정간보의 한 정간이 한 박이냐?
On the Problem of Interpreting the Time Value of Chngganbo Notation
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Abstract
This essay aims at investigating the problem of interpreting the time value of chŏngganbo notation, i.e. whether or not one chŏnggan 井間 (well-shaped square) can be interpreted as one-beat. The followings are included in conclusion. One chŏnggan should be interpreted as one-beat in the yuktaegang 六大綱 (six thick horizontal lines) notation of 16 beats chŏngganbo notation based on a rhythmic cycle (changdan) of 16 beats. Same interpretation of one chŏnggan would be possible in the yuktaegang notation of 20 beats chŏngganbo notation based on a rhythmic cycle of 20 beats. The 16 beats and 20 beats rhythmic cycles are one of the characteristics in Korean traditional music. The yuktaegang notation was designed to notate the Korean traditional music being based on the 16 beats and 20 beats rhythmic cycles.
참고문헌 (6)
- "大綱譜의 節奏方式", 11, pp.19~80 (1993), 韓國音樂史學會
- "韓國音樂學資料叢書 卷7" (1981), 國立國樂院
- "On the Problem of Interpreting the Time Value of Chngganbo Notation"
- "This essay aims at investigating the problem of interpreting the time value of chngganbo notation whether or not one chnggan 井間 can be interpreted as one-beat The followings are included in conclusion"
- "One chnggan should be interpreted as one-beat in the yuktaegang 六大綱 notation of 16 beats chngganbo notation based on a rhythmic cycle Same interpretation of one chnggan would be possible in the yuktaegang notation of 20 beats chngganbo notation based on a rhythmic cycle of 20 beats"
- "The 16 beats and 20 beats rhythmic cycles are one of the characteristics in Korean traditional music The yuktaegang notation was designed to notate the Korean traditional music being based on the 16 beats and 20 beats rhythmic cycles"