Earticle

The term "jangdan (lit. "long and short") indicates a number of musical features in Korean traditional music, and among one of these characters, it refers to "rhythmic cycle". I have already revealed the rhythmic cycle of jangdan in relation to a framework of Chomskian generative/ transformational grammar of language in my article (see "A study of syntax-semantics of jangdan with special reference to naedeureum of Pansori" 2000), and my basic findings ate provided by the followings: (1) Rhythmic cycle is formed by the syntactic roles by which rhythmic constituents is fixed. (2) The syntactic rule is governed by which the rhythmic constituents of lower level, the two- Collections or three-collections on the beats of the lower level, and then is constructed by their upper level on the beats of the upper level, thus forming their three levels on the beats of the three levels. (3) The "syntactic structure of jangdan" can be constructed by "collective structure" of the rhythmic constituents that generates its beats of the rhythmic cycle. There are two kinds of musical genres which are constructed by (ⅰ) one kind of the 'syntactic structure of jangdan rhythm' that I would call a "deep structure" and (ⅱ) several kinds of the 'syntactic structure of jangdan rhythm' called a "surface structure" in Korean music. In the latter, such repertoire as Pansori (Korean narrative song with an accompaniment of the drum) and Sanjo (highly improvised solo instrumental music) that are consisted of several kinds of the 'syntactic structure of jangdan rhythm', are formed by a number of syntactic structure of the jangdan rhythm, but their underlying structures are based on one kind of the syntactic structure of jangdan rhythm. In contrast, such repertoire as Seodo jwachang (songs of Sea provinces in sitting position) and ipchang (songs that sing in standing position) are formed by several kinds of the syntactic structure of jangdan rhythm, thus its underlying structure is not seen as the case of one kind of the syntactic structure of jangdan rhythm. This paper aims to investigate how these two kinds of jangdan structures are constructed differently: in the case of the deep structure of jangdan rhythm, whether it is underlying or not represented in two musical performances: jungjungmori (jangdan formation based on a bit fast tempo) 'Whachotaryeong' in Pansori Shimcheongga (song for Shimcheong) and 'Chohanga' in Seodo jwachang respectively. The results of the investigation of two musical performances can be offered: In terms of a set of rules, the first case in naedeureum (initial jangdan in order to introduce the song) necessarily has fixed rules that present an "idiomatic structure" or its equivalent regular deep structure, whereas the second case has no fixed rules to be presented. In the example of the first case, when the syntactic structure of jangdan rhythm changes a number of ways, a length of rhythmic cycle is mostly regular. In this process when the rhythmic cycle changes, the length of the total phrases becomes a 'common multiple' of the deep structure represented by naedeureum. In the second case, when the rhythmic cycle of jangdan changes irregularly, the length of the total phrases is not yielded the common multiple. The first case, when the cycle of syntactic structure of jangdan rhythm changes, the syntactic structure of jangdan rhythm which is accompanied by percussion instruments does not change. In contrast, the second case, when the syntactic structure of jangdan rhythm changes, its cycle of the percussion accompaniment tend to change. The first case with deep structure is based on the tone repeated while the second case on susimga in free rhythm. The difference is in that a variety of syntactic structure is generated by the changing quality of the repeated deep structure in the former, whereas it is by the change from free to metric rhythm. The syntactic structure of jangdan rhythm comprises the deep structure or its equivalent idiomatic structure in a conclusive phrase in the first case, whereas it does not appear regularly in the second case. Characteristic features appeared in Pansori and Sanjo that are underlying in the deep structures can be shown by the fact that the surface structures transform into the deep structures or its transformational structure, and this means that the surface structure are constructed without fixed rules and implies relative characters of such musical genres which have no underlying deep structure.

The purpose of this paper is to investigate the musical activities by t'aeg?n sanjo 大?散調 master Pak Chong-gi 朴鍾基(1879~1941) during the Japanese colonial period (1910~1945). This study is based upon primary source materials such as radio programs of Keijo Broadcasting Station 京城放送局, SP discs manufactured by Japanese Columbia Co. etc., and accounts of daily newspaper, i.e. Chos?n ilbo 『朝鮮日報』. This paper consists of such topics as 1) Introduction, 2) Musical Activities by Pak Chong-gi through the Radio Broadcasting, 3) Pak's Musical Activities Appeared in SP Records and Chos?n ilbo, 4) Conclusion. In view of examining the primary source materials, the author points out the followings in conclusion. Pak Chong-gi is believed to have been the founder of t'aeg?n sanjo, sanjo 散調 for large transverse flute known as t'aeg?n 大? around the early 20th century. The Pak's first broadcasting date of t'aeg?m sanjo was on the 7th of November, 1927. During the 1930s Pak Chong-gi would play not only solo t'aeg?m sanjo music, but also he took part in performances such as shinbanggok 神方曲, shinawi 신아 위, pongjakch'wi) 鳳雀吹, and he also accompany various vocal genres including namdo kayo 南道歌謠 , tan'ga 短歌, sogyo 俗謠, and shijo 時調. The Pak Chong-gi's achievement of musical activities must be re-evaluated from the standpoint of modern Korean music history on the basis of the following fact. Besides the founder of t'aeg?m sanjo, Pak Chong-gi made a contribution to the transmission and diffusion of t'aeg?m sanjo tradition by radio broadcasting and the recording of SP discs during the Japanese colonial period.

