함경도 퉁소 <신아우>와 <신방곡> 고찰 - 국립국악원 「민족유산DB」 소장 음원을 중심으로 -

Abstract

Today, tungso music is only performed as the accompaniment at bukcheong sajanoreum (lion dance play) in Hamgyeong-do Province. Until the 20th century, tungso , which used to play a variety of music, became rarely played, and the tungso music culture is being maintained by migrants from Hamgyeong-do where it was prosperous. With the recent reorganization of the Gugak Archive of the National Gugak Center and the release of undisclosed transcriptions of North Korean music, the study of Hamgyeong-do music and tungso music, which was difficult to study, was activated. In Korea, both “Sinau ” and “Sinbanggok ” are generally understood as bynames for 'sinawi' . Contrary to this fact, it is noteworthy that the two songs are recorded as separate songs in the 'National Heritage DB', a sound source material owned by the National Gugak Center. This fact can also be confirmed in magazines and books published in North Korea. According to the field report, there are oral data on new performance practices such as 'a series of Sinau and Sinbanggok' and a performance group name called ‘sinau ryupa', which gives rise to a new task of examining the significance of the existence of Hamgyeong-do tungso music culture, and tungso “Sinau ” and "sinbanggok " as well as reconsidering the definition of ‘sinawi’ which has been defined so far. This study analyzes “Sinau ” and “Sinbanggok ” contained in the National Heritage DB and examines the correlation between the two songs estimated through oral data based on the derived musical characteristics. There are a total of five pieces of tungso “Sin’au " included in the National Heritage DB. The rhythm of the music is basically a 4-beat rhythmic type with duple divisions, but as an exception, there are 4-beat rhythm with triple divisions or irregular free rhythm. Therefore, it is difficult to capture the rhythmic consistency. Although the identity of tori (Korean term for melodic mode) is ambiguous in terms of the melody of “Sin’au ”, it shows a melody identity of mixed tori in which the characteristic of gyeong-tori, which proceeds sequentially with adjacent notes, and the characteristic descending melody of menari-tori coexist. In the structure of “Sin’au”, phrases or paragraphs that show a similarity in two types of melody appear, and the consistency in the way they intersect or repeat can be noticeable. Among the recorded “Sin’au”, there is a pieces considered an exception because of their unique characteristics. One of them is to estimate the performance practice of "Nawidwipuri " mentioned in oral materials; the other is the piece that can confirm the close correlation between the two pieces, which is the purpose of this study, because it is recorded by name as “Sin’au ·Sinbanggok ” . There are five types that belong to “Sinbanggok ” included in the National Heritage DB; except for the pieces with the same performer or overlapping content, there are three types. In “Sinbanggok ”, there are many 4-beat rhythmic types with triple divisions, but 4 beats with duple divisions and irregular free rhythm sometimes appear. The melody shows clear menari-tori melodic types compared to “Sin’au ”. In other words, it can be distinguished in that “Sin’au ” is primarily characterized by 4 beats with duple divisions and mixed tori melody, whereas “Sinbanggok ” shows a menari-tori melody and 4 beats with triple divisions. However, the structure of “Sinbanggok ” is similar to that of “Sin’au ” in that two types of phrases intersect and/or repeat. In both “Sin’au ” and “Sinbanggok ”, phrases with the two types of melodic similarity appear repeatedly; it can be divided into the phrase that has variations in repetition and the phrase that does not. These two phrases always appear in combination, which can be seen as the same structure as 'verse-chorus' in folk songs. In other words, the 'verse phrase' has variations every repetition, and the 'chorus phrase' plays a relatively fixed melody. It can be seen that certain melodic types appear in common in the individual pieces of the five types of “Sinau ” and “Sinbanggok ”. This can be confirmed concretely in that the two kinds of phrases composing the aforementioned piece “Sinau (Sinau ·Sinbanggok )” show opposite musical characteristics of “Sinau ” and “Sinbanggok ”, respectively. Furthermore, the shared melodic aspect between the two pieces can also be confirmed in other “Sinbanggok ” pieces transcribed in North Korea. In conclusion, “Sin’au ” and “Sinbanggok ” show distinguishable individual characteristics, but at the same time the same structural characteristics, which leads to infer a close correlation in terms of melodic development through repetition and variation, and the sharing of specific melody types. Such musical characteristics can be found as a musical basis for estimating the performance practices of two pieces or performance groups mentioned in the oral materials of local musicians.