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• W2944964215 abstract "정읍줄풍류는 지역의 줄풍류에 국한되지 않고 영ㆍ호남지역의 풍류에 영향을 끼친 줄풍류이다. 정읍줄풍류의 음악적 특징과 활동한 인물 그리고 지역의 풍류 활동에 미친 영향 등을 고려하면, 정읍줄풍류의 음악적 중요성은 높다. 정읍줄풍류의 첫 번째 곡 상령산(上靈山) 즉, 본령산(本靈山)는 본풍류에서 뒷풍류까지 연주된 악곡의 출발점이며, 영산회상 관련 파생곡들에 영향을 준 중요한 악곡이다. 본 연구는 정읍줄풍류 중 본령산의 대금 음조직을 연구하기 위하여 정읍줄풍류와 국립국악원 줄풍류를 대상으로 비교&#12539;분석하였다. 그리고 전계문의 풍류대금 가락을 전수한 것으로 알려진 신달룡의 대금 가락도 일부 포함하였다. 본령산 대금선율에 함의된 음조직(Tonal System) 즉, 출현음ㆍ골격음(Structure Tone)ㆍ주음(Tonal Center)ㆍ음계(音階)ㆍ음의 시종(始終) 등을 분석하였다. 본 연구를 통하여 정읍줄풍류 중 본령산에 출현하는 대금 음조직의 특징은 첫째, 정읍 본령산 12음과 국악원 상령산 10음에 해당하는 출현음에 사용하는 장식음에 관한 악상기호는 총 6종이다. 본령산에서는 니레(∧)만 사용되었다. 둘째, 정읍 본령산 핵음은 黃, 국악원 상령산은 仲이다. 셋째, 본령산과 상령산의 기본 7음은 &#13411;ㆍ &#13447;ㆍ黃ㆍ太ㆍ仲ㆍ林ㆍ無 이다. 본령산과 상령산의 음은 7음을 중심으로 옥타브 위의 음으로 확장되는 현상이 각각 2회 나타나지만, 확장의 결과는 상이 하다. 확장의 결과 본령산은 12음을 사용하지만 상령산은 10음에 그치고 있다. 상령산에서 淋ㆍ&#28501;음은 사용하지 않았다. 정읍줄풍류 중 본령산의 음조직은 국립국악원 상령산과 유사하지만 기본음의 출현빈도와 음의 확장 그리고 주요 시김새의 사용방법 등에서 일부 차이점이 발견되었다Jeongeup Julpungnyu has widely influenced the chamber music in Yeongnam (Gyeongsang-do) and Honam regions (Jeolla-do) without confining the range to its indigenous music. Its musicality is significant considering its musical features, performers, and influences over the pungnyu activities in different regions. Sangyeongsan, the first piece also known as Bonnyeongsan, is the starting point played from the main piece to the last four pieces of the suite, which is a significant piece that influenced other derivatives of Yeongsanhoisang. This paper compares and analyzes the Jeongeup Julpungnyu and the Julpungnyu by National Gugak Center partly including the daegeum melodies by Shin Dal-lyong who is known to have initiated Jeon Gye-mun into the pungnyu daegeum melodies, in order to study the tonal structures of daegeum in Bonnyeongsan of Jeongeup Julpungnyu. The analyses include the tonal system implied in the daegeum melodies of Bonnyeongsan, that is, the structure tone, the tonal center, the scale, the beginning and terminating tones. The study results reveal the features of the tonal structures of daegeum in Bonnyeongsan of Jeongeup Julpungnyu as the following: Firstly, there are 6 musical symbols for ornaments for the 12 keys presented in Bonnyeongsan of Jeongeup Julpungnyu and the 10 keys in Sangyeongsan of Julpungnyu by National Gugak Center. Only one symbol, nire (∧) is used in Bonnyeongsan. The main key of Bonnyeongsan is ‘do’ (the Hwang key) while that of Sangyeongsan is ‘mi’ (the Jung key). Secondly, the basic 7 keys of Bonnyeongsan and Sangyeongsan are sol, la, do re, mi, sol , la . Although both pieces extend the 7 keys to an octave higher ones two times, the consequences are different. Sangyeongsan resultingly uses only 10 keys excluding the octave higher sol and la whereas Bonnyeongsan uses 12 keys. Bonnyeongsan is similar to Sangyeongsan in the tonal system but reveals some differences in the frequency of the basic keys in appearance, the tonal extension, and the usage of ornaments." @default.
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• W2944964215 date "2019-04-30" @default.
• W2944964215 modified "2023-09-25" @default.
• W2944964215 title "A Research on the Tonal Structures of ‘Bonnyeongsan’ of Jeongeup Julpungnyu" @default.
• W2944964215 doi "https://doi.org/10.15186/ikc.2019.71.63" @default.
• W2944964215 hasPublicationYear "2019" @default.
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