정광수 창 <수궁가> 중 중모리장단 대목의 음악적 구성과 특성 연구

Abstract

This paper examines the structure and context of the description of Gwang-su Jeong’s <Sugungga>, centering on the passages of Joong-mori rhythm using Kyemyenjo. It also attempts to categorize various musical elements, including Buchimsae (a combination of words with melodies), musical mode and temporary transpositions, associate them with forms, and look into the correlation among them. The main findings of this study are as following. First, the same Joong-mori rhythm is used throughout the description, while speed is selectively modified subject to the context. In other words, it selectively applies the speed pertinent to Imyeon (a form of description interpretation) by utilizing the speed with wide scope, ranging among Man(慢), Joong(中), and Sak(數). Second, In terms of Buchimsae, the rhythmic structure of A type(2+2+2)+(2+2+2) has been used most frequently. Subsequently, B type, C type and D type were used uniformly. In particular, the first half of Naedueruem(the first rhythm of the piece) and the second half of Jongji (the last rhythm of the piece) start and end with the same, stable structure of ‘(2+2+2)’. Also, the frequency of the use of Eotbuchim differs subject to the length and speed of a piece. Third, Kyemyenjo has been used independently only in sad and mournful passages, while all other passages features a modulation of Ujo or Kyemyenjo or a combination of them. Such reiteration and modulation of musical mode are found to be mainly used when atmosphere or narrator changes or when there is a need of transition in a dialogue or scene. Putting together the above musical elements, it is found that, within the same Joong-mori rhythm, Jeong has used more of temporary transpositions in the rhythms with low speed. In particular, where Kyemyenjo has been independently used, he has applied periodical temporary transpositions and distinguished each phrases for atmosphere transitions. On the other hand, in parts with high speed, he seems to have restrained from using temporary transpositions, and instead used Eotbuchim or transitions in musical mode pursuant to the context creating musical diversity. Likewise, it is found that Jeong selectively utilized the musical mode and speed customized to the context in order to embody musical elements, such as transitions in musical mode, temporary transpositions and lively Buchimsae, with the piece.