신수덕 무가의 음악적 특성 고찰

Abstract

Shin Su-dŏk muga 申守德巫歌was published by Victor Records in 1936 during the Japanese colonial period, consisting of six pieces sung by him including “Myŏngdan kyŏng” 明堂經, “Chŏ' nsu kyŏng” 千手經, “Anjŭnban” 앉은반,“Changam yŏmbul” 장암염불, “Chidosŏ” 地圖書, and “Kosan yŏmbul” 高山念佛. It is important in that it provides a peek at the salp'uri kwŏn 살푸리권 muga whose transmission has not been fully successful. This study thus set out to investigate Shin Su-dŏk muga with a focus on its music and examine its characteristics and meanings based on its analysis results. The musical characteristics of Shin Su-dŏk muga can be summarized as follows:The appearance tones of Shin Su-dŏk muga in terms of tonal structure are ‘mi·r a·si·do·re and sol,’ of which ‘mi·ra·si and do’ are the principal ones and ‘re and sol’ perform decorative purposes and assist splendid melody progression. In other words, Shin Su-dŏk muga expanded the tonal structure by adding ‘re and sol’ to the yukcha paegi t'ori 육자배기 토리 simple style of ‘mi·ra·si and do.’ It is more complex than the folk songs of the same yukja paegi and simpler than p'ansori 판소리. As for forms, four of the six pieces, namely “Myŏngdan kyŏng, “Chŏ' nsu kyŏng,”“Anjŭnban,” and “Chidosŏ” begin with slow oral sounds, repeat among the phrases of oral sounds, rests, continuant sounds, and vibrating sounds, and end in a quick drive. “Changam yŏmbul” and “Kosan yŏmbul” have back sounds and repeat similar melodies at every beat cycle. While “Myŏngdangyŏng,” “Chŏ' nsugyŏng,” “Anjŭnban,” and “Chidosŏ” are in the through-composed form, “Changam yŏmbul” and “Kosan yŏmbul”are in the strophic form. The four pieces in the through-composed form create musical units that have nothing to do with beats by dividing phrases with oral sounds and rests and try to have the aesthetics of musical form through those phrases, which explains why the four pieces in Shin Su-dŏk muga look very complicated on the surface but have a good organization internally. The focus of beats is salp'uri 살푸리 rhythmic cycle. They use a variety of time structures including the 2 sobak 小拍collective structure and the combined structure of 2 and 3 sobak rather than the basic 3 sobak collective structure of salp'uri. However, the two “Yŏmbul” pieces, “Changam yŏmbul” and “Kosan yŏmbul” are in the 3 sobak collective structure with Chungjung mori 중중모리 of 3 sobak and 4 time and “Kosan yŏmbul” of 3 sobak and 15 time. Shin Su-dŏk's “Kosan yŏmbul” of 3 sobak and 15 time is different from the Chulp'o muak 茁浦巫樂of Ch'ungnam 忠南(South Ch'ungch'ŏng Province) and the “Kosan yŏmbul” of 2 sobak and 15 time in the east coast. As for lyrics connections, the two “yŏmbul” pieces, “Changam yŏmbul” and “Kosan yŏmbul,” have lyrics connections in line with the beat cycle and show regularity by mainly using big phrases and beats. Meanwhile, the remaining four pieces have lyrics connections that have nothing to do with the beat cycle. It is difficult to find regularity in them, and their lyrics connections are extremely diverse and complex. It is because the Shin Su-dŏk female shaman exercised her musical creativity by using puch'imsae 부침새 (interplay of rhythms against the basic beat) that caused various changes intentionally rather than word connections in a natural state. Shin Su-dŏk muga presents various and gorgeous vocal compositions without using many notes and diverse and complex lyrics connections and rhythm types, which may make it appear formless, but it does have a good organization internally. Those characteristics of Shin Su-dŏk muga demonstrate the high musicality of Shin Su-dŏk.