南·北韓의 새납 比較 硏究 = (A) Study on the differences of Shoe-nap between the South and North Korea

다국어 초록 (Multilingual Abstract)

It has been passed 50 years that Korea divided. And now, there exist big differences between politics, ideas and many other thing. So, it seems that there is no same thing between North and South Korea. But there must be the same thing among the differences. Then, What is the same and the difference?
The first purpose of this thesis is to know above the question. For the first, There is Shoe-nap, among the wind instruments. it is in North Korea and South Korea. It is the same thing, and North Shoe-nap differ from South Shoe-nap. That is the difference. The second purpose of this is that How's the Shop-nap influenced on the folk music of North and South Korea.
For achieving these purposes, the indicative mood is used focusing on the analysing and comparing the documents. But, for the difficulties to get the book published in North, the series of Folk Instruments of chosen is quoted usually in this thesis.
This thesis is studies on the origin, structure, musical range, tone, and playing method of the North and South Shoe-nap.
In North, Shoe-nap is called TaePyoungSo. TaePyoungSo is also called Shoe-nap, Hojeck, Nalary or etcetera and it is used at the Daechita (a royal march), JongMyoJaeReyAk (the music of a King's religious service) and NongAk(the farming music). TaePyoungSo is gotten in Korea from the Myong, China in 3, the year of the first Emperor on the record of TaeJoSilLok(an authentic record in the first Emperor). And before, Jeong, Mong-joo wrote a poem about Shoe-nap. So, it is supposed that Shoe-nap is gotten before the years of the first Emperor.
Contrast, in North Korea Shoe-nap has been spread since the end of the 14th century and called TaePyoungSo or HoJeok.
In South Korea, the shape of Shoe-nap is keeping the original shape, however, in North it is reformed newly like a clarinet, the western instrument.
Also, if the shapes of Shoe-nap are the same in North and South, the tone qualities are different and the terms, too.
At the whole structure, Shoe-nap in North is bigger and stronger.
As the result, generally, Shoe-nap of the South can play the various tones from the low to the high, and in North, Jang-Shoe-nap can play the diverse tones, but differ from the musical range according to the players.
Shoe-nap of South has the high tone among the wind instruments, So is higher one eighth.
At last, in South, there is a reformed TaePyoungSo which is reformed the Length of the tube and the places of an orifice. But there is few differences between the original and the reformed Shoe-nap. Many kinds of reformed TaePyoungSo are not spread today. Especially, three kinds of TaePyoungSo(low tone ? mid tone ? high tone) have the key and are played the semi-tone. So the time to come, TaePyoungSo will be played in the musical performances.
Contrast. TaePyoungSo of the North is more delicate than that of the South, and can played diverse tone color. So the player can be proud of his talent.
In the South, the original TaePyoungSo is popular and used to play the traditional music and the creative music. On the other side, in the North, through the reforming the instruments, Long-Shoe-nap is adapted the average rate and used to play the accompaniment and the creative music.
From now on, this thesis which is studied on the comparison with the merits and demerits of Shoe-nap between the North and South is put to practical use and would be the ground of the interchange in the North and South Korean Music.

목차 (Table of Contents)

• 목차
• 표목차 = iii
• 예보목차 = iv
• 그림목차 = vi
• ABSTRACT = viii
• I. 서론 = 1
• A. 연구의 목적 = 1
• B. 연구범위 및 연구방법 = 2
• II. 남·북한의 새납 = 3
• A. 새납의 소개 = 3
• 1. 남한에서의 새납(태평소) 소개 = 3
• a. 기존의 태평소 = 3
• b. 새로 만든 태평소 = 4
• c. 저음·중음·고음 태평소 = 5
• 2. 북한에서의 새납(장새납) 소개 = 6
• 3. 새납의 소개에 있어 남·북한의 차이점 = 9
• B. 새납의 구조 = 10
• 1. 남한의 새납 구조 = 10
• 2. 북한의 새납 구조 = 11
• a. 리드 = 13
• b. 조롱목 = 13
• c. 관대 = 14
• d. 나팔 = 15
• 3. 새납의 구조에 있어서 남·북한의 차이점 = 15
• C. 음역 및 음색 = 17
• 1. 남한 새납의 음역 및 음색 = 17
• a. 남한 새납의 음역 = 17
• b. 남한 새납의 음색 = 19
• 2. 북한 새납의 음역 및 음색 = 19
• a. 북한 새납의 음역 = 19
• b. 북한 새납의 음색 = 21
• 3. 음역 및 음색에 있어서 남·북한의 차이점 = 23
• D. 주법 = 23
• 1. 남한의 새납 주법 = 23
• a. 소리내기 = 23
• b. 손 짚는 법 = 23
• 2. 북한의 새납 주법 = 28
• a. 소리내기 = 28
• b. 손 짚는 법 = 32
• 3. 주법에 있어서 남·북한의 차이점 = 35
• III. 결론 = 36
• <참고문헌> = 39