현악여민락의 리듬 변천에 관한 연구

Abstract

In the 15th century, the piece Yŏmillak 與民樂 (Enjoyment with the People) was composed in Chinese style and as written in Sejong sillok 『世宗實錄』 (Annals of King Sejo). After its style had been changed into Korean style, it was written in Kŭm hapjabo 『琴合字譜』 (Tablature Notation for Kŏmun'go) of the 16th century and in Kŭmbo sinjŭng karyŏng 『琴譜新證假令』 (Newly Studied Kŏmun'go Manuscript) of the 17th century. This paper studies the changes of Yŏmillak from the 15th century through the 17th century by analyzing old music scores. First, I figured the purse of rhythm by analyzing the old music scores from the musical point of view. Then I found the duration length of chŏnggan 井間 (well-shaped square) in chŏngganbo 井間譜 (mensural notation) and traced the changes of changdan 長短 (rhythmic cycle) by analyzing the mensural notation of each music score. For rhythms, I first find out a standard beat from the music score and then examined measure. I also discovered the smaller beats which constitutes one standard beat. One standard beat is defined as one unit where one changgo's 杖鼓 (hourglass drum) touch is done and which has mostly one tone, because the melodies of Yŏmillak are simple. One measure which consists of standard beats is examined by an accent. Consequently, the rhythm of "Yŏmillak" of the 15th century is 8/4. One standard beat consists of two smaller beats. In 16C, the smaller beat slows down into one standard beat. The rhythm of 16C Yŏmillak is 4/󰁜 or 12/8. One standard beat consists of three smaller beats, which means that Yŏmillak's Chinese style has changed into Korean style. In 17C, the smaller beat slows down into one standard beat once more. The rhythm of 17C Yŏmillak is 3/4. The mensural notations are different in the old music scores. One standard beat Yŏmillak of the 15th century is written in three taegang 大綱 (thick horizontal lines). One standard beat Yŏmillak of the 16th century is written in one taegang, regardless of the number of chŏnggan. Yŏmillak during the 17th century is written without mensural notation, and its tones are grouped by two or three. One group becomes one measure of three beats. Changdan also changes each century. In the 15th century, it is Chinese style. In the 16th century, when the music style was changed into Korean style, changdan was also changed into a different changdan which is of two beats unit. In the 17th century, when the music is slowed down, the changdan of two beats unit was changed into another changdan of two measures unit. In this way, I discover that each century Yŏmillak slows down and its smaller beat becomes a standard beat.