earticle

영어

The term "jangdan (lit. "long and short") indicates a number of musical features in Korean traditional music, and among one of these characters, it refers to "rhythmic cycle". I have already revealed the rhythmic cycle of jangdan in relation to a framework of Chomskian generative/ transformational grammar of language in my article (see "A study of syntax-semantics of jangdan with special reference to naedeureum of Pansori" 2000), and my basic findings ate provided by the followings: (1) Rhythmic cycle is formed by the syntactic roles by which rhythmic constituents is fixed. (2) The syntactic rule is governed by which the rhythmic constituents of lower level, the two- Collections or three-collections on the beats of the lower level, and then is constructed by their upper level on the beats of the upper level, thus forming their three levels on the beats of the three levels. (3) The "syntactic structure of jangdan" can be constructed by "collective structure" of the rhythmic constituents that generates its beats of the rhythmic cycle. There are two kinds of musical genres which are constructed by (ⅰ) one kind of the 'syntactic structure of jangdan rhythm' that I would call a "deep structure" and (ⅱ) several kinds of the 'syntactic structure of jangdan rhythm' called a "surface structure" in Korean music. In the latter, such repertoire as Pansori (Korean narrative song with an accompaniment of the drum) and Sanjo (highly improvised solo instrumental music) that are consisted of several kinds of the 'syntactic structure of jangdan rhythm', are formed by a number of syntactic structure of the jangdan rhythm, but their underlying structures are based on one kind of the syntactic structure of jangdan rhythm. In contrast, such repertoire as Seodo jwachang (songs of Sea provinces in sitting position) and ipchang (songs that sing in standing position) are formed by several kinds of the syntactic structure of jangdan rhythm, thus its underlying structure is not seen as the case of one kind of the syntactic structure of jangdan rhythm. This paper aims to investigate how these two kinds of jangdan structures are constructed differently: in the case of the deep structure of jangdan rhythm, whether it is underlying or not represented in two musical performances: jungjungmori (jangdan formation based on a bit fast tempo) 'Whachotaryeong' in Pansori Shimcheongga (song for Shimcheong) and 'Chohanga' in Seodo jwachang respectively. The results of the investigation of two musical performances can be offered: In terms of a set of rules, the first case in naedeureum (initial jangdan in order to introduce the song) necessarily has fixed rules that present an "idiomatic structure" or its equivalent regular deep structure, whereas the second case has no fixed rules to be presented. In the example of the first case, when the syntactic structure of jangdan rhythm changes a number of ways, a length of rhythmic cycle is mostly regular. In this process when the rhythmic cycle changes, the length of the total phrases becomes a 'common multiple' of the deep structure represented by naedeureum. In the second case, when the rhythmic cycle of jangdan changes irregularly, the length of the total phrases is not yielded the common multiple. The first case, when the cycle of syntactic structure of jangdan rhythm changes, the syntactic structure of jangdan rhythm which is accompanied by percussion instruments does not change. In contrast, the second case, when the syntactic structure of jangdan rhythm changes, its cycle of the percussion accompaniment tend to change. The first case with deep structure is based on the tone repeated while the second case on susimga in free rhythm. The difference is in that a variety of syntactic structure is generated by the changing quality of the repeated deep structure in the former, whereas it is by the change from free to metric rhythm. The syntactic structure of jangdan rhythm comprises the deep structure or its equivalent idiomatic structure in a conclusive phrase in the first case, whereas it does not appear regularly in the second case. Characteristic features appeared in Pansori and Sanjo that are underlying in the deep structures can be shown by the fact that the surface structures transform into the deep structures or its transformational structure, and this means that the surface structure are constructed without fixed rules and implies relative characters of such musical genres which have no underlying deep structure.