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학술연구/단체지원/교육 등 연구자 활동을 지속하도록 DBpia가 지원하고 있어요.
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연구자들이 자신의 연구와 전문성을 널리 알리고, 새로운 협력의 기회를 만들 수 있는 네트워킹 공간이에요.
논문 기본 정보
- 자료유형
- 학위논문
- 저자정보
- 지도교수
- 김남순
- 발행연도
- 2016
- 저작권
- 부산대학교 논문은 저작권에 의해 보호받습니다.
이용수6
초록· 키워드
상세정보 수정요청해당 페이지 내 제목·저자·목차·페이지정보가 잘못된 경우 알려주세요!
This thesis'' object is making the bases of playing through analyzing structure and features of Kim Byeong-ho School Gayageum Sanjo. Especially this analysis mostly deals with Jinyangjo that the most musical features are outstanding and taking lots of share.
Structures of tone length were divided as melody period by flow of melody of introduction-development-conclusion-relaxation. Different from ex-study of tone mode, the analysis of this mode was adopted a concept of tone cluster that active and collective tone mode. The features of Gayageum Sanjo''s Sigimsae were analyzed by using Pansori Shigimsae as flow of melody. Kim Cheuk-pa school and Choi Ok-sam school were compared each other on the basis of these features.
The results of analysis are as in the following.
The results of Kim Byeong-ho School Gayageum Sanjo Jinyangjo by analyzing the melody of introduction-development-conclusion-relaxation are consist of total 14 period. When playing Kim Byeong-ho School Gayageum Sanjo, it is necessary to divide flow by the melody of introduction and relaxation. And add a depth of play considering complicated Gi-gyeong-gyeol-hae period division.
Looking over Kim Byeong-ho School Gayageum Sanjo Jinyangjo''s tone clusters features are following.
Firstly, tone clusters appear on Ujo and Gyemyeonjo are not new type, but they have characteristic tone cluster by tonal center''s location and active move. When Sanjo is expressed as music, one period is permitted to be defined expanding a new tone cluster or combining a certain tone or a new tone cluster. Transformed tone cluster can be divided mostly tone period. It seems that new period expresses newly characteristic tone cluster.
Secondly, Ujo those length of period is short comparatively, tone cluster within period show repetitive tone cluster that is varying octave. Gyemyeonjo which has long period, show tone cluster type varied octave in other tone cluster.
Thirdly, Ujo has total 23 rhythm analyzed 5 tone cluster and Gyemyeonjo has total 42 rhythm analyzed 5 tone cluster as well. While Ujo has playing method that play each tone in tone cluster, Gyemyeonjo has a possibility to expand melody by playing up and down melody.
The result of Gyemyeonjo tone cluster analysis implicate Sigimsae that analyzed next paragraph can give a important factor. Therefore, when someone play Kim Byeong-ho School Gayageum Sanjo, emphasize these distinct feature and consider these tone cluster''s feature
The feature of Kim Byeong-ho School Gayageum Sanjo Sigimsae is making an use of winding mok usually. When playing Ujo, it is necessary the skillful expression of winding mok that separate lots of tones. When Gyemyeonjo is played, each Sigimsae will be expressed exactly. Because there are lots of combined Sigimsae type and Sigimsae appear frequently.
I hope the performance of this study can give a help to players and audiences try to understand Kim Byeong-ho School Gayageum Sanjo. Besides it can give a good opportunity to Kim Byeong-ho School development and succession.
Structures of tone length were divided as melody period by flow of melody of introduction-development-conclusion-relaxation. Different from ex-study of tone mode, the analysis of this mode was adopted a concept of tone cluster that active and collective tone mode. The features of Gayageum Sanjo''s Sigimsae were analyzed by using Pansori Shigimsae as flow of melody. Kim Cheuk-pa school and Choi Ok-sam school were compared each other on the basis of these features.
The results of analysis are as in the following.
The results of Kim Byeong-ho School Gayageum Sanjo Jinyangjo by analyzing the melody of introduction-development-conclusion-relaxation are consist of total 14 period. When playing Kim Byeong-ho School Gayageum Sanjo, it is necessary to divide flow by the melody of introduction and relaxation. And add a depth of play considering complicated Gi-gyeong-gyeol-hae period division.
Looking over Kim Byeong-ho School Gayageum Sanjo Jinyangjo''s tone clusters features are following.
Firstly, tone clusters appear on Ujo and Gyemyeonjo are not new type, but they have characteristic tone cluster by tonal center''s location and active move. When Sanjo is expressed as music, one period is permitted to be defined expanding a new tone cluster or combining a certain tone or a new tone cluster. Transformed tone cluster can be divided mostly tone period. It seems that new period expresses newly characteristic tone cluster.
Secondly, Ujo those length of period is short comparatively, tone cluster within period show repetitive tone cluster that is varying octave. Gyemyeonjo which has long period, show tone cluster type varied octave in other tone cluster.
Thirdly, Ujo has total 23 rhythm analyzed 5 tone cluster and Gyemyeonjo has total 42 rhythm analyzed 5 tone cluster as well. While Ujo has playing method that play each tone in tone cluster, Gyemyeonjo has a possibility to expand melody by playing up and down melody.
The result of Gyemyeonjo tone cluster analysis implicate Sigimsae that analyzed next paragraph can give a important factor. Therefore, when someone play Kim Byeong-ho School Gayageum Sanjo, emphasize these distinct feature and consider these tone cluster''s feature
The feature of Kim Byeong-ho School Gayageum Sanjo Sigimsae is making an use of winding mok usually. When playing Ujo, it is necessary the skillful expression of winding mok that separate lots of tones. When Gyemyeonjo is played, each Sigimsae will be expressed exactly. Because there are lots of combined Sigimsae type and Sigimsae appear frequently.
I hope the performance of this study can give a help to players and audiences try to understand Kim Byeong-ho School Gayageum Sanjo. Besides it can give a good opportunity to Kim Byeong-ho School development and succession.
목차
- Ⅰ. 서 론 11. 문제제기 및 연구목적 12. 연구의 범위 및 방법 43. 선행연구 고찰 7Ⅱ. 선율의 기경결해 및 단락 분석 201. 선율 단락 양상 202. 기경결해 분석 233. 선율단락과 기경결해 소결론 42Ⅲ. 음군 분석 461. 우조의 음군 462. 돌장의 음군 573. 평조 음군 614. 계면조 음군 645. 음군 분석 소결론 81Ⅳ. 시김새 분석 851. 악조별 시김새 분석 852. 기경결해에 따른 시김새 분석 1133. 가야금산조 진양조의 시김새 비교 1184. 시김새 분석 소결론 138Ⅴ. 결 론 141참고 문헌 148ABSTRACT 151
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