『時調提要』에 나타난 嶺制時調의 上下行 旋律 類型에 대한 分析

Abstract

This paper aimed to examine the melodic characteristics of Yŏngje sijo 嶺制時調(sijo of Kyŏngsang province) sung in Yŏngnam 嶺南 regions, focusing on the only remaining music score, Sijo cheyo 『時調提要』. Though it is a song belong to chŏngga 正歌 (lit. authentic vocal song, i.e. classical songs), there are controversies about sijo 時調 (short lyric song) because it could not be handed down consistently like kagok 歌曲(longl lyric song). One of the greatest reasons may be linguistic aspects originated from t’ori 토리 (regional musical characteristic) peculiar to each region. Yŏngje 嶺制 (style of Kyŏngsang province) is vigorous, powerful and loud. So it has been mentioned as means of cultivating the personality by old scholars, often commonly nicknamed Yŏngp’an 嶺板 at some regions. Afterward, the Sijo cheyo 『時調提要』, co-edited by Songha 松下 Kim Yŏng-do 金榮燾 and Ilgwan 一觀 Yi Ki-nŭng 李基綾 allowed us to have an opportunity to approach the traditionality of Yŏngje sijo. However, there is a lot of controversies about the present Yŏngje and arbitrary interpretation with indefinite evidence disturbs the foundation of Yŏngje sijo. Hence, this study aimed to prepare a pathway for approaching Yŏngje sijo through the analysis of the score which remains only now. Furthermore, it was possible to establish a basis for revealing the whole story of Yŏngje sijo through a music recording of Ko Yŏng-t’ae 高永泰, one of three master singers at the end of the Chosŏn Dynasty and Yi Kye-sŏk 李啓錫, a master of modern Yŏngje sijo. Even though sijoch’ang 時調唱(sijo singing) is a trichord-centered song, perfect 4th degree between ‘chung’ 仲 and ‘hwang’ 黃 pitch play a leading role. Therefore, a priority should be put on identifying processing of hidden sigimse 시김새(refined vocal technique) and variety of melodies. Accordingly, this paper investigated the categorical characteristics of melodies that form a basis of p’yŏng sijo 平時調(standard sijo) in the Sijo cheyo. As a result of selecting and analyzing 10 pieces of p’yŏng sijo from the Sijo cheyo, the ascending 4th degree, from chung to hwang pitch, appeared most. This motion has a unique point of continuing as pitch chung and sounding yu 㽔(im 林) by a little push immediately before downward motion, and also rapidly sounding lower im 㣩(lower nam 㑲)' immediately before fall to pitch hwang for disjunct motion to pitch hwang rather than straight downward motion. The song “Nogyang Ch’ŏnmansandŭl” 녹양 천만산들(Though blue willow has ten million branches), sung by Ko Yŏng-t’ae and “T’aesani p’yŏngjit’orok” 태산이 평지토록(Till a high mountain becomes a plain), sung by Yi Kye-sŏk also show a similar melody type that were appeared most. Besides, there is the conjunct motion which sounds a passing tone slipperily without instant disjunct motion, nonetheless it is the same 4th degree downward motion. Pitches appeared include chung 仲→ko 姑→hyŏp 夾→t’ae 太→hwang 黃 and only some pitches are borrowed according to melody types. Contrary to the 4th degree downward, there is the 4th degree upward motion from the pitch hwang to chung. It moves 4th degree upward, sounding a little lower nam 㑲(lower mu 㒇) pitch quickly before ascending from hwang to chung pitch. There is an ascending melody without such procedures above, but it appeared extremely few. The paper examined melodic structures of sijo and unique characteristics accompanied by melodic procession to preserve the traditionality of Yŏngje sijo sung today. It is expected to provide a lot of suggestions for values of the Sijo cheyo as literature.