earticle

영어

Pamori(판소리, Korean narrative song with an accompaniment of the drum) is comprised of many sori(소리, sound or melody) in relation to various jangdan(장단長短, rhythmic cycles or rhythmic patterns) and "naedeureum(내드름)" refers to an opening phrasing of each sori stock. In general jangdan in Pansori consist of certain rhythmic patterns whose each one corresponds to its melody and text. But jangdan in Pansori are to some extent constructed differently from one singer to another. In performance situation the singer tends frequently to change a certain jangdan spontaneously, so the drum player needs to distinguish particular types of the rhythms within the naedeureum jangdan immediately and accompanies them as soon as the singer utters naedeureum, each melody stock. This article is to investigate the signal system of the way of communicating between the singer and the drum player that there is an encoded meaning which distinguish the types of jangdan during the Pansori performance. The singer sends a musical information, which is contained in a naedeureum melody, and which indicates the types of jangdan, while the drum player receives the musical information and cognise them. The musical information which communicates between the two can be a "Collective Structure 집합구조" which is each levelled beat of rhythmic cycles implied in the naedeureum melody and I would call it an abbreviated term "Beat Structure 박자구조". I have considered musical structure, which generates the beat structure of jangdan as 'Syntax Structure of Jangdan Rhythm 장단리듬 통사구조'(Yi Bo-hyung, 2000). In this respect, a musical meaning that the singer indicates the drum player can be a musical semantics which is occurred in Syntax Structure of Jangdan Rhythm. Jangdan types arranged in Pansori are distinguished each other, as they differ in terms of structures of the beats and tempi/speeds. But there is also a case that sometimes certain jangdan types are not distinguished by these two elements - tempo and beat. Then the singer employes two kinds of devices in order to distinguish these confused jangdan : one is to indicate directly the Syntax Structure of Jangdan Rhythm which generates the Beat Structure of Bondi jangdan in certain jangdan, that is a simile meaning which is represented in deep structure; the other is a different kind of the Rhythm Syntax Structure which is not the deep structure in jangdan, that is a metaphoric meaning which is represented in surface structure. When a denotation of jangdan with the surface structure is idiomitised, this becomes the idiomatic structure which possesses a particular musical meaning that indicates the particular jangdan. Pansori singer, thus, gives a certain clue and the active gesture with either the simile meaning or the metaphoric one according to the types of the jangdan, so this makes the drum player easily to distinguish their meanings. However Pansori singers sometimes change these rules in order not to be immersed themselves in mannerism. To indicate a certain jangdan in a new meaning of the rhythm, they use metonymy which digresses the Rhythmic Syntax Structure that is non-idiomatisation, or they present passive gestures which the drum player would not be able to recognise a certain message clearly. When the singer did not indicate the meaning of a certain jangdan to the drum player and in return the latter did not render the proper rhythmic patterns of what the former intended. Then a tension between the two performers grows and consequently the performance would not be successful in delivering the singer's artistic intention. Thus it is not simple to establish the semantic meaning of denotating jangdan in naedeureum by a Pansori singer.