This paper is largely divided into two parts ; the former is "Prism : The colorful movement in musical works" and the latter is "Spectrum : The colors of my musical pieces." The former was presented at the conference for celebrating for the year of the Korean Music in 1994, and is based on the latter. The latter is my portfolio that collects various kinds of atticles that are related to my musical works, which include musical schemes, musical notes, explanations, critiques, related academic papers, bibliographies, information about performances etc. Such works are a social activity for the purpose of explanation on compositional contents and color of my musical pieces. The reason I started this paper with talking about colors is because the color is a visual space whereas the sound is a non-visual space. I think that the color and the sound are spatial-sense. The latter, especially, "Spectrum : The colors of my musical piece" translates the space of the sound into the space of color to be visually perceived. In "Prism : The colorful movement in musical works." talking about orchestration for traditional instruments, compositional techniques of Korean and Western music, modernization, the color of the West, the trends, critiques, philosophy that ate all related to the field of my musical pieces. I discuss the current situation of Korean composition for traditional instruments. Therefore, I see "The colorful movement in musical works" as prism and name the color passing the prism as the spectrum, "The colors of my musical pieces." Also, I number each of my musical pieces in the 'prism' in order so that one can find all information about any piece in the 'spectrum'. "The field of my musical pieces" is my unique territory to harvest something from the nothing. The seed of this is my imagination. The musical pieces is produced only when one's imagination can ramble freely. Therefore, "the color of my musical works" is like a perceivable colors that plays in "my musical field." The reason I collected all the references pertinent to my musical pieces is that a composer should supply all the materials that critics, musicologists and musical historians can fully use for a better understanding of the composer's music. This will eventually make all musical academic areas plentiful.

Acording to the Samguksagi(三國史記), geomungo was an renovated musical instrument from Chinese chilhyenguem(七絃琴, 7 strings zither) which was from from China. It means that geomungo is an foreign musical instrument. This paper is a comparative research for Korean geomungo, Thai jakhe, Burmese miguan and Indian rudra veena those who have many similarities. To compare of the number of strings, Thai jakhe and Burmese miguan have 3 strins, Korean geomungo has 6 strings and Indian rudra veena has 7 strings. Although they have many strings, they use only two strings for the playing the main melody; Geomungo use the Yuhyuen(遊絃 second string) and Daehyuen (大絃 3rd string), jakhe use the second and third string, rudra veena use the first and second string. To compare of the number of fret, geomungo has 16 frets, jakhe has 13 frets, rudra veena has 22~24 frets. But all of them have drone strings. To compare the symbol of musical instruments, they have symbolic animal related to bird; geomungo with black crane(玄鶴), Thai jakhe and Burmese miguan with dragon and phoenix, rudra veena with dragon and pheonix. Chinese musician Chen Yang(陳暘)'s Yue Shu(樂書) wrote the venna as 'gonghu with dragon head'(鳳首??). The word Thai jakhe means crocodile, but before names as jakhe was called as Mayuri menes peacok The mayuri is a Indian hindhi word for peacock. They have many similarities with using fret instruments, the number of playing string, using the drone string and symbolic animal. They might be have same origin probably.

In playing Jeongak(正樂) with Komungo, there are Nonghyun(弄絃, vibration), Chuseong(推聲), Toiseong(退聲), Jeonseong(轉聲) and Jachul(自出) techniques with left hand. And There are Sunhoik(順 劃, downward stroke: DaeJeon(大點), Kangjeom(强點), Pyongjeom(平點), Sojeom(小點)) and Yeokhoik( 逆劃, upward stroke: Yeokjeom(逆點, 뜰)) with right hand which holds Suldae(술대). Because techniques change their positions according to the tune of musical pieces, it is required to know techniques and play music with techniques for expressing musical pieces' characteristics accurately. Nonghyun and Toiseong, left hand techniques, are intimately related with the tune of musical pieces so cannot be used on any note. And Suldae technique, right hand technique, plays an important role in determining the flow of musical pieces. In the precondition that because techniques depend on player's study history, physical condition and the character, there may be some deviations from the theory, the range of technique's applications are as following.

