동해안 굿 장단의 구현 원리와 응용에 관한 연구-푸너리․드렁갱이․굿거리를 중심으로- (Study on Realization and Application of the Rhythm of Donghaean Gut-Focusing on Puneori, Deureonggaengi, and Gutgeori-)

서지정보

· 발행기관 : 민족음악학회
· 수록지 정보 : 음악과 현실 / 46호 / 131 ~ 155페이지
· 저자명 : 최병길

초록

‘Gut’ is a comprehensive cultural form merging religion, rite, performance, and carnival, as well as general art of music comprising singing, dancing, and instrument-playing. Donghaean gut is distinctive from that of other regions in that percussion instruments like janggo, jing, kkwaenggwari, and bara take the leading role, so it is characterized by sophisticated rhythm.
The rhythm of Donghaean gut features its requisite skill, a series of variations and continuous changes, and fast beats. Accordingly, it involves abrupt changes and diversity in its procedure. Its complicated, subtle beats make it very difficult to define its musical characteristics. Therefore, the current studies on it are restricted to analyzing its musical characteristics only with the mechanical division of fundamentals and variations of the rhythm.
Instead, this study intends to find out how the changing rhythm is realized: an extensive examination on beat patterns and realization of rhythm motifs, application of separate rhythm motifs, interactivity between rhythms, and realization of impromptu in rhythms.
First, the analysis on rhythms of Puneori and Deureonggaengi tells that the rhythm of the second scene of Puneori and Deureonggaengi consists of 2 and 5-6 kinds of motifs respectively and that the former uses sobak 3, 4, and 5 while the other uses various kinds of sobak like 2.5, 3, 3.5, 4, 4.5, 5, and 6.
Second, rhythms of Donghaean gut are realized in three ways: repetition, in which the same motifs are repeated in the rhythm; variation, in which the motifs get varied; and expansion, in which new rhythm is added in front of and/or at the end of the motifs.
Third, rhythms of Donghaean gut are formed in fixed patterns of regular beats of sobak and mostly in syncopation or synthesis of irregular beats.
Fourth, the analysis on application of rhythm motifs and realization of impromptu in rhythms finds that motifs which constitute the rhythm are not only realized in the particular rhythm but also applied to other rhythms through repetition, variation, expansion, or contraction.
Lastly, Donghaean gut is an impromptu style of music from situation to situation. It is realized through frequent use of syncopated rhythm motifs of irregular beats of sobak, abrupt synthesis of motifs, a variety of motif forms, and active application of motifs to other rhythms.

영어초록

‘Gut’ is a comprehensive cultural form merging religion, rite, performance, and carnival, as well as general art of music comprising singing, dancing, and instrument-playing. Donghaean gut is distinctive from that of other regions in that percussion instruments like janggo, jing, kkwaenggwari, and bara take the leading role, so it is characterized by sophisticated rhythm.
The rhythm of Donghaean gut features its requisite skill, a series of variations and continuous changes, and fast beats. Accordingly, it involves abrupt changes and diversity in its procedure. Its complicated, subtle beats make it very difficult to define its musical characteristics. Therefore, the current studies on it are restricted to analyzing its musical characteristics only with the mechanical division of fundamentals and variations of the rhythm.
Instead, this study intends to find out how the changing rhythm is realized: an extensive examination on beat patterns and realization of rhythm motifs, application of separate rhythm motifs, interactivity between rhythms, and realization of impromptu in rhythms.
First, the analysis on rhythms of Puneori and Deureonggaengi tells that the rhythm of the second scene of Puneori and Deureonggaengi consists of 2 and 5-6 kinds of motifs respectively and that the former uses sobak 3, 4, and 5 while the other uses various kinds of sobak like 2.5, 3, 3.5, 4, 4.5, 5, and 6.
Second, rhythms of Donghaean gut are realized in three ways: repetition, in which the same motifs are repeated in the rhythm; variation, in which the motifs get varied; and expansion, in which new rhythm is added in front of and/or at the end of the motifs.
Third, rhythms of Donghaean gut are formed in fixed patterns of regular beats of sobak and mostly in syncopation or synthesis of irregular beats.
Fourth, the analysis on application of rhythm motifs and realization of impromptu in rhythms finds that motifs which constitute the rhythm are not only realized in the particular rhythm but also applied to other rhythms through repetition, variation, expansion, or contraction.
Lastly, Donghaean gut is an impromptu style of music from situation to situation. It is realized through frequent use of syncopated rhythm motifs of irregular beats of sobak, abrupt synthesis of motifs, a variety of motif forms, and active application of motifs to other rhythms.

참고자료

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