첫째, 진양조장단대목의 한 장단 내 사설음절수가 증가함에 따라 소리의 속도는 느려진다. 둘째, 5명창의 소리는 제Ⅰ유형(6박의 리듬주기인 제1박과 제3박에 사설이 붙으며, 선율선과 리듬형이 제1~2박과 제3~6박 등 두 형태가 집합되는 구조), 즉 대마디대장단의 구성으로 비교적 거뜬거뜬한 느낌을 준다. 김연수의 것은 제Ⅰ유형인 대마디대장단과 제Ⅱ유형인 엇붙임이 혼합된 구성으로 장단구조를 변화시켰다. 셋째, 5명창이 부른 악곡에 나타난 선율단락의 장단 집합 수는 주로 2배수이며, 내드름단락과 종지단락은 대부분 네 장단이 집합하며, 김연수 것의 선율단락은 대체로 네 개 장단이 집합한다. 이에 5명창의 형태는 박춘성이 전한 진양조장단의 12박 구조 고법과 상관되며, 김연수는 24박론과 일치된다고 할 수 있다. 이처럼 5명창이 부른 진양조장단대목의 음악요소는 6박의 리듬주기에 맞춰 구성되며, 김연수가 부른 것은 그 형태를 벗어나기도 한다. 그러므로 김연수가 부른 소리대목의 속도가 느려지고, 선율단락에 집합된 장단 수가 많아지면서 장단구조의 박 단위가 변화되었을 것이라 사료된다.
Jinyangjo is one of pansori(traditional Korean narrative song) rhythms. Joseon Changguksa says the first record about the creation ofjinyangjo and Gwangdaega by Shin Jae-hyo, Simcheongga by Sim Jeong-sun, and Oga Seonjip by Lee Seon-yu says it as the name of pansori rhythm. It is said that in Song Heung-rok’s days when goje pansori was prevalent, 6-bak jinyangjo was common and the private theater period was a transition period when 24-bak jinyangjo was introduced and changed. Therefore, this study is intended to examine the aspects of realization of jinyangjo at the time when the ‘bak’ unit of jinyangjo appeared as two units and the reason of their emergence. First, as the number of narrative bar in one rhythm was increased in jinyangjo, sori speed became slow. Second, naedeureum of jinyangjo sung by five master singers and Kim Yeon-su was <I-1> of Type I where the 1st and 3rd bak has narrative and two types(the 1st and 2nd bak and the 3rd~6th bak) were combined for a melody line and rhythm. Generally, this formation was repeated three or four times. While Sori by five master singers was Type I which consists of daemadidae-jangdan and sounded easy and simple, sori by Kim Yeon-su was combined in daemadidae-jangdan(Type 1) and eotbutchim(Type II), which added some changes in a rhythm structure. Finally, the number of rhythm of melody section in music pieces sung by five master singers was mainly a multiple of 2 and naedeureum and an end section chiefly consisted of four rhythms. On the other hand, the melody section of Kim Yeon-su generally consisted of four rhythms and naedeureum and an end section also mostly consisted of four rhythms. It suggests that the formation of five master singers is correlated with the explanation of jinyangjo formation by Park Chun-seong mentioned earlier and that of Kim Yeon-su is agreed with a 24-bak method advocated by himself. Based on the findings of Chapter II, Kim Yeon-su who advocated a 24-bak structure increased the number of narrative bar in one rhythm and sometimes had narrative pass to a rhythm frame out of the rhythm cycle, although it should be bound by one unit in the level of syntactic structure. Based on this, the difference between 6-bak and 24-bak structure which appeared in jinyangjo seems to originate from the change in the unit of the number of narrative bar organized in 6-bak(i.e. the phrase unit of 6-bak narrative in a syntactic structure) because of the expansion of narrative. To find out the reason why jinyangjo is played by 6-bak and 24-bak structures, analysis was made between the soundsource of a pansori singer who advocated a 6-bak structure and the soundsource of jinyangjo recorded at the time when a 24-bak structure appeared. The aspects of realization of jinyangjo was grasped and the changes in a musical structure were examined. It is finally suggested, upon finishing the analysis, that naedeureum and end sections of all musical pieces had similar frame elements, but detailed elements, especially in a narrative-related musical structure, had difference between musical pieces of a pansori singer who advocated a 24-bak structure and musical pieces of the rest pansori singers.
Ⅱ. 자료검토와 소리대목의 사설구성
Ⅲ. 진양조장단의 구현양상
Ⅳ. 맺는말: 진양조장단의 음악구조