長短 리듬 表面構造의 生成·變形原理

Generative and Transformational Principles of Surface Structure Applied to the Korean Changdan-rhythm

I have attempted to explain the characteristic features of changdan (장단, 長短 literally short and long which denotes rhythmic cycles) in Korean traditional music and to reach the conclusions that yŏnŭ (literally common) rhythmic pattern . whose term is extracted from the category of the general syntactic components of structure of a general changdan . determines a cycle of general changdan. The changdan also generates various types of the hierarchical syntactic structural components such as rhythm-so (소, 素, meaning morpheme) . so-rhythm-h yŏng (소(小)) 리듬형(型), small rhythmic pattern). yŏnŭ-rhythm-h yŏng(여느 리듬형, common rhythmic pattern). tae-rhythm-h yŏng(대(大) 리듬형, large rhythmic pattern). and so forth. And the type of the syntactic structure is called rhythmic pattern as a shorter term of the hierarchies and lhey are as follows: a set of notes become the rhythmic-morphemes and a set of rhythmic-morphemes become the small rhythmic pattern and a set of small rhythmic patterns become the yŏnŭ rhythmic pattern. and so on. A hierarchical rhythmic pattern of a set structure in the yŏnŭ changdan is called the changdan-rhytbmic syntactic structure and numerical values and positional structures of notes. which form rhythmic patterns in each level. are named as the changdan- rhythmic formal structure . Rhythmic formal structure of transformational form of music. which appears in lhe syntactic structure formed by various rhythmic formal structures such as in p ansori, sanjo and folk song, is recognized as one type of the changdan, although it appears to be all the time different in each changdan. This perception lies in the fact that external beats. which are generated by the syntactic structure of the changdan at the lower level. are added by the various different rhythmic formal structures. This rhythmic syntactic structure is called a surface structure and the syntactic structure at the lower level is called a deep structure . Surface structure generates structure of the beats in a transformational form of music and in the case of the external beats this is not presented. But syntactic structure. which is transformed differently from the deep structure out of the surface structures. generates the external beats and different structures of the beats. This is called the internal beats in order to distinguish them from the external beats as well as the surface structure. I had already given the paper regarding the principles of generating the external beats and of generating the deep structure by the various types of changdan concerning the individual differences according to a set structure of rhythmic patterns at each level. This result is based on the principles that the changdan-rhythmic syntactic structure is identical with the changdan of the deep structure which its syntactic structure is organized by the single rhythmic formal structure. Furthermore. according to the formal principles of natural form of music. the rhythmic patterns. which are set by two rhythmic patterns at a lower level. are considered as the measured rhythmic patterns: a structure of the beats of the level of the rhythmic-morpheme is generated by a set structure of both actual notes and empty notes: a structure of beats of the small rhythmic pattern is generated by a set of structure of the measured rhythmic morpheme and the empty rhythmic morpheme which are set by two or three numbers of the notes : a structure of the beats of lhe yŏnŭ rhythmic pattern level is generated by a set structure of the measured small rhythmic pattern and the empty small rhythmic pattern which are set by two or three sets of the small rhythmic pattern. In this formulation I would argue that these hierarchies generate the external beats of the changdan.