판소리의 우조에 대한 기존 연구 검토

Reevaluation of the Study on the Ujo Mode of P ansori

I have considered lhe different views on ujo of p ansori suggested by Hahn Man-yong and Paik Tae-ung. I would call. in this case. the term as a scale rather than a mode in relation lo intervals between the individual struclural notes. Paik considers that both re-mi-sol-la-do (p yŏngjo. 평조, 平調) and sol-la-do-re-me (ujo, 우조, 羽調) are not d1stinguishable in terms of the intervallic sense. Thus I would agree with his view that it is meaningless in differentiating p yŏngjo from ujo in the case of p ansori. However. there is an example where the modes are used together in the section of the song on the Namwon scenery of ch unhyangga in p ansori [see example 23) and this might be useful in treating them as different in terms of the key rather than the scale. Its music consists of e flat in part of p yŏngjo (1st to 9th changdan) and a flat in part of ujo (10th to 15th and 19th to 24th changdan). And these two scales become chŏngs which form two different regislers of the notes. Below the 4th becomes p yŏngjo, while above the 4th becomes ujo. Thus. in this case. I would consider that lhe two modes function differently rather than as a scale. In this respect. the relationship between p yŏngjo and ujo can be established as the same meanings to the relationship between p yŏngjo (탁임종궁, 濁林鍾宮.[tak] imjonggung) and ujo (황종궁, 黃鍾宮. hwangjonggung) referring to the different keys which are derived from the four jo - p yŏngjo (탁임종 평조 濁林鍾 平調, [tak] imjong p yŏngjo). ujo (황종 평조, 黃鍾 平調, hwangjong p yŏngjo). p yŏngjo kyemyŏnjo(탁임종 계면조, 濁林鍾 界面調, [tak] imjong kyemyŏnjo) and ujo kyemyŏnjo (황종 계면조, 黃鍾 界面調, hwangjong kyemyŏnjo) - appeared in Yanggŭmsinbo (양금신보, 梁琴新譜. Korean musical notation on the Kŏmun go).