전라도 굿에 나타난 6박 사용 양상과 음악적 의미 -순천․고흥․진도 지역을 중심으로-

Abstract

There are two rhythms which are sextuple time used for Jullado gut: Jinyangjo rhythm and Samjanggabi rhythm. In case of Jinyangjo rhythm, there are different structural characteristics according to regions, making it necessary to compare them. Also, Samjanggabi appears only in Jindo, making it an interesting research topic. Therefore, this research will examine how the sextuple time of three regions, namely, Suncheon, Goheung, and Jindo are formed structurally and how they are related. In addition, through the comparison on how sextuple time is used in regional folksongs with the previous research, we hope to find some relationship between sextuple time of sitgimgut and regional folksongs. Setting Younggwang as a fiducial point, sextuple time is not used north, and the shaman music of Kyungnam region does not use sextuple time either. Therefore, this research examined sextuple time rhythm used in the six sitgimgut of Sunchoen, Goheong, and Jindo of Junnam regions. The following are the results. The sextuple time of this region can be divided into two categories: 3+3 and 4+2. The 3+3 type can be divided into Malmi rhythm(Jinyangjo) of Suncheon and Goheung and Samjanggabi of Jindo. Also, the 4+2 type can be divided into two: the irregular type which uses 4 beats and six beats and the regular type which observes sextuple time. The 3+3 type is the type where eight words lyric of 4․4 is divided into half, adding 4 words to 3 beats each. The 4+2 type finds all eight words sung on the 4 beat, leaving the last 2 beats empty. However,there are more occasions where only four words are added instead of eight words,making it a common feature in shaman songs. Looking at where sextuple time appears in regional folksongs, the 3+3 type and 4+2 type are observed in the eastern part of Korean peninsula in songs such as Arari and Jungjasori. Such use of sextuple time is drawn boarder in Junanam. In the east part of Junnam, the 3+3 and 4+2 are observed there while in the west of Junnam only the 4+2 is observed. Finally, bordering on Younggwang gun, sextuple time is no longer used. In the northwestern part of Korean peninsula, 3 sobak 6 beat is not used in shaman songs and regional folk songs. Therefore, the area which uses sex tuple in regional folksongs and the usage of sextuple in shaman music have common regional distribution and characteristics. However, other regions including Kyungnam does not possess enough materials about shaman music and need to be examined later.