거문고 연주 기법의 변천에 관한 연구

Evolution of the Kŏmungo Performing Technique

This study investigates the development of the tuning and playing technique of the kŏmun go through evidence in written documents. The most important document on the tuning of the kŏmungo is the fifteenth-century treatise Akhakkwebŏm, in which eleven kinds of tuning are listed: four in nakshijo mode, four in ujo mode, ch oejajo, t angmokcho, and ch,ŏngp ungch e. In the sixteenth century, two types of tuning were used-p yŏngjo and ujo-and the Kŭmhapchabo reproduces diagrams of the directly from the Akhakkwebŏm. From the seventeenth-century Yanggŭmshinbo to the eighteenth century, these two types of tuning continued to be used. The Yanggŭmshinbo states that in p yŏngjo tuning the kwaesangch ŏmg, kwaehach ŏng, and muhyŏn strings are tuned to the same pitch, and that in ujo tuning the kwaesangch,ŏmg and kwaehach ŏng are tuned to the same pitch. In the nineteenth-century Ojuyŏnmunjangjŏnsan go, only one kind of kŏmun go tuning is mintioned, and this is the same as the one used in court music today. At the beginning of the twentieth-century, a new tuning appeared in the newly developed genre sanjo. The tuning used in sanjo is about a major second higher, but otherwise the same as the nineteenth-century court music tuning except for the munhyŏn string. In the latter half of the twentieth-century, new solos have been written for the kŏmun go mostly using either the court music or sanjo tunings. As for the playing technique, the bamboo rod that is used to strike the strings is mentioned in the Akhakkwebŏm.(fifteenth century), Kŭmhapchabo(sixteenth century). Yanggŭmshinbo(seventeenth century), Han gŭmshinbo(eighteenth century), Samjukkŭmbo (nineteenth century), Hakp okŭmbo(twentieth century), and Kugak yŏnju kibŏp (twentieth century). The technique of striking downwards(taejŏm) has been since the fifteenth century, and by the beginning of the twentieth century three techniques were distinguished: taejŏm, sojŏm, and igyŏch imŭnpŏp. The method of vibrating the string is also mentioned in the literary sources. Most kinds of ornament are described in the Kŭmhapchabo, which contains indications for three types of ornament, while the Yanggŭmshinbo indicates two kinds, yohyŏn and kuin. The eighteenth-century gives indications for and while the nineteenth-century indicates and Today, three types are primarily used: and Pitches on the are produced by pressing the strings against the frets. The fifteenth-century and the sixteenth-century do not make it clear how the frets were used. From the seventeenth-century, a third-fret technique and a fourth-fret technique is used in and the same way they are employed in either court music or sanjo.