가야금산조 ‘중모리’의 시김새 분석: 7개 유파 가야금산조를 중심으로

Abstract

Sigimsae is a generic term for various devices that decorate the melody of traditional music. Especially, it stands out in folk music, and in Pansori, it is easy to express the characteristics of mu- sic because not only are various times that appear according to the change of sound systematically organized, but also phonetic sounds that vary depending on the tone or strength. The above pansori sigimsae is naturally permeated in Gayageum Sanjo, which was influenced by pansori. However, it was only expressed in a few decorative ways, such as "Chusung" that pushes up the pitch, "Toesung" that pulls down the pitch, "Jeonseong" that is deeply printed, and “Yoseong” that corresponds to the action of moving a string, but it was only explained in ambiguous words such as "strong" or "sadness." In addition, the Gayageum Sanjo has especially more schools, making it difficult to clearly explain several similar but different types of Sanjo. If you organize the sigimsae, which were classified by sound but were not organized by letters, based on the sigimsae of pansori, you can understand the musical characteristics of Gayageum Sanjo more specifically and objectively. The purpose of this study is to present objective indicators that can distinguish and understand the atmosphere of songs by school even from the perspective of those who are not familiar with Gayageum Sanjo. Many people sympathize that the difference in sigimsae determines the taste of each sanjo differently. However, it was difficult to express how it was different in detail, so this part was studied as clearly as possible. Among the schools of Gayageum Sanjo, which has been widely played in recent years, seven schools were selected, and the sound sources of other recognized performers were adopted, listened to, and collected. At this time, it was difficult to study the vast amount of Gayageum Sanjo at once, so there was a prior study on the Jinyang part in 2018, and this time, the analysis was quite con- ducted focusing on Jungmori. Among the seven schools of Gayageum Sanjo's Jungmori, the parts with the same composition and the melody as similar as possible were extracted, and the sgimsae shown in them were analyzed after collecting. Afterwards, the representative Sigimsae of each school was substituted for Pansori Sigimsae and organized, and Sung Keum-ryun School (a softly weaving voice), Suh Kong-chul School (whispering and pulling voice), Kim Yoon-deok School (a chopping voice in a certain range), Kim Juk-pa School (a normal first but squeezing voice in the end), Kang tae-hong School (a stretching and hanging voice in the air), Kim Byung-ho School (a tightening voice) and Choi Ok-sam School (a sharp and cutting voice). Based on this, I looked into each Gayageum Sanjo. The softly weaving voice of the Gayageum Sanjo of the Sung Keum-ryun school was "a sound of weaving very nicely" and the decorative sounds were accurately expressed without dying down, playing a role in weaving the rhythm and rhythm well. The whispering and pulling voice of the Gayageum Sanjo of the Suh Kong-chul School was "the sound of picking up and picking up slowly as if talking about an editorial," and the timing of picking up one note at a time was well shown as if it was kindly telling the way the melody flows. The chopping voice in a certain range of the Gayageum Sanjo of the Kim Yoon-deok School was differentiated from the previous two Sanjo due to the appearance of "the sound that prints a specific point of sound," that is, a lot of strong sigimsae accompanied by the sound and staccato. The normal first but squeezing voice in the end of the Gayageum Sanjo of the Kim Juk-pa School is "the sound of squeezing it while making a normal sound." There were many times when I felt a little more crying and appealing than Gayageum Sanjo of the Kim Yoon-deok School. The stretching and hanging voice in the air of the Gayageum Sanjo of the Kang tae-hong School was "the sound of stretching out and hanging out," and "braveness" was also prominent compared to the aforementioned Gayageum Sanjo. The tightening voice of the Gayageum Sanjo of the Kim Byung-ho School was a "sound of chanting to form a sound" that made him nervous and then went to the end to relieve the tension. The sharp and cutting voice of the Gayageum Sanjo of the Choi Ok-sam School is the "sound of cutting by tying sensitively and sharply." The sounds made by the technique of tearing off the strings with the thumb and index finger are very sharp, which is so original that it is impossible to express them with the voice. And I listed the schools from flexible Sigimsae to solid ones only to find this order: Sung Keum-ryun School, Suh Kong-chul School, Kim Yoon-deok School , Kim Juk-pa School, Kang tae-hong School, Kim Byung-ho School, Choi Ok-sam school. If you schematic it like this, you can clearly see what characteristics the various schools of Gayageum sanjo have and how they are differ- ent from each other. If this is used as a standard, even if a subjective explanation is made with rhet- oric, it will be easy to grasp the characteristics of a specific Gayageum Sanjo because it is based on objective indicators. This study is the second study related to the author's sigimsae, but more related studies are still needed. Later, it is planned to further study the fast-paced sigimsae to organize the whole sigimsae of Sanjo. Sigimsae can go through many changes. It is different for each song, can be different for each per- former, and can be different over time. The timing of the music played by the performers of the sound source used in this study after 10 years may change again. It is hoped that many studies will be expanded in various directions on the Sigimsae of the Gayageum Sanjo.