse melodies, which enables a clearer definition and a clearer explanation of functions. Meanwhile, in <Jajin Aarari> as a mountain song, <Jajin Aarari> as a mountain song, the mountain song spread to the west along the Kwangju Mountain Range, Charyeong Mountain Range, and Sobae Mountain Range, and thus the distribution patterns of these mountains as a branch of Jajin Aarari, Gangwon Province, voluntarily examined the relationship of the structure.

[나의 목회 수기] 인생은 작은 인연으로 아름답다

최헌 대한기독교서회 2019 基督敎 思想 Vol.729 No.-

“진주·삼천포농악의 전승 과정과 새로운 가치 구현의 필요성” 논평문

최헌 한국전통음악학회 2011 한국전통음악학 Vol.- No.12

한국전통음악의 선율론 연구 : 오용록의 ‘음군’론과 ‘가곡성우조’의 선율구조

최헌,이용식 한국국악학회 2019 한국국악학회 학술대회 Vol.2019 No.10

운초 장사훈 박사의 국악이론연구

최헌 한국국악학회 2001 한국음악연구 Vol.30 No.-

I am going to examine the late Dr. Jang, Sa-hun's theoretical study on Korean music from the point of the pitch, the length, the colour and the texture. In the Choesin gukak chonglon ("The Introduction of Korean Music", 최신국악총론, published by Segwang Music Press, 세광음악출판사, 1985), one of his representative works, Dr. Jang had already shown his ideas on the four points of Korean music, which I just mentioned the earlier. The pitch system of Korean music has five steps such as elementary tone (tuning tone), tone system, scale or the mode, the tori (토리) and the melody. Dr. Jang insisted that the minor third interval existed between the elementary tone of A-ak (아악) and Hyang-ak (향악) had not been found at the times of King Sejong when Akhakgueheom (악학궤범) was published, around 15th century, in Choseon dynasty. Dr. Jang described well the scale and mode of the Jeongak (정악, Court music) and Minsokak (민속악, Folk music). His scale theory tends to be appeared as modulation (변조). Tori (토리) includes the scale, the function of the tone, the type of the ornamentation and a method of the melodic progress. Dr. Jang described an interval, Yoseong (요성), Toeseong (퇴성), ornamentation, finale, and melodic type, while he was explaining the mode of the Minsok-ak (folk music, 민속악). This method is regarded as the major concept of the tori(토리). However, his explanation is not enough to identify scale, mode, tori(토리) and seem to fail to explain the concept correctly. I think that's his limitation. As for the research related to the melody, Dr. Jang explained the melody of finale. Also, he mentioned the method of inserts an ornamental tone in the major tones of melody. However, in my view, he lacked full explanation of the melody. The length of tone consisted with five steps such as beat, meter, Jangdan (장 단), rhythm and melody. Dr. Jang's study about the length of tone told us only about Jangdan (장단). Among this, the section of Maehwajeom Jangdan (매화 점장단) is worthy to discuss. However, this, too, is a simple explanation. I think more research should have been done than this. There is no particular thing to be discussed in Dr. Jang's study of the tone colour, except the research of the change of the vowel by the song. (변모음) However, I think even the change of the vowel is not enough to be paid attention because it is Dr. Jang's personal opinion. Dr. Jang's research on the result of texture in Korea music is somewhat inconsistent with each other so there is no form to be explained under the same level. In summary, the characteristic of Dr. Jang's theoretical research on Korean music was the fact that it was an analyzation used by a real music and that he had drawn some musical rules out of it. I think that it was possible because he was a Geomungo(거문고) player. One hand, however, the theatrical thesis is not clear enough while his musical analyzation seemed to be successful. But, more importantly, his studies has still had a great influence on Korean music theory.

