농악에서 제금(바라) 연주의 유래와 기능 - 경기지역을 중심으로

Abstract

In some areas of Gyeonggi-do and Chungcheong-do, you can see people playing an instrument called the Jegeum, which looks similar to western cymbals. Generally, in Nongak, it is called Jegeum, but in other fields, the name Bara is more common. Bara is used in a variety of ways in Buddhist music, shamanic music, and royal court ceremonies, and has various names depending on its size and purpose. A considerable amount of research has been conducted on the use of Bara in religious rituals, such as the Bara dance in Buddhist dance and the use of bara in shamanism. There are many instances of using the Jegeum, a type of Bara, in nongak, but little research has been done on this. In particular, the frequency of using Jegeum in Nongak in the Gyeonggi region is very high compared to other regions. This article was written to examine the origin and function of the phenomenon of using Jegeum in Nongak. The Bara used in Korea can be said to have spread from Central Asia, and is used in various ways in Buddhism, Shamanism, Chwita, and Nongak. The use of bara-type instruments in Nongak can be found in 『Yongjaechonghwa(慵齋叢話)』 published in 1525. There is a record of using Bal, a form of Bara, in writings describing Bangmae-gwi(放枚鬼). However, it was not until the Sogogun system was implemented after the Japanese invasions of Korea that Jegeum began to be incorporated more universally in Nongak. This is because the military camp instrument had an influence on the civilian population. However, the size and types of instruments, etc. of the bands used in the central and local military camps were different, and cymbals were used in the central military camps, but were rarely used in local military camps. Based on this information, the reason why cymbals are currently concentrated in Nongak in the Gyeonggi region was explained. In addition, based on the fact that the kkwaenggwari was first used as a non-farming instrument by a group of entertainers in the late Joseon Dynasty, bar-type instruments and cymbals were used in nongak, but with the introduction of the gwangsoe and the kkwaenggwari, there was a difference between nongak and kkwaenggwari, in which only the kkwaenggwari was played. I thought it was divided into Nongak, which involves playing cymbals together. The role of the cymbals in Nongak was confirmed through reports from local Nongak musicians and informants who use cymbals in Nongak in the Gyeonggi region. It was possible to confirm that the cymbals were in an intermediate position between the kkwaenggwari and the gong in terms of the size of the instrument, the order of arrangement, and the tone. It was discovered that the lingering sound created by the playing method of the cymbals softens the loud and high sound of the kkwaenggwari and enriches the overall sound of metal instruments, so it has an intermediate musical role.