최옥삼류 가야금산조에 관한 연구－늦은자진모리를 중심으로－

Abstract

This study focuses on late Jajinmori found in the song source which is donated to Jie, Gapsung by Ham, Dongjungwol and Kim, Myunghwan at Jie, Gapsungs’ 60th birthday concert in 1971. The movement title of Sanjo is related to the rhythm title and it is a very precious material in which Jie, Gapsung divided the movement of late Jajinmori of Gayageum Sanjo of Choi, Oksam style into two paragraphs and which he also interpreted it as Gutguri and Jajingutguri. Through the analysis of this material, this study attempted to grasp the meaning of the movement title and understand the pace which belongs to late Jajinmori, and finally attempted to assist the theory and the actual performance. The following are the results. The organization of the movement in Gayageum Sanjo of Choi, Oksam style is composed of 7 movements, namely, dasureum-Jinyangjo-Jungmori-Jungjungmori -late Jajinmori-Jajinmori-Huimori in case of Lee, Jaesuk and Sung, Aesoon. However, Jie, Gapsung uses different names for the movement, namely dasureum-Jinyangjo-Jungmori-Jungjungmori-Gutguri-Jajinmori-Huimori(Dangak) The movement tile is proposed as late Jajinmori, the rhythm inherent in the music is categorized into two paragraphs. From the existing study, 1st~55th rhythm is proposed as the feature of Jungjungmori and 56th~155th the feature for Jajinmori. However, Jie, Gapsung defines 1st~91th rhythm to be Gutguri and 92nd to 154th rhythm to be Jajingutguri. Jungjungmori, Gurguri, Jajingutguri, Jajinmori all have 3 little beat and 4beat, however, differences can be made according to the regional characteristics, performers, accompanists, and the interpretation of the audience. Therefore, even while it is performed as Jungjungmori due to the different interpretation, it contains the pace of Gutguri and it should be played with round expressiveness and pace. What we can learn from the different pace in the paragraph is that when late Jajinmori is interpreted as Jungjungmori, it is understood as in the continuum of Jungjungmori and the change in the pace cannot occur. The structured background to divide into two paragraphs was confirmed as the results of analysis of the rhythm, pace, and the rhythm structure of late Jajinmori. Jie, Gapsung, a master of Gyunggi shaman music, perceiving the musical environment of Gyunggido music zone, did not consider late Jajinmori as a continuum of rhythm flowing from Jungjungmori-Jajinmori but he interpreted it as a feeling from the rhythm continuum of Gutguri-Jajingutguri. Late Jajinmori which is coined by Ham, Dongjungwol, a master of the Gayageum Sanjo of Choi, Oksam style should have its movement title defined as late Jajinmori. used. However, with the regard to the performance of rhythm continuum of Jungjungmori-late Jajinmori-Jajinmori, Jie, Gapsung’s performance should be taken into consideration while playing. The comparison between the existing studies and the results of Jie, Gapsung’s movement interpretation yield that it should be played in the interpreted pace of Jungjungmori-Jajinjungjungmori-Jajinmori-Jajinjajinmori. This is to produce natural climax and it fits for the actual performance in pursuit of late Jajinmori of Gayageum Sanjo of Choi, Oksam style. A piece of advice is that late Jajinmori should not be confused with other Sanjo for the theory and the actual performance. Late Jajinmori should not be perceived as Jajinmori in actual performance or competition. As mentioned above, late Jajinmori has been studied with regard to Gutguri movement of Gayageum Sanjo of Choi, Oksam style, unknown to the academic circle and the performance circle. Late Jajinmori of Gayageum Sanjo of Choi, Oksam style as been compared to Jajinmori of other Sanjo and examined how to be interpreted and applied. This kind of re-interpretation study of movement is going to provide assistance not only to the theory but also to the actual artistic performance, providing a positive impact to the development of new Gayageum Sanjo in the 21st century.