강령탈춤 음악연구

A Study on Music of Gangryeong Talchum (Mask Dance) -Centering on the 7th Scene Miyal Yeonggam, Halmi-chum(Old man & Woman Dance)-

Talchum(mask dance) is total theatre in music and dance performance, which is completed by being harmonized together with dance, witticism, Jaedam-Sori(witty song), and accompaniment music of supporting it. There are now many of theses and books, which were published in relation to Talchum. However, only a research on dance and speech has its outcome. A research on music was almost not performed. Kim Ho-seok's 『Talchum Music Books Series 1ㆍ2ㆍ3』is sole now. The purpose of this study is to address Gutgeori, which is used centering on the 7th scene Miyal Yeonggam, Halmi-chum(Old man & Woman Dance) in Gangryeong Talchum. Song and accompaniment music were collected musical scores based on the performance albums by Oh In-gwan and Yang So-un for sound and by Park Dong-shin for flute accompaniment in record materials series 29 (year in 2003) possessed by National Research Institute of Cultural Heritage. Speech was seen the instructional book of Gangryeong Talchum. Trying to divide only musical part except dance and speech in Talchum, there are three kinds of Samhyeonyukgak(三絃六角) accompaniment music, Jaedam-Sori, and Bulrim. Examining those things, they are as follows. 1. Accompaniment music In accompaniment music, its content can be known with rhythm. There are Yeombul, Taryeong, and Gutgeori(Jajingutgeori, Jajinmori, Taryeong) rhythms. This study addressed on Gutgeori. Thus, its structural tone and scale in use are as follows. It is twelve-eight time in B♭ tempo. Its appearance tones are f, g, b♭, c, d. Examining Naedeureum and cadence, Naedeureum is characterized by rapid progress to f→d, by starting at twoㆍthree bests after listening to rhythm, not first performing from Hapbak, and by performing in the form of entering with having beat at the next Hap rhythm after concluding in line with the second rhythm with stretching the tone lengthily. Cadence can be said to be characterized by mainly performing low tones such as c, f in melody of the last rhythm and by ceasing in order not to be felt to be concluded. 2. Jaedam-Sori(song) Seeing the appearance tone in Nanji-bonhyang, it can be known to be formed a majority by which one tone appears often every rhythm. Seeing the contents, the majority is being formed by being often appeared the main Cheong e♭ tone in the first rhythm, the vibrating Cheong b♭ tone in the second rhythm, the breaking upper Cheong g♭ tone in the third rhythm, and the main Cheong e♭ tone in the fourth rhythm Comparing the appearance tone with musical score in Yongjangbongjanggweduji, there are rhythms of ♪♩= 12, 󰁗 = 9, ♩.=3, ♩♪= 3. As the largest ♪♩ rhythm appears 12 times, it can be known to be formed with the same tone in 8 times out of 12 times. In this way, Nanji-bonhyang and Yongjangbongjanggweduji consist of basic rhythm in simple melody, and can be known to be formed with 1 musical measure, 1 musical note, and syllable with the aim of delivering speech. 3. Bulrim There are Siwonhada(refreshing), Jeolsigu, and Mannabose. It is danced with making sound together with motion by fixing tempo in beat to be danced.