김용택의 동해안 무속장단 구현 원리
KIM Yong-taek’s Principles to Realize Eastern Coast Shamanist Rhythm
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Principles that KIM Yong-taek would use for realizing rhythms are presented as follows. He has many different principles to realize rhythms and, the principles basically include how he gives rhythmic changes in this basic rhythm unit, Hooryumchae (a certain type of rhythm unit), how he uses sticks differently and how he expands the rhythms. The pieces of Hooryumchae that had been created that way are arranged with these principles of on beat, off beat · originally beat, symmetry and inversion and, the principles eventually change structures of the rhythms. The changes end up being frames which KIM Yong-taek refers to when trying to realize the rhythms and as differently using the pieces of Hooryumchae which are, in other words, the contents actually found in the frames, KIM comes to improvise and realize diverse variations of the rhythms. KIM Yong-taek was a chance for us to have the clear understanding on principles to realize Eastern Coast rhythm and at this time of the era when everyone values the least of improvisation but copies and performs only on the surface, KIM invited us to the truth of improvisation that ancestors had always enjoyed. The academic approach of this study will contribute to the recovery of improvisation, and that is what should be constantly investigated by any follow-up researches.
Abstract
Principles that KIM Yong-taek would use for realizing rhythms are presented as follows. He has many different principles to realize rhythms and, the principles basically include how he gives rhythmic changes in this basic rhythm unit, Hooryumchae (a certain type of rhythm unit), how he uses sticks differently and how he expands the rhythms. The pieces of Hooryumchae that had been created that way are arranged with these principles of on beat, off beat · originally beat, symmetry and inversion and, the principles eventually change structures of the rhythms. The changes end up being frames which KIM Yong-taek refers to when trying to realize the rhythms and as differently using the pieces of Hooryumchae which are, in other words, the contents actually found in the frames, KIM comes to improvise and realize diverse variations of the rhythms. KIM Yong-taek was a chance for us to have the clear understanding on principles to realize Eastern Coast rhythm and at this time of the era when everyone values the least of improvisation but copies and performs only on the surface, KIM invited us to the truth of improvisation that ancestors had always enjoyed. The academic approach of this study will contribute to the recovery of improvisation, and that is what should be constantly investigated by any follow-up researches.
참고문헌 (5)
- 김인숙, "동해안 오귀굿 연행과 장단의 구성 원리 연구", 박사, 음악학, pp.2011
- 손정일, "김용택 전승의 동해안 무속장단 연구", 박사, 음악학과, pp.2014
- 이보형, "장단 리듬형의 형태구조 및 통사구조와 그 변화연구", 민족음악학, 19, pp.1~47 (1997), 서울대학교 동양음악연구소
- 최병길, "동해안 별신굿 장단 연구", 박사, 음악문화학, pp.2009
- 최병길, "동해안 굿 장단의 구현 원리와 응용에 관한 연구-푸너리․드렁갱이․굿거리를 중심으로-", 음악과 민족, (46), pp.131~155 (2013), 민족음악학회
