국악인들에게서 나타나는 안정적 음정연구
An Experimental Study on the Stable Intervals in Korean Traditional Music
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초록
The purpose of this study was to investigate the tonal schema of Korean traditional musicians. It examined how the Korean traditional musicians internalize the tonal schema of the relative stability of musical tones in Korean Traditional Music as results of familiarity to the conventional tonal organization in real music and wether the tonal representation of the Korean Traditional Music is influenced by the experience in the Western Music. The 56 subjects consisted of 2 groups according to their degree of experience in Korean Traditional Music (the expert group with 18 years, the quasi-expert group with 11 years experience). Two groups have experience in the Western Music since 7 years old and learned the western instruments for 3-4 years. In the experiment, the subjects are asked to detect distortion on tones (the third, the fourth, and the fifth tone) in western scales (major- and minor scale) and Korean traditional scale (P'yongjo and K'ymyenjo). Six tone sequences consisting of a scale-like melody were provided, in which the third, the fourth and the fifth scale degree were distorted in the range of 10-60 cents. The result showed the existence of hierarchical representation in the western scales. The result in major scale was accorded with the previous Western literature, however in minor scale was not. In the minor scale, the minor third was the most unstable instead of perfect fourth. The sound existence of hierarchical representation in the Korean traditional scales was not found. In P'yongjo, the fourth (Imjong) was more stable than the fifth (Chungryo). In K'ymyenjo, the fifth (Imjong) was the most stable tone followed by the fourth (Chungryo), the third (Hyeopjong). This Result didn't be accorded with the previous literature in which said that the fourth plays a critical role in Korean traditional music and so it is much more important that in Western music. The study pointed out to the perceptual stability of the fourth not only in the Western scale but also in the Korean traditional scale. The Influence of the experience in the Western Music on the hierarchical representation of the Korean traditional musicians was found. The quasi-expert group showed perceptual more strong than the expert group in the Western scale. In Korean traditional scales, they showed no difference.
Abstract
The purpose of this study was to investigate the tonal schema of Korean traditional musicians. It examined how the Korean traditional musicians internalize the tonal schema of the relative stability of musical tones in Korean Traditional Music as results of familiarity to the conventional tonal organization in real music and wether the tonal representation of the Korean Traditional Music is influenced by the experience in the Western Music. The 56 subjects consisted of 2 groups according to their degree of experience in Korean Traditional Music (the expert group with 18 years, the quasi-expert group with 11 years experience). Two groups have experience in the Western Music since 7 years old and learned the western instruments for 3-4 years. In the experiment, the subjects are asked to detect distortion on tones (the third, the fourth, and the fifth tone) in western scales (major- and minor scale) and Korean traditional scale (P'yongjo and K'ymyenjo). Six tone sequences consisting of a scale-like melody were provided, in which the third, the fourth and the fifth scale degree were distorted in the range of 10-60 cents. The result showed the existence of hierarchical representation in the western scales. The result in major scale was accorded with the previous Western literature, however in minor scale was not. In the minor scale, the minor third was the most unstable instead of perfect fourth. The sound existence of hierarchical representation in the Korean traditional scales was not found. In P'yongjo, the fourth (Imjong) was more stable than the fifth (Chungryo). In K'ymyenjo, the fifth (Imjong) was the most stable tone followed by the fourth (Chungryo), the third (Hyeopjong). This Result didn't be accorded with the previous literature in which said that the fourth plays a critical role in Korean traditional music and so it is much more important that in Western music. The study pointed out to the perceptual stability of the fourth not only in the Western scale but also in the Korean traditional scale. The Influence of the experience in the Western Music on the hierarchical representation of the Korean traditional musicians was found. The quasi-expert group showed perceptual more strong than the expert group in the Western scale. In Korean traditional scales, they showed no difference.
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