朴相根流 伽倻琴散調 가락의 짜임에 관한 硏究

A Study on the Melody of KayagŬm Sanjo in Park Sang GŬn Style

Several articles have been issued on KayagŬm Sanjo 伽倻琴 散調. Nevertheless, they are on the whole about its key, its melody-ending patten, and its rhythm This paper, a general survey on the melody-constitution of KayagŬm Sanjo in Park Sang GŬn style 朴相根 散調, leads to the following conclusion; Sanjo has several rhythm patterns of Chinyangjo 진양조, Chungmori 중모리, Chungjungmori 중중모리, KukkŎri 굿거리, Chajinmori 자진모리, and Hwimori 휘모리. As for the repetition, a same melody is founded to be repeated in each rhythm patterns above. A similar melody can be added to between two rhythm patterns. A continual of melody can hardly be found in the slow rhythm patterns but in the rapid ones like KukkŎri 굿거리, Chajinmori 자진모리, and Hwimori 휘모리. As for the usage of assimilation, a melody can be partially repeated. A constituent tone or a new melody can be added to either before or in the middle of the melody. As for the variation, a certain melody can be variated in the same rhythm pattern. A variated melody can be added or shortened in the other different rhythm patterns. A melody in one pattern can be shortened with variation in another pattern. And some molody of question-answer pattern can also be found in the Sanjo 산조. This pattern is much similar to a dialogue between two persons. Despite the much repetition as above, the melody of Sanjo 산조 could evade from being boresome. This merit comes from the various playing technique of repetition, assimilation, variation, and question-answer type. This analysis of the melody of Sanjo 산조 has proved the wonderful chauges and variation of is experts who have been generally known to play their Sanjo 산조 extemporarily.