처용무 반주 음악의 양상 - 정재반주로의 수제천과 관악 상령산의 변화과정을 중심으로 -

Abstract

The purpose of this study is to investigate the relationship between Sujech'ŏn 壽齊天 music and Hyangdang kyoju 鄕唐交奏. When Sujech'ŏn music is used to accompany Ch'ŏyongmu 處容舞 dance, its feature varies. In this study the author compared the tunes of Sujech'ŏn music and discussed four significant features when Sujech'ŏn music is used to accompany Ch'ŏyongmu. First, the tempo (changdan) of Sujech'ŏn becomes faster and more predictable (3+2+2+3) than when Sujech'ŏn is just played for an orchestral piece. The tune changes according to the major beat point which result in exaggerating transformed melody. Second, Sangryŏngsan 上靈山 and Hyangdang kyoju share same major beat points (ssang-p'yŏn-ko-yo 雙-鞭-鼓-搖), however each tempo and rhythmic feature are different. In Hyangdang kyoju the tempo is slower and the rhythmic pattern is more predictable than those are in Sangryŏngsan. Third, Hyangdang kyoju was rearranged from Sangryŏngsan by expanding chung-hwang-im-chung 仲-黃-林-仲 melodic pattern, sustaining one note, and omitting several notes lower than the note, im. Fourth, there are about ten rhythmic patterns used for each music piece, Samhyŏn todūri 삼현도드리, Hahyŏn todūri 하현도드리, Yŏmbul todūri 염불도드리 in wind Yŏndsan heosang 靈山會相. However, Panyŏmbul 반염불 has repetitive rhythmic and melodic pattern. The author questioned the addition of Panyŏmbul in Ch'ŏyongmu accompaniment and included implications for research and practice.