판소리 대목의 작품 텍스트 리듬 거시구조에 대한 담론분석 시론 - 한애순 심청가 화초타령 대목의 리듬적 응결성을 중심으로 -

다국어 초록 (Multilingual Abstract)

There are some songs in Pansori (long dramatic song) which are sung separately as some arias of Western opera are. Some of them are said to be well composed by Pansori singers. These songs are expected to have more cohesion of text structure than those that are not sung separately. In order to examine this, I selected Hwacho Taryeong (Song of flowers) in Simcheongga (Song of Simcheong) sung by Han Ae-sun, which singers say to be well composed. I examined the composition of four types of rhythm in this song on a CD. First, I categorized the types of syntactic structure of Jangdan (rhythmic pattern) seen on the surface structure of Hwacho Taryeong. Then I measured how far they were deviated from the deep structure. The result showed a low extent of deviation in the beginning, highest at about 2/3 of the song then back to low again in the end. I categorized the types of the number of notes in each Jangdan of Hwacho Taryeong. Then I measured the density of notes. The result showed a low density in the beginning, highest at about 2/3 of the song then back to low again in the end. I categorized the types of setting words in each Jangdan of Hwacho Taryeong. Then I measured how far they were deviated from the Daemadi Daejangdan where words fall right on each bears. The result showed a low extent of deviation in the beginning, highest at about 2/3 of the song then back to low again in the end. I categorized the types of the number of notes in each Jangdan of Hwacho Taryeong. Then I measured the density of notes. The result showed a low density in the beginning, highest at about 2/3 of the song then back to low again in the end. I categorized the musical periods that section each Jangdan of Hwacho Taryeong according to the length. The result showed a repetition of short periods in the beginning of the song and ends with a long period. Unlike many other songs that are not composed with this text structure, Hwacho Taryeong reveals that the tension gets increased and reaches a climax at about 2/3 of the song then released, which represents a peculiar cohesion that goes together with literary gradation of citing different flowers.

목차 (Table of Contents)

• Ⅰ. 머리말
• Ⅱ. 장단 리듬 통사구조 이탈도
• Ⅲ. 구성음의 소밀도(疏密度)
• Ⅳ. 부침새 이탈도
• Ⅴ. 리듬 악절의 신장도(伸長度)
• Ⅵ. 응결성과 응집성
• Ⅶ. 맺는말
• 〈참고문헌〉
• Abstract
• 〈참고악보〉

참고문헌 (Reference)

1 "판소리 부침새에 나타난 리듬론" 동기념회 1977

2 "판소리 담화분석" 좋은날 1998

3 "텍스트 이론" 마르케 448 : 1999

4 "전통기보론에서 박의 집합론과 분할론의 합리성과 효용성" 서울대학교 음악대학 동양음악연구소 1995

5 "장단 표면구조의 생성 변형원리" 1998

6 "장단 리듬형에 관한 연구" 서울대학교 음악대학 동양음악연구소 16 : 1994

7 "예술 텍스트의 구조" 1991

8 "리듬형의 구조와 그 구성에 의한 장단 분류 연구" 한국국악학회 1995

9 "리듬형의 구조와 그 구성에 의한 장단 분류 연구" 한국국악학회 1995

10 "기호에서 텍스트로" 민음사 1998