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영어

Korean traditional rhythm studies are important because, unlike the rich harmony based theories of Western music, the history and theories of Korean traditional music have been traced and createdfrom only the rhythm and melody. This is why the studies of Korean traditional rhythms are important and the reason why this thesis will focus on theses that have been written on this particular subject, between the years of 1957 and 2002. This thesis will not only discuss the research tendencies of rhythm studies in the past, but also reveal problems that have not yet been solved. In this thesis, the contents of the dissertations have been analyzed and summarized into the following six categories: 1) Studies on the jangdans (rhythmic cycles or patterns) of different genres. 2) Studies on the use and applications of jangdans. 3) Studies on the notation theory of jangdans and rhythm theory. 4) Studies on the historical changes of jangdan and the viewpoints of them 5) Studies on the estimated duration of jeonggans (square notation form) andtheir current theories. 6) Studies on the jangdans that appear in go akbo (ancient music sheets) and etc. Also, the (research tendencies) of these (theses) have been organized in the following: First, in order to examine the increasing interests in this field of jangdan studies, the time periods of theses have been divided into three separate time spans. 1957~1990 being the first, 1991~1996 the second in which research escalated the most, and 1997~2002 being the third. Second, perspectives and interest range have widened from braking down studies into separate categories, as mentioned earlier, to looking at the subject as a whole. Third, scholars have researched the following subjects: Lee, Hye kyu has done a continuous study on the durations of the jeonggan; Lee, Bo hyeong began writing about the jangdan gujo (rhythmic structures) of different genres such as pansori(dramatic song) and muga(shaman music) and gradually moved towards notation theory and rhythm theory Jeon, In pyeong has done research on the jangdans in go-akbo Nam, Sang sook has been successful in correcting the present theories for the naejae yul (flowing rhythm) in go akbo Baek, Dae woong's theory, which can be studied in numerous graduation dissertations that have been written from his teachings, is based on the idea that traditional music should be studied as a whole instead of separate individual categories; Finally, musok jangdan (the jangdan of shamen music) and all subjects related to this have been and are continually being written by Choi, Jong min Choi, Nan gyeong Im Su jeong Yu Kyeong hwa and Jang Hwi ju. All these theories are currently in the process of being corrected and or developed. The growth and development of jangdan studies in Korean traditional music, rhythm theory, periodic changes, the concept of jangdan and type, the relations between speed and melodic phrases, the relations between the go akbo and current music books need to be further researched in depth. Also, the jangdan of musok music is definitely a subject waiting to be developed. I have always had a personal interest in the existence and use of jangdan. As long as I believe that jangdan is an important factor in Korean traditional music, I will continue to research the subject.