울진 방언 가사(歌辭)의 운율 연구
A Study On the Prosodic System of the Gasa Literary Work - based on ‘Seoraksan Yuramgi’, a verse written and recited in Uljin Dialect-
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In this paper, I studied the prosodic system of Gasa literary work, based on ‘Seoraksan Yuramgi’, a verse written and recited in Uljin dialect, a Gyeongbuk Province dialect. This Gasa with the form of an old Korean verse was written about in 1994 by Madam Jeongnam Ju, an Uljin native speaker. She recited it, which I digitized. Uljin is a county to the east coast of Korea belonging to Gyeongbuk Province. Seoraksan Yuramgi is a travel diary through Korean noted sceneries including Mt. Seolak. This Gasa consists of 362 lines, and each line consists of four feet principally. Uljin dialect is a tone dialect. Therefore, in this research, I was focusing on the tonemic patterns of the feet of the work and it's construction. Madam Ju, the writer read aloud and then recited musically the work 4 times each line. I analyzed that with PRAAT and Q-Tone. Each foot is realized as an pitch form corresponding with its side-dot representation(/tonemic pattern). In reading, the pitch register of the first and third foot of each line is wide and that of the second and fourth are narrow. In musical recitation, the width hierarchy is the first foot> the third foot > the second foot > the fourth foot. Uljin dialect is a dialect with three tonemic pattern system: pyeongcheuk(/plain) pattern, geoseong(/mid-level) pattern and sangseong(/long-high) pattern. Pyeongcheuk pattern is unmarked, and the other two are marked patterns. Each foot consists of a tonemic pattern usually, but two in some case. When a foot consists of two tonemic patterns A#B, A pattern is pronounced strong and B pattern, weak. Each tonemic pattern is realized through its pitch form rule in reading style. In recitation, however, while the odd number syllables are pronounced into one mora, the even number syllable are lengthened into two morae with new musical regularity, regardless of the underlying tonemic system in principle. But musical recitation is not musical composition. Thus we could find that various influences of the underlying tonemic system of Uljin dialect appear in musical recitation.
Abstract
In this paper, I studied the prosodic system of Gasa literary work, based on ‘Seoraksan Yuramgi’, a verse written and recited in Uljin dialect, a Gyeongbuk Province dialect. This Gasa with the form of an old Korean verse was written about in 1994 by Madam Jeongnam Ju, an Uljin native speaker. She recited it, which I digitized. Uljin is a county to the east coast of Korea belonging to Gyeongbuk Province. Seoraksan Yuramgi is a travel diary through Korean noted sceneries including Mt. Seolak. This Gasa consists of 362 lines, and each line consists of four feet principally. Uljin dialect is a tone dialect. Therefore, in this research, I was focusing on the tonemic patterns of the feet of the work and it's construction. Madam Ju, the writer read aloud and then recited musically the work 4 times each line. I analyzed that with PRAAT and Q-Tone. Each foot is realized as an pitch form corresponding with its side-dot representation(/tonemic pattern). In reading, the pitch register of the first and third foot of each line is wide and that of the second and fourth are narrow. In musical recitation, the width hierarchy is the first foot> the third foot > the second foot > the fourth foot. Uljin dialect is a dialect with three tonemic pattern system: pyeongcheuk(/plain) pattern, geoseong(/mid-level) pattern and sangseong(/long-high) pattern. Pyeongcheuk pattern is unmarked, and the other two are marked patterns. Each foot consists of a tonemic pattern usually, but two in some case. When a foot consists of two tonemic patterns A#B, A pattern is pronounced strong and B pattern, weak. Each tonemic pattern is realized through its pitch form rule in reading style. In recitation, however, while the odd number syllables are pronounced into one mora, the even number syllable are lengthened into two morae with new musical regularity, regardless of the underlying tonemic system in principle. But musical recitation is not musical composition. Thus we could find that various influences of the underlying tonemic system of Uljin dialect appear in musical recitation.
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