김병호 가야금병창 <토끼화상>, <배타령> 고찰

Abstract

Kim Byung-ho(1910-1968), a master of Gayageum Sanjo from Yeongam, Jeollanam-do, exhibited remarkable versatility across diverse musical domains. Having studied Gayageum Sanjo under Kim Chang-jo during his youth, Kim Byung-ho developed compositions that were deeply rooted in his mentor’s stylistic traditions. These compositions remain widely performed today, and his contributions to Ajaeng Sanjo have been revived, performed, and extensively analyzed. Despite these achievements, over half of the phonograph recordings left by Kim in the 1930s feature Gayageum Byungchang, yet little is known about these pieces, and their true essence remains shrouded in ambiguity. To address this gap, this study examines two of Kim’s Gayageum Byungchang pieces, “Tokkihwasang” and “Baetaryeong,” released in the 1937 phonograph recordings, through the following analytical framework: First, the piece titled “Baetaryeong,” listed as a Namdo Jabga on the B-side of the phonograph album Okeh1996, is identified as a Gayageum Byeongchang performance. This work begins with an excerpt from the Sugungga song “Sojinohwa,” initiated by the line, “Let’s go.” Four of the six phonograph recording albums released in 1937 feature Gayageum Byeongchang, accounting for approximately 67% of Kim Byung-ho’s phonograph recordings, which underscores the prominence of this genre in his repertoire. Second, unlike the conventional narrative-driven aniri typically found in Gayageum Byeongchang, Kim Byung-ho’s use of aniri in “Tokkihwasang” serves a distinctive purpose. Rather than advancing a storyline, Kim’s aniri functions as a tool for introducing and contextualizing the musical techniques he intends to employ. This innovative approach to aniri sets his recordings apart from those of his contemporaries, highlighting his unique interpretative style. Third, Kim Byung-ho frequently integrated interludes into his Gayageum Byeongchang performances, particularly in “Tokkihwasang” and “Baetaryeong.” These performances followed various structural combinations, such as one song paired with one rhythm from the interlude, two songs paired with two interludes, or even fractional pairings. The majority of interludes were adaptations of vocal melodies transcribed for the Gayageum. Notably, “Tokkihwasang” comprises approximately 38% of the total pieces, while “Baetaryeong” accounts for about 26%. This significant emphasis on interlude within his repertoire suggests that it was a medium through which Kim demonstrated his exceptional technical mastery of the Gayageum. Historically, Kim Byung-ho has been celebrated primarily as a virtuoso of Gayageum Sanjo. However, this study reveals his outstanding contributions to the Gayageum Byeongchang tradition. In particular, his innovative use of aniri and the prominent role of interludes in his works offer valuable insights into creative possibilities for the future evolution of Gayageum performance. It is hoped that continued research will further illuminate Kim Byung-ho’s profound legacy within the field of Gayageum music.