This is the summary of thesis of a geomun'go(거문고) musician Ok-bogo's(玉寶高) history and work. Keomun'go, a Korean zither with six-string, is one of the oldest string instruments in Korea. It belongs to the family of long zither with movable bridges. The instrument has some characteristics in terms of structure : it has sixteen fixed frets and three movable bridges ; it has six strings, three of them are stretched over sixteen bridges, the other strings are over the bridges. These strings are plucked with a suldae(술대), a slim bamboo stick. Two of them play tune and the other strings play drone. While known as geomun'go, this instrument has been called as hyeun'gum(玄琴), meaning a Koguryeo(高句麗) string instrument, in Sino-Korean. Ok-bogo was a musician who researched new playing method of geomun'go in Silla(新羅) dynasty (about in the 9th century). He had studied new playing method of geomun'go in Unsangwon(雲上院) of Mt. Jiri(智異山) for fifty years. Based on literatures and reasoning, those make me have the confidences to come to the conclusions, as follows. Firstly, Unsangwon is Unbong(雲峰) of Namwon(南原) county in Jollabukdo(全 羅北道) province, and Keumsongjeong(琴松亭) was a pavilion, where he teached geomun'go to his scholar Sok-myongdeuk(續命得) in. Secondly, two new playing methods of geomun'go, Pyeong-jo(平 調) and U-jo(羽調), was originated by him. Finaly, some of his works were related to Buddhism and Mr. Jiri.

The characteristic of the inequality and irregularity which of the rhythmic cycle in korean traditional music is as important as another characteristics, which is scale 음계, mode 선법, microtonal shading 미분음, ornamental technic 시김새, flexibilie tone 유동성음, vibrato 농현, heterophony 이음성, mehrstimmigkeit 다음성, idom 토리. The very common characteristic of them might be a instability, that is. The melodies are so mobile, the relations between melodies have heterogeneity. Besides, it is emphasized the impromptu of the musical performance transmission. As through all of those characteristics, an instability is guaranteed. It would be a greatful work to study about an instability korean music called an dissymmetry and how it is expressed in rhythmic cycle of korean music. Fortunately they have been continued efforts that find the characteristics and organizations through its researches and discussions in academic world of korean music. We observed the inequality and irregularity in various musics like Chongak 정악, folk music 민속악, and they had been worked with the existing theory as a reference data. On this study, we handled a lot of works, those are, "Has it a structure of mulitimetric rhythm 혼합박자 in a piece of music", Is there a definite musical tempo and a cycle", "Is the music inequable", and "Is there an orderly rhythmic system or not." Now, we conclude those works concerned with 22 pieces of the Korean Traditional Music as follow: At first, all pieces have inequable mixed meter in the subject of the Chongak, Sujechon 수제천, Heemun 희문, Haeryong 해령 don't have any regular rhythmic cycle and tempo, or have weakly regular rhythmic cycle. However, Sangryongsan 상령산, Seryongsan 세령산, Gagok(lyric songs) 가곡, Gasa (narrative songs) 가사, Shijo(sung short poems) 시조 have constant tempos and rhythmic cycles but inequable mixed meter. In the following, 14 pieces of Korean folk music consist of inequbable mulitimetric rhythm with 2beat 2소 박 and 3beat 3소박, and 13pieces of them have regular tempos except Sushimga 수심가. Sushimga, Yokkeumsushimga 엮음수심가, Chulinga(a peice of 12 Chapga) 출인가 and Gombotaryong(a peice of hwimorichapga) have no regular cycles. So most of the Korean folk music have regular rhythmic cycles but each two pieces of Sushimga, Chapga. Chulinga exceptionally has equable(symetrical) meter for 6beats(3+3) and Terballim 터벌림(a shamanistic ritual of Kyonggi province) especially has combined quintuple meter structures that make up with ten dotted quarter beats.

