제주 민요 음조직에 대한 연구 검토 및 제언

Abstract

Musical studies of the Cheju 濟州 folk songs, in particular studies regarding the mode, have been carried out by some scholars started by Na Un-yŏng 羅運榮 in 1977 with his thesis and led by Cho Yŏng-pae 趙泳培. However, despite the studies of many decades, the modes of the Cheju folk songs have not been clearly arranged and no common consent has been made in the academic world. In this regard, this study inquires into the modes of the Cheju folk songs which have been discussed until now. As a result, the modes of the Cheju folk songs turned out to have various forms. Dividing the modes according to the ending-note, a variety of structures can be used including Do ending-note, Re ending-note, Mi ending-note, Sol ending-note and La ending-note. Even in the music pieces using the same keynote, the main range presents variety. Also, the frame based on the mainly used note is diversified as well. For this reason, it is very difficult to put the modes of the Cheju folk songs in order in a brief manner. Nonetheless, native folk songs in the inland area also use a variety of modes known as t’ori 토리, and sometimes more than two modes(t’ori) are mixed and used in the modified form. Considering this, it is a natural consequence that many modes are used in the Cheju folk songs. Admitting that many different modes are used in the Cheju folk songs, what are the modes representing the unique characteristics of Cheju Island then? The modes comprised of ‘do․re․mi․sol․la, ’ which are not presented in the folk songs of the inland areas of Korea, can be considered the uniqueness of the Cheju folk songs. This form of modes is utilized in many Cheju folk songs. Moreover, it is because this is the characteristics of the mode standing out only in the native Cheju folk songs, though it is the mode widely known to the world but hardly used in the inland areas of Korea. In other words, no clear proposals have been made regarding the modes of the Cheju folk songs and there have been some ambiguous explanations such as “there are many songs related to fishery, ” “there is no noticeable representative mode, ” “they are very similar to the modes(t’ori) of the folk songs of Seoul and Kyŏnggi region, ” and “they are characterized by the progress of consecutive tunes and distinct dialect of Cheju Island.” However, stepping further beyond such explanations, this study intends to propose some concepts to materialize the features. “While a variety of modes are used, the Cheju folk songs use the modes of ‘do․re․mi․sol․la, ’ which are not used in the inland folk songs. In general, the tune structure starts with the highest note and gradually descends. The native folk songs often have a structure of diverse modes even in the same music due to the relatively wide range of note.”