十二歌詞의 음악적 고찰 －고악보 수록 악곡을 중심으로－

Abstract

This paper mainly deals with the songs of Gasa found in old scores to find the period when entire pieces of twelve Gasa was performed. The melodies of contemporary songs of Gasa are compared to the modes of Gasa listed in old scores. The period from when the contemporary twelve songs of Gasa to be performed is traced back to when the 『Garambon Cheongguyeongeon』 was published. It is worthwhile to notice that of 4 songs of Gasa currently performed by Im, Gi-Joon, “Yangyangga’ first appeared in 『Yukdangbon Cheongguyeongeon』 and ‘Suyangsanga’, a little later, in 『Garambon Gagokwonryu(1876)』. Therefore, the four songs of Gasa transmitted by Im, Gi-Joon must have been created later than the ones preserved by Ha, Gyu-Il. Though much similarity is found in both melodies of contemporary Twelve Gasa and the ones listed in old scores, a number of songs show critical differences in constitutional tones and their importance. The Twelve Gasa in old scores ends in re, showing features of plagal re mode or pyeongjo mode, whereas only ‘Eobusa’ uses plagal re mode of contemporary Twelve Gasa. The other pieces of contemporary Twelve Gasa employs authentic sol mode. Therefore, it is quite possible to assume a modal change of the Twelve Gasa from ‘plagal re mode’ to contemporary ‘authentic sol mode’. However, such change is not clearly found in the Twelve Gasa in old scores. Therefore, further study should be carried out to compare other music pieces of the equivalent times.