慢大葉의 旋律構造分析 試論

최헌 국립국악원 1992 국악원논문집 Vol.4 No.-

數大葉의 變遷過程 硏究

최헌 한국국악학회 2003 한국음악연구 Vol.34 No.-

There are 20 melodies of Sakdaeyeop(數大葉. Korean traditional lyric song), Chosudaeyeop(初數大葉), Isudaeyeop(二數大葉), Junggeo(中擧), Pyonggeo(平擧), Dugeo(頭擧), Samsudaeyeop(三數大葉), Soyong(騷聳), Banyeop(半葉), Urong(羽弄), Pyeongnong(平弄), Eollong(言弄), Urak(羽樂), Eollak(言 樂), Gyerak(界樂), Huangyerak(還界樂), Eonpyeon(言編), Upyeon(羽編), Pyeonsakdayeop(編數大葉), Eonpyeon(編樂), Taepyeongga(太平歌). These 20 melodies divided into the male song(男唱) and the female song(女唱), the major mode(平調) and the minor mode(界面調). These songs have evolved out of one piece, a Sakdaeyoep(數大葉) for 400 years. This paper is a study on the evolution of the Sakdaeyoep(數大葉) on the basis of 52 music books of the Sakdaeyoep(數大葉), which published for 400 years. The result is ; 1) The Sakdaeyoep(數大葉) is appeared at Siyonghyangakbo(時用鄕樂譜), Hyeongeumdongmunyu-gi( 玄琴東文類記 1620), Namhunyubo(南薰遺譜), Jeungbogogeumbo(增補古琴譜) first. There are t-wo melodies in these books, the first melody begin first upper tone(上一), the second begin first down tone(下一). 2) There are 3 melodies of Sakdaeyoep(數大葉), Sakdaeyoep 1(數大葉 第一)ㆍSakdaeyoep 2(數大葉 第 二)ㆍSakdaeyoep 3(數大葉 第三), at Sinjeunggeumbo(新增琴譜 1680), Unmonggeumbo(雲夢琴譜 1707). 3) At Yeondaegeumbo(延大琴譜), Hangeunsinbo(韓琴新譜 1724), Nangongsinbo(浪翁新譜), Eoeunbo( 魚隱譜), Sakdaeyoep 4(數大葉 第四) have appeared. The Sakdaeyoep(數大葉) 1ㆍ2ㆍ3ㆍ4 begin each the first down tone(下一), the upper second rone(L -), the upper fifth tone(上二), and the second down tone(下二). The second down tone(下二) of the Sakdaeyoep(數大葉) is come down two octaves from the eighth upper tone(上八) because it is so high. And so, On the beginning tone of the Sakdaeyoep(數 大葉) 1ㆍ2ㆍ3ㆍ4, the first down tone(下一), the upper second cone(上二), the upper fifth tone(上二), the eighth upper tone(上五), is connected with the fifth interval. fifth fifth fifth 下一 上二 上五 上八(下二) (G) (e b) (b b) (f)(F) 4)Sakdaeyoep(數大葉) The name of Sakdaeyoep(數大葉) 1ㆍ2ㆍ3 have changed into the First Sakdaeyoep(初數大葉), the Second Sakdaeyoep(二數大葉), and the third Sakdaeyoep(三數大葉) at the music book, Geumjo(琴調), Sinjeunggeumbo(新增琴譜), Sinjakgeumbo(新作琴譜), Godaegeumbo A (高 大琴譜A). And There is no the Sakdaeyoep 4 (數大葉 第四). 5) At the music book, Eoeunbo(魚隱譜 1779), Jolonggayageumbo(拙翁伽倻琴譜 1786), Geumhakjeonyo( 琴學切要), Geyrak(界樂) and Urak(羽樂) have appeared, which begin tonic(宮). And the two melodies are not connected with the system of the fifth interval of the Sakdaeyoep 1ㆍ2ㆍ3ㆍ4(數大葉 1ㆍ2ㆍ3ㆍ 4). 6) At the music book, Yuyeji(遊藝志), Eollong(言弄) and Pyeonsakdaeyeop(編數大葉) have appeared. 7) At Gangoegeumbo(江外琴譜), Eonnaksijo(言樂時調) have appeared. 8) At Ayanggeumbo(峨洋琴譜 1820), Soeongi(쇠옹이), Yuldangyeop(栗糖葉), Pellak(펠락) have appeared. 9) Dansakdaeyeop(短數大葉), Urong(羽弄) and Eollong(言弄) have appeared at Ilsageumbo(一蓑琴譜). 10) At Samjukgeumbo(三竹琴譜 1841), Soi(騷耳) and Cheongseonsakdaeyeop(淸聲數大葉) have appeared. 11) At Hyeonhakgeumbo(玄鶴琴譜 1852), there is a classification of female song, and Junggeodaeyeop(重擧大葉) have appeared. 12) The Pyeonggeo(平擧) and Eolpyeon(?編) have appeared at Gagokwollyu(歌曲源流 1876). 13) At Hyeongeumoeumtongnon(玄琴五音統論 1886), Hoangyerak(還界樂) have appeared.

