가야금병창 반주법을 활용한 민요지도에 관한 연구

Abstract

In the area of traditional music, the importance of teaching folk songs has been constantly stressed. However, in the educational field the difficulties in teaching folk songs continue to be expressed, and students who have been taught to sing with a Western piano accompaniment may find it difficult to sing folk songs with a rhythm instrument, the janggu, as accompaniment. In traditional music, the gayageum is an instrument that can accompany melody and harmony, like the piano, and a vocal genre that uses it is Gayageum Byeongchang. The study analyzes the gayageum accompaniment for ‘Honamga’, one of the Gayageum Byeongchang, and applies the five accompaniment approaches it uses to the folk song ‘Arirang’. The method of applying the accompaniment through these five approaches is as follows. The first method is the octave method, where an octave is played at the start to emphasize the entry of the song. The second method of gayageum accompaniment is to add jangdan (beat of 5.6) and closing jangdan (beat of 11.12). Even if gayageum is not played constantly, it is a means of using gayageum melodies instead of janggu at the end of the song and during the rest. The third method is where the melodic outline of the gayageum is similar to the melodic outline of the song. Where a piece performed without the voice breaking, the gayageum accompaniment and rhythm can take more creative and colorful paths as it follows the melody of the song. The fourth method is to downplay the gayageum accompaniment to emphasize clear delivery of the lyrics. In particular, the accompaniment for first verse is kept very simple. The fifth method is to begin the accompaniment before the song begins. This method is often used for danga (short songs preceding pansori) and pansori (epic singing). Playing two rhythms before the singing begins or accompanying the refrain is a good and widely used method. As described above, it was concluded that these five approaches to gayageum accompaniment can be applied to any folk song. The study concludes that these five approaches for gayageum accompaniment can be applied to any folk song. It also suggests a more advanced method for educational purposes that takes into consideration the teaching of students at different levels. Music scores that can be used to teach different levels of students were thus arranged and presented. These creative music sheets are based on the tradition of Byeongchang Arirang, and harmony can be applied to these so that they can be played in solo, quartet or ensemble form for students familiar with Western music. Modern scores based on tradition should be created in the future for educational purposes. It is also expected that teaching students to sing folk songs with accompaniment will provide them with the opportunity to easily understand folk songs and approach them with ease, thus boosting students’ creativity.