earticle

영어

This study is on two songs, the and < Eolssigu Jeolssigu (Yippee! or Whoopee!)>, from Gayageum (Korean zither with twelve strings) Byeongchang’s (One person singing while playing gayageum) by Oh Tae-Seok and Park Gwee-Hee focusing on their “saseol”s (Dialogue without melody between songs during Korean traditional sori, series of songs) and musical characteristics. Kim Chang-Jo taught playing gayageum and “sori” (Traditional Korean song) for Namdo (Southwestern part of Korean peninsula) Gayageumbyeongchang to Oh Soo-Gwan, Park Deok-Gee, Song Man-Gap and Gang Tae-Hong. Oh Tae-Seok succeeded the sori of Oh Soo-Gwan, Park Deok-Gee and Song Man-Gap. Then Park Gwee-Hee learned sori and gayageum from Oh Tae-Seok, Yoo Seong-June and Gang Tae-Hong. Park Gwee-Hee taught sori and gayageum to her students. There are 24 thesis papers on Park Gwee-Hee and 18 of them are on the musical characteristics of GayageumByeongchang’s by Park Gwee-Hee. Park Gwee-Hee has the largest number of thesis papers on her music. At present, there are 78 Gayageumbyeongchang songs succeeded by Park Gwee-Hee and 36 of them were studied in previous thesis papers. Park Gwee-Hee liked to sing luxurious Pyeongjo songs; however, in this study, two songs of Park Gwee-Hee in Gyemyeonjo voice, and < Eolssigu Jeolssigu >, were taken as the study object. These two songs are not recorded as an album; however, Park Gwee-Hee’s students sing a lot. These two songs, and < Eolssigu Jeolssigu >, sung by Park Gwee-Hee and her teacher Oh Tae-Seok are compared and analyzed in this study. The saseol of sung by Oh Tae-Seok and Park Gwee-Hee are very different in the attitude of Shim-bongsa (Queen Shim’s blind father). In Oh Tae-Seok’s , Shim-bongsa is more passionate and active than the same Shim-bongsa in Park Gwee-Hee’s . When Shim-bongsa at last met his daughter who became queen, Shim-bongsa in Oh Tae-Seok version is described as crying out to people not to restrain him trying to run to his daughter, whom he thought had died for him, running wild to her, holding her clothes and shaking her. However, the same Shim-bongsa in Park Gwee-Hee’s has much more passive and accommodating altitude by calmly saying, “I cannot believe she came back alive” or “my dear daughter, let me see you” and so on. < Eolssigu Jeolssigu > is the Jungjungmori in Oh Tae-Seok version has total 63 jangdans in Jajinmori and the scale is Namdo Gyemyeonjo. Oh Tae-Seok version has A, B and C, three types of finishing. Among them, Oh Tae-Seok used B type, which is downward finishing type, most frequently. The in Park Gwee-Hee version has total 47 jangdans in Jajinmori and the scale is same Namdo Gyemyeonjo. Park Gwee-Hee also used B type, the downward finishing type, most frequently. But she used it definitely much more than Oh Tae-Seok. The < Eolssigu Jeolssigu > in Oh Tae-Seok version has total 15 jangdans in Jungjungmori and the scale is Namdo Gyemyeonjo. Oh Tae-Seok version has B and C, two types of finishing. Type B is downward finishing type, like “g-d”, and type C is same tone finishing type, like “d-d”. The < Eolssigu Jeolssigu > in Park Gwee-Hee version has total 20 jangdans in Jajinmori and the scale is same Namdo Gyemyeonjo. Park Gwee-Hee used C type, the same tone finishing type, six times, which is most frequent. This study analyzed the and < Eolssigu Jeolssigu > in Gayageumbyeongchang’s of Oh Tae-Seok and Park Gwee-Hee focusing on saseol and musical characteristics. However, it is just a minimal portion to understand whole musical characteristics of Park Gwee-Hee’s Gayageumbyeongchang. There are still many songs by Park Gwee-Hee that have not been studied as yet. It is believed that musical analysis on sori/gayageum-melody in Gayageumbyeongchang/saseol should be done with more depth in the future.