즉흥성연구의 시안: 채보와 비교를 통한 해석

Abstract

A Study on Improvisation of Korean Shaman: Based on transcription and ComparisonMikyung ParkThe tanggol, the hereditary shaman, of Chindo Island use melodic and rhythmic modes(yukchabegi-cho and changdan) as the point of departure for their improvisation. Over the modal frameworks, they developed their own improvising styles. These two, the common framework and the individual idiosyncrasy, have push-and-pull balanced energy. Certain tanggol, if they are fluent enough to keep up with general features, may never fall into trouble by not being able to perform the ritual due to poor musical ability, or ending up inviting other tanggol for their ritual rendition. On the other hand some virtuoso tanggol can pursue beyond the general features by develop characteristic individual style. The evaluation of the im- provising ability of Chindo tanggol can be justly done on the continuum between norms and distinction. Certain tanggol are equipped sufficient ability to launch from the point of departure for improvisation. And certain tanggol proves to be superbly artistic in their improvisation, and they attract high regards enough to become stars among islanders. The study of improvisation is very difficult due to lack of notation. To analyze the improvised music, we should transcribe the result of one-time improvisation and compare it to others. But the process of transcription and comparison is not enough for the meaningful research for improvisation, since the improvised result may never repeat exactly. Thus its result can not be final goal. We should pay our attention to its tradition emerged as an individual rendition.