우즈베키스탄 샤쉬마콤의 기악서주 무쉬킬롯(Shash Maqom Mushkilot)의 분석연구

서지정보

· 발행기관 : 세계음악학회
· 수록지 정보 : 음악과 문화 / 29호 / 181 ~ 212페이지
· 저자명 : 김보희

초록

This article begins with the introduction of the Uzbekistan Shashmaqom's historical background and follows with the special features of the genre. Through the analysis of music structure of the Sashmaqom's instrumental prelude mushikilot, the author identifies particular characteristics of Shashmaqom's genre, tone structure and rhythmic patterns. The author then assesses and identifies the similarities and differences between the Shashmaqom mushikilot and the Korean instrumental suites sanjo. The Uzbek’s maqom and Korean’s sanjo's universality can be summarized as follows: 1) The pitch level is closely related with speech intonations 2) In the use of timbre (tone color), micro tones appear as distinct characteristics when the performers play a sigimsae (embellishment) or use the wide-nonghyeon (vibration) 3) The author suggests that maqom mode bayati tetra chord can be applied to analyze the Korean sanjo music mode gyemyeonjo (minor-mode) because the maqom mode is appropriate in analyzing the 3/4 tones in sanjo music 4) The rhythmic features that make use of compound meters are common on maqom gardun (2/8+3/8+3/8) and sanjo's utmori jangdan (2/8+3/8, rhythmic pattern), Uzbek's usul and Korean's gutgeori (6/8) rhythms.
Differences between Mushikilot and Sanjo are as follows: 1) Uzbek maqom melody is simultaneously ascending to high pitches but sanjo's melody is leaping to high pitches without preparation; 2) Mushikilot's musical form uses strophic forms whereas the sanjo uses through composed form; 3) Sanjo instruments consist of five notes on the strings and the performer can produce and embellishment sounds by pressing or shaking the strings. Also, Uzbek instruments use more fixed tunes, and assigns the tunes to the exact tune of 1/4 or 3/4 pitch levels. This article provides the basic knowledge of Shashmaqom and is meaningful in that it is the first comparative music and theory study between Uzbekistan and Korea of this type. The author begins with the subject of the Silk Road music and its translation of the regional form.

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