판소리의 우조와 평조 음정 연구 = A Study on Intervals of Pyeongjo and Ujo Pansori - focused on gisanyeongsu and jeokseongga of chunhyangga sung by Kim So-hui

다국어 초록 (Multilingual Abstract)

This was written for the experimental use of the programme to measure pitch of Korean traditional music nopijaegi 1.0 (pitch astimation program 1.0) developed by NCKTPA and the acoustic research team of New Media Communication attached to Seoul National University. The pitches of gisanyeongsu and jeokseongga of chunhyangga sung by Kim So-heui were measured and compared. gisanyeongsu is is known to be pyeongjo composed of re-mi-sol-la-do scale, and jeokseongga , ujo composed of sol-la-do-re-mi scale. If we change this pyeongjo of re-mi-sol-la-do into sol-la-do-re-fa, the only difference between pyeongjo and ujo is half tone appeared in the last tone of each scale. The only different tones mi and fa in these two pieces of music are very movable and it is very difficult to measure the exact pitch with our own ears. Comparing the two representative pieces of pansori we ll find out the difference of the highest tones of these two pieces mi and fa . The frequencies of each tone measured by the programme nopijaegi are various and it is difficult to accept all the frequencies as the pitch of each tone. The following standards will be applied to get a desirable way of deciding the frequency of each tone.
Among the various frequencies, we will accept the one which is closest to the pitch perceived by human ears as the pitch of each tone.
For example, when we get various frequencies of octave higher or lower appeared before or after the frequency we should take, those frequencies are excluded.
The different frequencies resulted from vibratos or descendants are also excluded.
Among the various frequencies appeared in measuring one tone, the frequency which lasts more than half of the duration and which is close to the one perceived by the ears will be accepted as the frequency of the tone. When there is no frequency which lasts more than half of the duration, the one which is close to the ear perceived tone and lasts comparatively long is chosen. When there is no frequency meeting those conditions, we will accept the average frequency of the ones close to the ear perceived tone.
According to the standards mentioned above, G,A,c,d,e,f,g,a,bb,c, d are appeared in gisanyeongsu and jeokseongga of chunhyangga sung by Kim So-hui. The pitches of the tones are shown at <Table 26-27>.
The pitches of the two tones, e and f which appear in both pieces are lower than usual, comparing with the pitches of d(san), the first tone of gisanyeongsu and g(seong) the first tone of jeokseongga . The pitch of f is close to that of e and the interval between e and f is similar to the amplitude appearing in the tones of d , g , a . It is difficult to distinguish ujo composed of sol-la-do-re-mi form pyeongjo composed of re-mi-sol-la-do, according to the pitch difference between e and f . It is not clear to tell the difference between the interval recognized la-do in ujo of sol-la-do-re-mi and the interval recognized re-mi in pyeongjo of re-mi-sol-la-do. It is not easy to distinguish pyeongjo of gisanyeongsu from ujo of jeokseongga only by the intervals of the scale. On the contrary, it seems reasonable to regard that those two pieces of music are of same scale, if it should be decided based on the intervals.

목차 (Table of Contents)

• Ⅰ. 서론
• Ⅱ. 본론
• Ⅲ. 결론
• 참고문헌
• Abstract