동래야류의 연행구조와 음악적 동인(動因)

Abstract

In this study, I tried to understand the effect of music on the performative structure of Dongnae Yaryu. The results are as follows. First, in terms of imitation of music culture or performance culture, it became an important factor in the formation and development of specific scenes and the dramatic structure of arranging them. Creating a specific scene by imitating the existing music culture or performance culture can often be seen in traditional Korean dramas such as Pansori, which is the same in masquerades. It is also reasonable to view that the scene itself, including each song, was made by imitating the existing music enjoyment culture or performance culture for the introduction of musical elements, rather than inserting songs according to the overall plot. From this point of view, it can be hypothesized that many of the scenes of Dongnae Yaryu's Yangban Gwajang  were made by the musical motivation of the imitation of Pansori. Second, in terms of the distinction between musical elements, a structure was established in which Gilnori and Talnori were divided into areas of expertise and non-professionalism. The relationship between these musical motivation and Dongnae Yaryu's structure may be flexible by transmission period or by place for performance in a flexible form, reflecting the performer's ability, audience's taste, and musical times. Specifically, by musical motivation, the structure of Dongnae Yaryu is divided into Gilnori, which includes professional music sung by Gisaeng and Hallyang, and Talnori, which is mainly composed of music that the general public can participate in.