한국 당비파의 연주법에 관한 연구

Abstract

Methods to play the Korean Tang-Pipa(in this study, the Tang-Pipa instruments that had appeared in the Korean history of music are generally referred to as 'Korean Tang-Pipa') have been elaborated upon in several musical texts such as 『Akhak Gwaebeom/악학궤범』 and 『Geumhabjabo/금합자보』 with relative amount of details. In this study, based upon the references made in both those texts, ways to arrange the strings[定絃法] for the Korean Tang-Pipa, nature of the sounds and tones(音位) used in playing that instrument, ways to position and place the left hand's fingers[按法] and ways to play the instrument with the right hand[彈法] in dealing with the Korean Tang-Pipa, are all examined in a comparative fashion. This study also concentrated upon determining what kind of changes those methods and practices went through over the passage of time, and what kind of problems people had faced with those methods and practices. As a result, it is confirmed that the Korean Tang-Pipa in the past was designed(both in terms of the structure of the instrument or the way it was meant to be played) only to be used with peak efficiency in playing Pyeongjo notes with the 5-sound system, or musical pieces written with the Gyaemyeon-jo tones, which both usually display a very slow pace. From a current standpoint, a musical instrument with such design is far from appropriate to be used in playing most of the musical pieces that musicians play today. So, if we are going to develop better ways to utilize the Korean Tang-Pipa in the future, the ways of arranging the strings should be enhanced, and the fashion of positioning the left hand's fingers or the fashion of playing it with the right hand should be modified as well. And the number of supporters[柱數] should be increased.