박부용․홍소월의 가창방식 분석연구 -경기12잡가 <유산가>에 사용된 목기교를 중심으로-

Abstract

The singing style is the method and manner about singing a song. It appears differently way depending on how the singer uses his vocal technique. That each singer’s musical feel is different although the tunes of the melody are similar is attributed to the singers’ way to make use of the vocal technique. That is, the vocal technique is the substantive element which makes its musical type diverse and abundant. Revealing this vocal technique is directly connected with revealing the constitution principle of the singers’ singing method and its full account. The singing method has been considered to be a thing following the personal individuality or experience and has not been dealt with academically. However, as it was confirmed through this study that the vocal technique was the constitution and combination of the small meaning units like the molecule, the academic measuring and gauging on the singing method were attempted. In this paper, Pak Pu-yong 朴芙蓉 and Hong So-wǒl 洪素月 were selected who were the singers and stars during the Japanese colonial era. The type and aspect of the vocal technique both singers made use of were apprehended through Yusan'ga 遊山歌 chosen as the best of Kyŏnggi sibi chapka 京畿十二雜歌 among the song list they recorded. First of all, the mark obtaining the objectivity and common consensus was set by borrowing and resetting the visual sign used for the precedent score data. As a result, the type of vocal technique was classified into 9 things: ttŏnŭn mok 떠는목, minŭn mok 미는목, hǔlinŭn mok 흘리는목, kkinŭn mok 끼는목, ppŏdŭrŏng mok 뻐드렁목, songmok 속목, kamnŭn mok 감는목, kullinŭn mok 굴리는목 and ch’inŭn mok 치는목 and the example of the use note, the spot where the vocal technique was used according to each period in chapter Ⅲ. It was explained in detail in the light of 5 elements: melody progress, decoration, speed, vocalization, and dynamics. The vocal technique used much finally in Yusan'ga by Pak Pu-yong and Hong So-wǒl is ttǒnŭn mok followed by ch’inŭn mok, kamnŭn mok, kkinŭn mok, ppǒdŭrǒng mok kullinŭn mok, songmok, and minŭn mok and hŭlinŭn mok did not appear. Especially ttǒnŭn mok and ch’inŭn mok appear in all periods. Both singers not only used the kkinŭn mok, kullinŭn mok, and ppǒdŭrǒng mok not to be boring musically but also made use of songmok. Also it was confirmed they elevated the music and attracted the interesting progress by making use of a variety of vocal techniques in the period applicable to the peak of music. It is confirmed through it that Pak Pu-yong and Hong So-wǒl have the ability to judge where to use the vocal technique in association with the musical contents and have the excellent musical capability to make use of various types of vocal techniques while knowing how to constitute the vocal technique. This study was intended to reveal the constitution principle of singing by analyzing the vocal technique of Yusan'ga by Pak Pu-yong and Hong So-wǒl it is significant in three points. First, this study tried not only to make Yusan'ga by Pak Pu-yong and Hong So-wǒl into the academic material for the first time but also to reproduce the real singing into the visual sign and understand the constitution principle in an academic and rational way. Second, if it suggests the methodology that can reproduce the musical characteristic emphasizing the singer’s individuality and temporality into the score like the singing method, it will be able to be expanded to the study of the traditional voice as well as the folk song in the future. It will enable the exact directions in singing, contributing to the activation of the education. Third, the vocal technique analysis can be a methodology that can confirm the principle various types of singing methods are constituted, and the value and meaning it has. Therefore, if the way to sing an old song that is a different type of song from these days was formed naturally in the traditional society is educated in present times, it is expected the old sound will be able to be restored or applied.