민속음악 ‘산조(散調)’의 악보화 양상과 담론에 관한 연구

Abstract

There is a considerable gap between the notes that are played and the notes that have no score (oral) when scoring the music. However, textualization of music using various notation techniques, i.e., music scoring, shows that music can be delivered in multiple ways. As Sanjo, which was a piece of oral music that can be varied in various ways depending on the situation, is fixed in a space called musical paper through sheet music, on the one hand, subtle notes and autonomous rhythms tend to be fixed. On the other hand, the possibility of musical application has been expanded infinitely through the medium of the score. Of course, it is undeniable that various restrictions were imposed Sanjo after it was created as a sheet music. However, it was only at that time that Sanjo continued through the oral tradition. It was the traditional learning method of Sanjo and the limitation of the times. Today, Sanjo, which has been scored, is standardized through the work of writing a record of memory, and Sanjo, which has been strengthened as 'Ryu', is transmitted as a standardized melody through various educational methods. Also, Sanjo, written in sheet music, was endowed with permanence and homeostasis. Another aesthetics of Sanjo, which became sheet music, exists in the notes. To find the musical identity of Sanjo inherent in the note, the players imagine, interpret, and ponder the sound in the note. The aesthetics of Sanjo's natural beauty, which remains unchanged even in the oral sanjo and sheet music sanjo, that is, the stubbornness of oral music that is alive even in sheet music, will be the true identity of Sanjo.