해금 문화의 변천양상과 음악사적 의의

Abstract

This study has examined how haegŭm 奚琴 (Korean fiddle) culture has developed and changed in Korean music history depending on the current of the times and groped for the musical significance. To begin with, the form of haegŭm has been researched and it is as follows. The structure of haegŭm has changed with ease according to the fact that music became hyangak 鄕樂 (native Korean music) in the 16th century and the instrumental techniques changed from kyŏnganbŏp 輕按法 (light touching method of string) to yŏganbŏp 力按法 (heavy touching method of string). By using yŏganbŏp, heavy touching method, two strings are connected to kamjabi 甘自非 (a part of connecting string) in order to be loose compared to previous times. As the position of chua 周兒 (peg) moved into relative upper part, the extension of the length of string playing makes it possible for the range of notes to be broaden and for musical expression to be various. The knot position of sansŏng 散聲 (sound of open string) changed from the lower part than chua to the upper part and this makes it easy to play by more tightening a string so that it can narrow the space between two rings and play with ease and make the strings tense; these are the changes for playing well. This development of haegŭm techniques influenced un'gungbŏp 運弓法 (bowing technique) and music dynamics could change with hand tension by making a bow rack of leather. Based on this, it turns out that the change of haegŭm techniques and structure are closely related. Gradually advanced haegŭm came to be widely used in every music culture from court music to folk music in the Chosŏn 朝鮮 dynasty and played its own role through the change of instrument form. However, haegŭm received attention less than its role in the Chosŏn dynasty and the musical potential did not distinguish itself until the modern times. The theory of 8 notes were discussed among musicologists that gives meaning to haegŭm and haegŭm score published and haegŭm music advanced to genuine art music by creating new musical repertoire musical instrumental solo, haegŭm sanjo 奚琴散調 (solo instrumental music for haegŭm). This status of haegŭm culture changed naturally with the current of musical history and this tradition remains intact in present haegŭm music. Haegŭm is worthy of note in that it has not become useless in the changing times and has continuously stood out and has been used usefully all over Korean music. Also, it makes the repertoire of Korean music culture more abundant and newly advanced and it has significance in that the potential to develop is still infinite.