남창가곡에서 파생된 여창가곡의 형성원리 - 음역에 따른 특성을 중심으로 -

Abstract

Gagok is a lyric song cycle that consists of 26 male songs and 15 female songs. All of the female parts of gagok are named exactly the same as the male parts, except for Hwangyerak, which is only sung by female singers. This article examines the reason why some songs are only sung by male singers and not by the female singers. First of all, the female melodies and the male counterparts are compared on the premise that female gagok are an octave higher than the male songs. A frame melody is extracted on the standard of notes that had lyric additions, notes with a long time value, and important grace notes. As a result, male gagok and the female counterparts are generally in relation of octaves. On some cases, the initial, third and the fifth chapters show some differences by adding notes to repetitive melodies in female gagok as well as changing the upward or downward melody. Gyemyeonjo songs show greater melodical change than ujo songs. On the foundation of formation principle of female gagok, a question was raised to see whether the deleted songs were not chosen for female songs because of the issues in range. In order to test this hypothesis, an artificial female song was created by raising it an octave from an existing male gagok, and the song was examined to determine whether there were some inappropriate elements for it to be sung by female singers. The frame melody of the artificial female gagok was mostly in a falsetto range, which was found to be difficult to sing. The reason for the exclusion from female gagok of Chosakdaeyup and Urong is thought to be in the fact that the songs serve an exclusive function formed by male singers. Finally, issues found in the comparison process of male and female included songs other than the range is that the male gagok songs Pyeonggeo and Pyeonglong begin with an ordinary pitch while female singers sing them in falsetto.