공산농요의 음악적 특성 연구

Abstract

This study treated musical characteristics of Gongsan Nongyo(agricultural song) and its summary is as follows. First of all, the eight-part-divided Gongsan Nongyo was researched in terms of the musical structure and form, the structure of note, the outline of melody and the structure of time. The way of singing is pre-post or give-take singing between the person singing before and the one singing after except for Eosayong. Pre-post singing holds a majority of Gongsan Nongyo, but Mozzigi(removing young rice plants from seedbed) song and Mosimneun(rice planting) song are sung in the form of give-take singing. In syllable setting style, the solo Eosayong is composed of melismatic style and rather fast Tajak Sori(threshing song) and Chingchingi, syllabic style. Most of the other songs are composed of neumatic style, the midterm form. As for the form of Saseol(narrative), slow tunes adopt tetrabrach and others adopt bibrach. As for the musical form, all the tunes are strophic, except for Eosayong that is through-composed. Among the strophic songs, Mozzigi and Mosimneun song do not have a refrain as the pre- and post-singing are give-take singing that has a equal structure of narrative. Others take the strophic form that has a refrain with repeated narrative. As for the structure of note, Mi(E), La(A) and Do(C) are the most available based on the 5 note scale composed of Mi(E), Sol(G), La(A), Do(C) and Re(D). In Gongsan Nongyo, slow songs may use all the five notes and sometimes only four notes, but fast song like Tajak Sori, only three notes. Generally the ending tone in Menaritori scale is known as Mi(E) or La(A). However, in Gongsan Nongyo, Garaejil Sori, Mangkkae Sori and Chingchingi are ended with Do(C). Afterward it will be considered if this phenomenon is restricted to this region or related with that of other region. As for the outline of melody, mostly the pre-singing progresses downward, while post-singing, upward. However, in narrative form, the Mozzigi song, Mosimneun song and Nonmaegi song that have tetrabrach show the outline of melody that repeats the mountainous shape. It means that in the work that is rather slow and needs a little long time, the melody repeats going upward and downward in a fixed pattern. In accordance with the type of work, some music goes fast, but works like Garaejil, Mozzigi, Mangkkae, Mosimgi and Nonmaegi employ slow Gukkeori rhythm as the works need stooped motion for long time. As for metrum, Eosayong, Mozzigi Sori and Mosimgi Sori use free rhythm based on quarter-tone, Tajak Sori and Jeonrye that are sung in speedy work use 6/8, and other ballads use 12/8 and 9/8. Speedy songs are Tajak Sori, Jeonrye and Chingchingi, and slow songs are Eosayong, Garaejil Sori, Mankkae sori, Mozzigi Sori and Mosimneun Sori. Slow songs are divided into two sorts in accordance with the pattern of work. In Gongsan Nongyo, only Eosayong takes the form of solo, while Mozzigi Sori, Mosimneun Sori and Nonmaeneun Sori have very similar flow of music because those songs are used in rice field working. In conclusion, this study showed that the musical flow of Nongyo is closely related with what the work is. Therefore, Nongyo related research in the future should consider how the music is applied and influential in relation to the working behavior. A synthetic and general approach should be necessary all over the music, the narrative, the working behavior, and the subbase culture of the society.