지원사업
학술연구/단체지원/교육 등 연구자 활동을 지속하도록 DBpia가 지원하고 있어요.
커뮤니티
연구자들이 자신의 연구와 전문성을 널리 알리고, 새로운 협력의 기회를 만들 수 있는 네트워킹 공간이에요.
초록· 키워드
오류제보하기
This is a study on the analysis of 『Concentrated on Ensemble Created by Themes of sanjoj』, a work arranged as an orchestral music with 'of Pak, Sang-Gun School' Kayagum sanjo for a basis.
The main subject on this study is about the arrangement of Korean traditional orchestral music of composer Kim Hee-jo through the comparison with these musical factors : the harmonies of the original music and the arranged music, the relationship between main melody and the variation melody, formation of instrument, formation of movement, rhythm(changdan), the special method of playing wind, string, and percussion instrument, ornaments, and beginning tone and finishing tone of each movement.
The conclusion reached through this study is as below.
First, in the aspects of the movement formation, the original music and the arranged music are equal in the order of Chinyang, Chungmori, Chungjung mori, Kukkori, Chajinmori, and Hwimori.
Second, as compared with the changdans of two pieces, the original one is 328 Changdan in total, and the arranged one is 173 Changdan in total.
In addition, the same melody is 155 Changdan and 18 Changdan which is comprised of a totally new melody, not found in original music.
The newly formed melody is 6 Changdan at the introduction part of Chinyang and the part of Coda 7 Changdan of Hwimori which are the last melody and the part of Bridge 5 Changdan. This would be a well-arranged work that is also faithful to the original music in the compara tive aspects of Changdans because beside the 3 parts the other whole parts are in the flow of the original music.
Third, in the respect of the instrument formation of the arranged music, Chinyang consists of Taegum, P'iri, Haegum, Ajaeng, Kayagum,
Komun'go, Taeajaeng, Changgo, Puk, and so on ; from Chungmori to Hwimori, includes Tangjok so that it widely uses wind, string, and percussion instruments.
It still conserves the basic formation of orchestral music ; however, each instrument part is comprised of multiple formation of two and three Parts co convey the effects of greated sound and composition.
Fourth, the chord mainly uses frame melody of the original music, and a melodical width and sound-spread harmony for an orchestral atmosp here and two and three Parts of harmonies of each instrument are peru liar.
Fifth, in the relationship between the main melody and the variation melody, a various comparative melody is used by mainly using the frame melody of the original music, and unisonant melody is not so much used.
Sixth, the Staccato is much used among the special method of playing, and ornament is not much used at every instrument because this is an orchestral music, not the same as the original music.
Seventh, the beginning tone and the finishing tone are equal in both of the original music and arranged music.
As mentioned above, in every aspect of this music, the orchestral music by Coneentrated on Ensemble Created by Themes of sanjo is a work of early days by Kim Hee-jo and a well-arranged music work faithful to the original piece although the various modern playing methods are not much used.
The main subject on this study is about the arrangement of Korean traditional orchestral music of composer Kim Hee-jo through the comparison with these musical factors : the harmonies of the original music and the arranged music, the relationship between main melody and the variation melody, formation of instrument, formation of movement, rhythm(changdan), the special method of playing wind, string, and percussion instrument, ornaments, and beginning tone and finishing tone of each movement.
The conclusion reached through this study is as below.
First, in the aspects of the movement formation, the original music and the arranged music are equal in the order of Chinyang, Chungmori, Chungjung mori, Kukkori, Chajinmori, and Hwimori.
Second, as compared with the changdans of two pieces, the original one is 328 Changdan in total, and the arranged one is 173 Changdan in total.
In addition, the same melody is 155 Changdan and 18 Changdan which is comprised of a totally new melody, not found in original music.
The newly formed melody is 6 Changdan at the introduction part of Chinyang and the part of Coda 7 Changdan of Hwimori which are the last melody and the part of Bridge 5 Changdan. This would be a well-arranged work that is also faithful to the original music in the compara tive aspects of Changdans because beside the 3 parts the other whole parts are in the flow of the original music.
Third, in the respect of the instrument formation of the arranged music, Chinyang consists of Taegum, P'iri, Haegum, Ajaeng, Kayagum,
Komun'go, Taeajaeng, Changgo, Puk, and so on ; from Chungmori to Hwimori, includes Tangjok so that it widely uses wind, string, and percussion instruments.
It still conserves the basic formation of orchestral music ; however, each instrument part is comprised of multiple formation of two and three Parts co convey the effects of greated sound and composition.
Fourth, the chord mainly uses frame melody of the original music, and a melodical width and sound-spread harmony for an orchestral atmosp here and two and three Parts of harmonies of each instrument are peru liar.
Fifth, in the relationship between the main melody and the variation melody, a various comparative melody is used by mainly using the frame melody of the original music, and unisonant melody is not so much used.
Sixth, the Staccato is much used among the special method of playing, and ornament is not much used at every instrument because this is an orchestral music, not the same as the original music.
Seventh, the beginning tone and the finishing tone are equal in both of the original music and arranged music.
As mentioned above, in every aspect of this music, the orchestral music by Coneentrated on Ensemble Created by Themes of sanjo is a work of early days by Kim Hee-jo and a well-arranged music work faithful to the original piece although the various modern playing methods are not much used.
목차
Ⅰ. 머리말
Ⅱ. 편곡의 일반적 특징
Ⅲ. 박상근류 가야금산조와 산조주제에 의한 합주곡의 음악적 요소 비교
Ⅳ. 맺음말
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