홍난파 노래의 가사와 리듬

Abstract

The purpose of this study is to analyze correlations between the words and rhythms of song by Hong Nan-Pa(1898~1941). For the purpose, this researcher investigated the forms of words of the composer’s music, rhythms distributed to those words, and the types and transformations of those rhythms depending on different beats. The reason why the researcher analyzed the composer’s music in terms of words and rhythms is because the researcher thought it would be best to examine Hong, Nan-Pa’s song structurally. Hong Nan-Pa’s song, in most cases, used words from rhymed verses. Then fixed rhythms were distributed to those words. Rhymed words means words whose number of phrases are pre-determined in accordance with fixed forms, for examples, the groups of words, whose progression is consistent, like 3(4) plus 4(3) or 3(4) plus 4(3) plus 5. These forms make easier composing rhymed musical works. In Hong Nan-Pa’s song, distributing rhythms to words was made under the principle of equalizing the number of musical measures with that of rhythms. For example, If 3 musical measures are distributed to triple time and 4 to quadruple time, for example, 3 and 4 notes are used, respectively. But in the composer’s song, lots of cases in which rhythms can’t be equally distributed, for example, distributing 3 musical measures to binary time or 4 to quarduple time. In this case, Hong Nan-Pa allocated rhythms in such way as getting longer notes ahead of shorter ones or vice versa. In his song, Hong Nan-Pa didn’t stick to original rhythms. In other words, he attempted a variety of rhythmical changes by repeating or transforming original rhythms. The rhythmic transformation was often aimed to avoid musical simplicity, stress particular musical measures, decorate with notes divided into shorter ones and coordinate the number of musical measures. Repeating and transforming rhythms were one of the main characteristics of Hong Nan-Pa’s song. He made a melody by using pentatonic or hepatonic scale whose range is one octave or more. To support the melody, then, the composer appropriately used a combination of major and minor keys and harmony based on primary triad. Hong Nan-Pa’s song is best characterized as very simple in form, so anyone can easily learn and sing his song. Such simplicity and easiness made it possible for the composer’s song to communicate with his and later generations, contributing to achieving the objectives of practical music.