거문고 산조 연주법에 관한 연구 = 중모리를 중심으로

다국어 초록 (Multilingual Abstract)

Sanjo is a solo instrumental music that changed and converted Sinawe garak of Namdo Sound into Jangdan. GeomungoSanjo, which was played first time by Baek Nak Joon(1876-1930), had been inherited to Kim Jong Ki, Park Suk Ki, Shin Quae Dong and currently remained as Baek Nak Joon Ryu. Geomungo Sanjo has been divided and formed into different genre by Shin Quae Dong(1910-1978), Han Gab Deuk(1919-1987), Kim Yun Duck(1918-1978), Lim Suk Yoon(1908-1974) and above mentioned Genre had been distinguished due to the different development and formation by personal instrumental technique. In the past study of Geomungo Sanjo, they only covered simple and partial study of this subject, however, there was no study that discuss 5 Genre of Geomungo Sanjo. This study will analyze and compare different instrumental technique of 5 Genre ofGeomungo Sanjo and find distinguishable features.
Shin Quae Dong(1910-1978), Han Gab Deuk(1919-1987), Kim Yoon Duk(1918-1978), Lim Suk Yoon(1908-1974)Ryu, known as typical Genre of GeomungoSanjo, had been used as samples in this study, and divided and studied through Jangdan such asJoongmori.
Musical Scores such as Geomungo Sanjo Sebatang Han Gab Deuk, Shin Quae Dong, Kim Yoon Duk Ryu that listened and wroted down by Cheong Dae Seog, Lim SukYoon Geomungo Sanjo that listened and wroted down by Lee Hye Kyung,and Baek Nak Joon Geomungo Sanjo Joongmori I, Joongmori II listened and wroted down by author had been used in this study.
Phonograph Record played by Genre's originator had been selected and used in analysis of this study and analyzed common melody from 5 Genre's Geomungo Sanjo by recognizing distribution of Jangdan in 5 genre and selecting melody's comparison unit through musical score and sound source. Also as a part of study method author distinguished and analyzed the sanjo technique as right hand Sooldae technique, left hand technique, and both hand technique, and abstracted 5 genre of Geomungo Sanjo's common melody, and distinguishedsections by Jo and Goe to identify the different technique. The result of this study as follows :
First In Joongmori, 39 Gak was the Jangdanthat had been commonly showed in 5 genre. This had been distinguished by 14 sections, first section was Kyemyonjo 5Goe, second section was Kyemyonjo 2Goe, third section was Kyemyonjo 5Goe, 4th section was Kyemyonjo 8Goe,5th section was Kyemyonjo 5Goe, 6th section was Kyemyonjo 5 Goe, 2 Goe, 7th section was Kyemyonjo 2Goe, 8th section was Kyemyonjo 2Goe, 5Goe, 9th section was Kyemyonjo 5Goe, 10th section was Kyemyonjo 5Goe, 8Goe, 11th section was Kyemyonjo 8Goe, 12th section was Kyemyonjo 8Goe, 9Goe, 13th section was Kyemyonjo 8Goe, 5Goe, 14th section was Kyemyonjo 8Goe. In Joongmori, all of common melody of 5 genre was Kyemyonjo and showed that different Goe's movement depend on Music.
Second, to look at each genre's technique of Geomungo Sanjo and playing style by dividing Geomoongo instrument technique into right hand sooldae technique, left hand technique, both hand technique, Simle style was 36 types such as Daejeom and Strong Nonghyun, and Simple selective style, which is Simle style but select one of the technique, was 27 such as Strong Nonghyun-Daejeom and others, and Complex style, which simultaneously play the 2 of Simle style technique, was 70 such as Strong Nonghyun+ Daejeom, Dyuegguemimeum+Tteul and others.
Simle style technique was showed in following order; 22 showed in 'Shin Ryu, 23 showed in 'Han Ryu', 22 showed in 'Kim Ryu', 21showed in 'Lim Ryu', 18 showed in 'Baek Ryu'. Complex style was showedin following order; 36 showed in 'Shin Ryu', 24 showed in 'Han Ryu', 26 showed in 'Kim Ryu', 20 showed in 'Lim Ryu' and 12 showed in 'Baek Ryu'. In comparison in genre, 'Baek Ryu', the originator Geomungo, used Simle style of technique, and next generation genre, 'Shin Ryu', 'Han Ryu' and 'Kim Ryu', used Complex style technique to the variable expressions. However, instead of 'Lim Ryu', other ge

목차 (Table of Contents)

• Ⅰ.서론
• Ⅱ. 거문고 산조 중모리의 공통선율
• Ⅲ. 거문고 산조 중모리의 연주법
• Ⅳ. 결론
• 참고문헌