한국민요의 악조문제

최헌,신은주 한국국악학회 2017 한국국악학회 학술대회 Vol.2017 No.11

부산․경남 지방 전통민요 조사 연구*-기존학술연구 및 문화적 배경 연구를 중심으로-

최헌,강은경,조태원,박위철 한국민요학회 2005 한국민요학 Vol.17 No.-

This study is for the survey of the study on the folksong of Busan․Gyeongnam province. There are several studies about the folksong of Busan․Gyeongnam province. This study have surveyed the next 6 studies. <Hnagukgubimunhakdaegye(韓國口碑文學大系; 韓國精神文化硏究院 語文硏究室)> <Hangukeuiminsokeumak(韓國의 民俗音樂; 韓國情神文化硏究院, 1985)> <Hangukeuinongyo(韓國의 農謠; 이소라)> <Yangsaneuiminyo(梁山의 民謠; 이소라, 1992)> <Hnagukminyodaejeon(韓國民謠大典; 문화방송, 1994)> <Guyaguya Jirisan Galgamaguya(구야구야 지리산 갈가마구야; 전정효, 1992)> The beats and Jangdan(長短) of this folk song are 6beat Jangdan, 4beat Jangdan, 3beat Jangdan, 2bate Jangdan and 8beat(3+2+3) Jangdan. The tone-system of this area folk song is Menaritori(메나리토리, mi-sol-la-do-re), but there are some other systems, Gyeongtori(경토리, sol-la-do-re-mi) and Yukjabaegitori(육자배기토리, mi-sol-la-si-do). Gyeongtori is the system of the folksong of Jeolla(전라) province, and Gyeontori is that of Gyeonggi(경기) province. So it si very interests that the two systems are shown in the folksong of Busan․Gyeongnam province. We’ll must investigate and study about that appearance.

한국 모심기 소리의 선율구조

최헌 한국민요학회 2007 한국민요학 Vol.20 No.-

I Supposed that the beginning of rice farming in Korea is brfore B.C. 1C, and the beginning of rice-plating is the Goryeo-dynasty. So the rice-planting song of Goryeo have originated from that time. The rice-plating songs is 8 in Korea ; 1. Jeongja-sori(정자소리) form Gyeongsang province, 2. Arasong-sori(아라송소리) from the south of the Northen Chungcheong province, 3. Aburesuina-sori(아부레수이나소리) from the south of the Northern Gyeongsang province, 4. Jajin Arari(자진아라리) from Gangwon province, 5. Arari(아라리) from Gangwon province, 6. Minari(미나리) from the west of Gangwon province, 7. Hana-sori(하나소리) from Gyeongi province, 8. Sangsa-sori(상사소리) from Jeola province. The melodic structure of the 8 songs is next. <Jeongja-sori, Arasong-sori, Auresuina-sori, Arari, Minari, Hana-sori> do→La→Mi///do→La→Mi/// <Jajin Arari> do→La→Mi//La→do→La///do→La→Mi//La→do→La/// <Sangsa-sori> do(doSi)→La→Mi→La/// do(doSi)→La→Mi→La/// Each phrases structure of the 8 rice planting songs is the three, do(doSi)→La→Mi→La, do→La→Mi, La→do→La. And that melodic structures are similar to the songs structures of Goryeo and early Joseon dynasty, ‘do→La→Sol→Mi(上一→宮→下一→下二)’ and ‘La→La(宮→宮)’ Probably, I suppose that the Jeongja-sori melody of Gyeongsang province was originated from the Jajin Arari of Gangwon province, and it had song in rice planting in Gyeongsang province. And then, the ric planting function of the jeongja-sori songs in Gyeongsang provinc had handed down to the Jajin Arari of Gangwon province.