Earticle

초록

영어

This article aims to investigate musical characteristics of Gyeonggiseonsori Santaryeong by analysing its types focusing on singing styles. Gyeonggiseonsori Santaryeong is a representative ipchang (singing in a standing position) and is a male singing practiced around the areas of Seoul and Gyeonggi. Researches on traditional folk vocal music have exclusively been focused on pansori (epic song) of Honam regions, southern areas of Korea, or the Gyeonggi and Seodo folk songs of Gyeongseo provinces, whereas Gyeonggiseonsori that is a representative entertaining troupe performing in the areas of Gyeonggi and Seoul has scarcely been regarded as an academic subject. Thus this study looks mainly into types of a singing style and functions of symbols used in order to analyse its features. The results of this study can be delineated as two aspects: First, there are seven types of singing styles: sokcheong, pyeong-mok (‘mok’ = a throat), ddeoneun-mok, joreum-mok, deolmi-mok, chineun-mok and nulleojuneun-mok. Sokcheong means a high and clearly articulated vocal sound that produces thinly, and it is used in a higher note in deolmi-mok, or a sudden leaping progression of a melody. Pyeong-mok is a vocal sound that produces without trembling a note and vibrates thinly at the end part of a pitch behind a long sustained note. Ddeoneun-mok is a sound by shaking a note, and there are two types producing with a fine vibration and a wide one and the latter is similar to a seodo sound. Joreum-mok is also called ‘joeuneun-mok’ or joeuneunmok by lifting while pressing on a throat, and it is used in closely tightening it when a melody ascends to a note above the minor third or the perfect fourth. Deolmi-mok is a characteristic feature of a singing style in Gyeonggiseonsori. It is a vocal sound that returns to the original note after lifting briefly and softly a note above the minor third or perfect fourth by using the sokcheong and is used in a melodic phrasing that parallels to the joreum-mok in a case of Apsantaryeong. Chineun-mok has three types of forms: (i) a hitting mok like rolling a note briefly above the major second at a certain note; (ii) a hitting mok as if it gives an accent, it hits the throat after vibrating finely; (iii) after hitting above the minor third note slightly at a certain note, the throat that returns to the original note and after hitting the note above the major second and descending the minor third from the original note. This is an identical form with a melodic progression of menari tori (its mode is equivalent to the western ‘la mode’). Nulleojuneunmok is a kind of pyeong-mok and refers to a sound that vibrates widely at the end of a long sustained note and to make a glissando like producing a toeseong (making a sound by gliding down from a high note to a lower one) by pressing a note. It is frequently used in a melody that goes down to a note after executing the melodies of the joreum-mok and deolmimok in Apsantaryeong. Second, the musical symbols used in Gyeonggiseonsori Santaryeong have six types. “ ”is a symbol that vibrates finely; “c” means to roll or hit softly a certain note; “s” is to stop after producing a very short note; “l” is a sound of deolmi-mok; “n” denotes to vibrate the end of a note in a chopping way; “~~~~” for shaking a note and pulling down like rendering a toeseong; “,” is to lift like executing a chuseong (making a sound by pushing up a note) a certain note to the major third.

목차

ABSTRACT
 I. Introduction
 II. The singing style of Gyeonggiseonsori Santaryeong
  1. Types of the singing style
  2. The symbols used
 III. Analysis of the singing styles
  1. Sokcheong
  2. Pyeong-mok
  3. Ddeoneun-mok
  4. Joreum-mok
  5. Deolmi-mok
  6. Chineun-mok
  7. Nulleojuneun-mok
 Conclusion
 References

키워드

저자

• LEE Hyung-Hwan [ Research Institute of Korean Traditional Music Education. ]

참고문헌

발행기관

간행물

표지보기 관심저널 등록

• 간행물명

  Asian Musicology

• 간기

  연간

• pISSN

  1229-9413

• 수록기간

  2002~2024

• 십진분류

  KDC 670 DDC 780