북한 전통해금 개방현 주법 연구

Abstract

This study is to unveil usage patterns and musical effects of the playing method of open strings of the traditional haegeum that occurred during the musical instrument modifying project conducted in the 1950s-1960s in North Korea. At that time, North Korea discussed pitch range, volume, and transposition functions as a way to improve traditional musical instruments, and open strings were used to resolve the issue concerning playing method. The technique of open strings has never been used in the field of traditional music in South Korea, and it can be confirmed through historical sources at that time that the technique was used for various purposes by North Korean haegeum players since the division of the country. This study classifies the usage patterns of open strings appearing in ryeongsanhoesang and sanjo into three based on the discussion on the improvement points of traditional musical instruments shown in Joseon Art . The results on the musical effects derived from the study are as follows. First, the vocal range was expanded by the use of open strings. The open string, which plays the lowest note that the haegeum can express, has the effect of clearly showing the leaping progress from a minimum of 8 degrees to a maximum of 17 degrees in relation to the surrounding notes. Second, the volume was enlarged by the use of open strings. Assuming playing with the same bow pressure, the open strings produce a relatively large volume because the vibration is not reduced by the left hand holding the string. Open strings appear on the strong beat of the rhythm, further contrasting the dynamics. Third, the types of fingering were expanded with the use of open strings. When a low note outside of fingering appears, it is replaced with an open string to minimize fingering movement, and compared to the case of fingering, an open string having a rest part on the left hand is used to increase the pitch accuracy when moving to a fingering with a wide pitch interval.