산조 악보에 나타난 기보방법의 유형과 변천

Abstract

Sanjo 散調, as a field of the Korean traditional music, performed with such complexity. Although it has many different types of scores according to the instruments or the genealogy of transmissions, there has been no written score. Around the end of 1950's, the needs of making collections of the sanjo music as a score format have been arouse for educational and recording purposes. Many scholars transcribed sanjo melody using the Western staff notation, and more than 50 transcribed scores of sanjo have been published. Since sanjo music is differ from Western music, notating traditional music onto Western staff notation caused problems and these were dealt by individual transcriber. Thus all these notations adopted different transcription standards and maybe these were followed by next generation. I guess this is how transmission of transcription of sanjo developed. In this paper, I examine the genealogy of transmissions of transcribed score of sanjo. The notation of sanjo score can be classified into three large groups, notating changdan 長短 (rhythmic cycle), the mode and expression and other elements. Each categories can be subdivided into couple sub-category, for example, the notation by the beat also follow categories such as notation by its rhythmic period (cycle), time signature and by the changgu 장구 (hourglass drum) accompaniment. Notation by the musical tone also have couple sub-categories, one by designating the musical tone, by the key signature, by indicating the pitch, the clef and the key of the music. Last, but not least, the notation that included in the classification as ‘the rest’ also include subdivisions (categories) like notation by its sigimsae 시김새 (ornamentations), by the kuŭm 口音 (an oral sound), by its dynamics, melodic line and by notating the microtone. After separating and re-grouping each categories, I examined according to transcriber and period. For the notations that used the rhythmic (beat) patterns of sanjo, I was able to find that the scores from the early days did not specify the notation of each beat such as normal beat, large beat (double beat) and small beat (incomplete beat) whereas the score from the later days notated mostly by the normal beat. For notating the time signature, early notation follows more of western style by indicating the name of the musical note for the time measures, such as 3/4 or 6/8 while the later ones are using both names (such as quarter notes, double notes etc,) and the musical notes itself for indicating the time signature (such as quarter note+half notes/8.). For notating the changgu accompaniments, it has been more specifically notated in the later scores. Notations using the key of sanjo, the early scores did not indicate the names of the key whereas the later ones are clearly showing the key signatures. For notating the key signatures, different from what the early score did, the later ones are indicating key signatures for each musical pieces (or score). For the pitch, early scores are usually indicating both written and the sound pitch while the later ones are only using the sound pitch in the scores. Most of the sanjo scores are written in G clef (treble clef) except the kayagŭm sanjo 伽倻琴散調 scores are in both G and C clef due to its wide range of register and the pitch. Early scores used the base clef (F clef) instead of C clef, which we can not find one in the later ones. Also, we can find key signatures in the scores -or the sections- for the wind instrument in the recent ones. Notations to notate other elements, while earlier scores used mostly western ways in indicating the ornaments and vibratos, the recent ones are using both western and traditional ways simultaneously. For notating the oral sound, most of the string sanjo scores show specific indications on it recently. The later scores are showing the usage of western Metronome method for indicating the tempo of the piece such as M. M 120, and western dynamic marks also used. Some of the scores also marked melodic lines as well as the microtonal sounds in details. In conclusion, due to the fact that since sanjo music is not a notated music, many notation method has been created by each musicians for their need. But these many ideas had been put together for seeking better ways, and also be affected by each other for creating the new method. These phenomenon became universal and perform as a key role in producing and creating the better, the new notation method among musicians of the day.