경기 통속민요의 전승양상과 음악적 특징

Abstract

The scope of this paper is limited to ‘Tongsokminyo’ (popular folk songs) in Gyeonggi province to trace aspects of transmission and the musical characteristics. 'Tongsokminyo' was chosen as the topic of this paper because it is one of main repertoires of traditional professional musicians of each region who employed their regional musical characteristics into their repertoire. In order to understand ‘Tongsokminyo’ in the context of overall music culture of Seoul and Gyeonggi Province, general music culture of Gyeonggi Province except for minyo is surveyed. Then, The difference between Tongsokminyo and Hyangtominyo (folk songs of local customs) is outlined. Lastly, as the main focus of this paper, aspects of transmission and musical characteristics of Tongsokminyo in Gyeoggi Province are discussed. As a result, pentatonic, sol-mode, la-mode, gradual progression, authentic mode, use of Gukgeori jangdan, Semachi jangdan are found as the musical characteristics of Tongsokminyo. However, such characteristics are limited only to typical folk songs indigenous to Gyeonggi Province in Jingyeongtori (sol-mode) or bangyeongtori (la-mode). Consequently, those musical characteristics are not traced in current folk songs categorized as Tongsokminyo of Gyeonggi Province but introduced from other provinces. It is a fact that music of Seoul and Gyeonggi Province holds a very important position in Korean traditional music and that it has enriched the music culture of Korea. The importance of Gyeonggi Province music can be proved in that the ‘Arirang and Doraji’, the songs known worldwide as the most representative songs of Korea, are Gyeonggiminyo and that the accompanying music of ‘Hwagwanmu’(Flower Crown Dance) and ‘Buchae-chum’ (Fan Dance) belongs to music of Gyeionggi Province.