Po gu rak(抛毬樂) is a kind of musical entertainment in company with a ball game. The musical entertainment that was a sort of so-called Tang Music was introduced from China. It took root in Korea and generally performed as court music in Koryo(高麗) and Chosen(朝鮮) dynasties. Even now it receive many Koreans as a traditional court dance and music and as an local intangible cultural asset. This is due to the reason that Po gu rak is of traditional heritage and has amusement. Po gu rak takes its origin generally from Tang dynasty and even some Po gu rak written by Tang poets are handed down to present. Even though we may trace its origin through some Song documents, Shen Kuo(沈括)'s Meng xi bi tan(夢溪筆談) and Zhao lingzhi(趙令?)'s Hou qing lu(候鯖錄), I suppose that the music takes its origin from the royal court of Sui(隋) dynasty in that Li Shenyan(李愼言) in the story and works concerning Po gu rak referred to the connection with Sui. There was Gyuk gu(擊毬), a kind of hitting ball game, in ancient times. Considering the relation between Po gu rak and Gyuk gu, the root of the two are one in that both ate playing with a ball but each spreading different branches in that the two developed as group play respectively for man and for woman. Therefore Gyuk gu never become the precursor of Pogu rak and we can not consider Gyuk gu as the origin of Po gu rak. Po gu rak was introduced from Song(宋) to Koryo in 1073 and performed for the first time by Cho Young(楚英). Po gu rak in Koryo dynasty considered Song music as the basic frame, was improved partly at the beginning of Chosen dynasty, and gained ground gradually to become of our style in the last years of the dynasty through such things as adding the indigenous Korean music. Po gu rak in Koryo and Chosen was mainly performed in court banquet, namely, for receiving envoys, royal clansmen, royal family and the like. Even though it is of rate occasion, this was performed for such important national ceremonies as the meeting of lord and vassals.

The King Sejong created "Hunminjungeum" on 1443 and "32 space musical note in a Sejong historical story" from 1445 to 1447. The frame of the sound bundle in the Hunminjungeum is '3ㆍ2 sound frame' and the frame of a sound bundle in the 32 space musical note is '3ㆍ2 space frame'. They have a common point of '3ㆍ2 frame' from a principle of a numerical bundle of a fundamental sound. The object of the bundle is different because the '3ㆍ2 sound frame' in the Hunminjungeum is the bundle of phoneme and 32 space musical note is the bundle of a square partition. It is only same at the point that the number of the bundle is '3ㆍ2 frame'. Therefore Hunminjungeum and 32 space musical note were created by the same creator at the same period. And their special quality is that they ate homogeneous at the numerical principle of the sound bundle. It has a lot of possibility that Hunminjungeum was effected by music frame. But I will put off it as a next research task because it needs more materials to verify.

Yupa(유파) is term that use at Korean and Japanese music mostly. I deal with Yupa(유파) which use in Pansory(판소리) and Kayagumsanjo(가야금산조). I study the cause, the concept and the origin about the conflict of Yupa, and also the concept of Yupa and using No(노) in Japan. Pansory(판소리) hands dawn from generation to generation by personal contact according to the area, on the other hand, Kayagumsanjo(가야금산조) transmits a different musical score by performer. In Japan it means that cultural social group which has a constitutional transmission system. Yupa(유파) can classify into three groups. First, Pansory(판소리) is East side(Dongpyon + je) or West side(Sopyon + je), that is to say, divide into a region. Second, Kayagumsanjo(가야금산조) is a master-hand's name plus Lyu(류). (김죽파류, 성금련류) And the last Japan is a proper noun of groups'name plus Lyu(류), like these Kanjelyu(간제류), Konpalyu(콘 빠류), Bosyolyu(보소류), Kongolyu(콘고류), Kidalyu(키다류).

This thesis examines Chongmyo akhy?ndo 宗廟樂懸圖, or Illustration for the Instrumentation of Royal Ancestral Shrine, made in the early Choson dynasty to study the tradition of Chongmyo akhyon 宗廟樂 懸 which plays Chongrnyo cheryeak 宗廟祭禮樂, one of the representative cheryeak 祭禮樂 transmitted until now. The purpose of this thesis is to analyze the transition of Chongmyo akhy?n found in the early literary sources of the Chos?n dynasty, and to shed light on the meaning of the p'ar?m (eight materials 八音) and the akchang 樂章 that is a kind of song which ate the components of the akhy?n 樂懸 from this analysis. The sound of p'ar?m which was omitted in the Li chi 『禮記』 (Book of Rites) Y?eh chi 「樂記」, P'ar?m tos?l 八音圖說 of Akhak kweb?m which completed the system of correspondence, and from Akhak kweb?m to Sejong sillok, finally, Chongmyo akhy?ndo which koreanized akhy?n are evidence of the independent assimilation of Chinese music theory. The Chongmyo akhy?n made in the early Chos?n dynasty is the result of independent assimilation of Chinese akhy?n. The ideology of Confucianism in Chos?n dynasty that god 神 and human A must be harmonized through music and p'ar?m, and government must be with people closely lies in center of the assimilation process.