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초록· 키워드
오류제보하기
Menari mode folksongs of eastern area of Korea that include Hamkyeong-do, Gangwon-do, Gyeongsangbuk-do and Gyeongsangnam-do have peculiar musical attributes. There are various folksongs that reflect life and emotion of our ancestors and geographical, industrial, cultural environment in Menari mode folksongs.
There are only a few of popular folksongs in music textbooks for classroom and they are appeared repeatedly in primary school and secondary school, in addition their arrangement is not systematical. So, development of textbook songs and new arrangement of them are required.
This study analyzes Menari mode folksongs that are spreaded widely centered eastern region of Korea and presents a plan of systematized arrangement of them.
Followings are the musical properties of the folk songs of Menari mode in this region.
First, concerning Jangdans(장단), variety of Jangdan such as Jajinmori(자진모리), Jungjungmori(중중모리), Gutgeori(굿거리), Eonmori(엇모리), Jungmori(중모리) and free beats style are used. Most of songs come under Jangdans of groups of 4 beats of 3 divisions style, especially traditional children’s songs usually use Jajinmori. Times and seasons songs, and work songs usually use Jungjungmori and Gutgeori. Work song for weeding a rice field and dry field’ and ‘Eosayong(어사용)’, have free beats style.
Second, in melodies, descending procession such as re'-do'-la, la-sol-mi are prominent. On occasion of ascending procession, mi-la, mi-la-do' are used in most cases. There are various starting notes, for example mi, la, do', re'. Concerning finishing notes, most cases are mi or la, and in few cases are sol or do'.
Third, in view of Sigimsae, at the procession of re'-do' there usually appear Kkeongneum Eum(꺽는 음)and Toeseong(퇴성-흘러내리는 음). In some folksongs of Geongsangnam-do, there appear Kkeongneun Bum and Toeseong on front note at the procession of do'-si. Sigimsae is expressed variously in Gutgeori which is slow relatively and free style beats of Jangdan.
Fourth, through composed form is used usually in children’s songs and work songs sung alone. And call & responsorial form is used usually in songs for many cooperative workmen and also exchange form is sometimes used. There are many types of the call & responsorial form according to a starting part, Jangdan of part and kind of responsorial part and considering the special case, call part and responsorial part are overlapped.
Considering outcomes analyzed above, folksongs are systematized in each views of Jangdan and melody deliberately. They are graded considering tempo and structure in case of Jangdan, tonal structure and Sigimsae in case of melody. And integrating steps of Jangdan and melody, ten grades are established and example songs according to grades are presented.
Jangdan is graded from fast one to slow one and is arranged concerning structure of Jangdan. Tonal structure is graded from narrow range to wide one. Range which is under one octave belong 1~3 steps and that is graded concerning the number of notes and the width of range. And range which is one octave and over belong 4~7 steps. At 5th step, re' is included. Sigimsae is graded concerning level of the expression in order of Yoseong(요성-떠는 음), Toeseong(퇴성-흘러 내리는 음), Kkeongneun Eum(꺽는 음), Chuseong(추성-밀어 올리는 음), Gamneun Eum(감는 음). So, 9 steps are established.
Synthesizing steps of each component mentioned above, ten grades are established. In each grades there belong certain steps of each components and example songs suitable to these steps are presented.
I expect singing, playing musical instrument and composition of folksongs educated systematically in schools based on this study. And I hope folksongs in modes of Susimga, Gyeong and Yukjabaegi also developed and systematized as well as folksongs in Menari mode, so the properties of folksongs can be taught in their fullness.
There are only a few of popular folksongs in music textbooks for classroom and they are appeared repeatedly in primary school and secondary school, in addition their arrangement is not systematical. So, development of textbook songs and new arrangement of them are required.
This study analyzes Menari mode folksongs that are spreaded widely centered eastern region of Korea and presents a plan of systematized arrangement of them.
Followings are the musical properties of the folk songs of Menari mode in this region.
First, concerning Jangdans(장단), variety of Jangdan such as Jajinmori(자진모리), Jungjungmori(중중모리), Gutgeori(굿거리), Eonmori(엇모리), Jungmori(중모리) and free beats style are used. Most of songs come under Jangdans of groups of 4 beats of 3 divisions style, especially traditional children’s songs usually use Jajinmori. Times and seasons songs, and work songs usually use Jungjungmori and Gutgeori. Work song for weeding a rice field and dry field’ and ‘Eosayong(어사용)’, have free beats style.
Second, in melodies, descending procession such as re'-do'-la, la-sol-mi are prominent. On occasion of ascending procession, mi-la, mi-la-do' are used in most cases. There are various starting notes, for example mi, la, do', re'. Concerning finishing notes, most cases are mi or la, and in few cases are sol or do'.
Third, in view of Sigimsae, at the procession of re'-do' there usually appear Kkeongneum Eum(꺽는 음)and Toeseong(퇴성-흘러내리는 음). In some folksongs of Geongsangnam-do, there appear Kkeongneun Bum and Toeseong on front note at the procession of do'-si. Sigimsae is expressed variously in Gutgeori which is slow relatively and free style beats of Jangdan.
Fourth, through composed form is used usually in children’s songs and work songs sung alone. And call & responsorial form is used usually in songs for many cooperative workmen and also exchange form is sometimes used. There are many types of the call & responsorial form according to a starting part, Jangdan of part and kind of responsorial part and considering the special case, call part and responsorial part are overlapped.
Considering outcomes analyzed above, folksongs are systematized in each views of Jangdan and melody deliberately. They are graded considering tempo and structure in case of Jangdan, tonal structure and Sigimsae in case of melody. And integrating steps of Jangdan and melody, ten grades are established and example songs according to grades are presented.
Jangdan is graded from fast one to slow one and is arranged concerning structure of Jangdan. Tonal structure is graded from narrow range to wide one. Range which is under one octave belong 1~3 steps and that is graded concerning the number of notes and the width of range. And range which is one octave and over belong 4~7 steps. At 5th step, re' is included. Sigimsae is graded concerning level of the expression in order of Yoseong(요성-떠는 음), Toeseong(퇴성-흘러 내리는 음), Kkeongneun Eum(꺽는 음), Chuseong(추성-밀어 올리는 음), Gamneun Eum(감는 음). So, 9 steps are established.
Synthesizing steps of each component mentioned above, ten grades are established. In each grades there belong certain steps of each components and example songs suitable to these steps are presented.
I expect singing, playing musical instrument and composition of folksongs educated systematically in schools based on this study. And I hope folksongs in modes of Susimga, Gyeong and Yukjabaegi also developed and systematized as well as folksongs in Menari mode, so the properties of folksongs can be taught in their fullness.
목차
Ⅰ. 서론
Ⅱ. 메나리조 민요의 음악적 특징
Ⅲ. 메나리조 민요의 계열화 방안
Ⅳ. 결론 및 제언
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UCI(KEPA) : I410-ECN-0101-2009-679-017630948