earticle

영어

Sujecheon and Geomungo Sanjo Jinyangjo Ujo, which are classified as different genres, begin with a scale of La-do-re-mi-sol, modulate once, and end with a scale of Sol-La-do-re-mi. In this paper, the scales of these two pieces are compared by focusing on the two nuclear tones. A nucleus is a note that provides stability and is used as a sustained note in a melody or at the end of a musical phrase. There are two nuclei, each a fourth or fifth within an octave. The one used at the end of a piece is called the final note, while another used in the middle is called the dominant note. In the 1st movement of Sujecheon, the piece begins with the scale of La-do-re-mi-sol. The key of tunes is modulated a 4th degree upper tone in the third movement, and returns to the original key in movement 4, period 1. In the scale, the nuclear tones are two notes, La and re, and the two notes are in a perfect fourth relationship. La is the final sound and re is the dominant sound. Movement 4, period 2 is the end of the piece and uses the Sol-La-do-re-mi scale. The core sounds are two notes, Sol and do, which are in a perfect fourth degree relationship. Sol is the finalis, and do is the dominant. In the 1st movement of Sanjo Jinyangjo, composed by Nak-Jun Baek, the piece begins with the scale of La-do-re-mi-sol, modulates up a fifth in the second movement, and returns to the original key in the third period of the movement. In the scale, the nuclear tones are two notes, La and mi, and the two notes are in a perfect fifth relationship. La is the final and mi is the dominant. The second and third passages in the third movement are the end of the piece, and use the Sol-La-do-re-mi scale. The core sounds are two notes, Sol and re, which are in a perfect fifth relationship. Sol is the fianlis, and re is the dominant.

한국어

수제천의 악조는 빗가락 즉 남려궁이고, 라도레미솔로 구성된 음계로 시작되어 한 차례 변조를 거친 후, 솔라도레미로 구성된 음계로 끝난다. 한편 거문고산조 진양조 우조 역시 라도레미솔로 구 성된 음계로 시작되어 한 차례 변조를 거친 후, 솔라도레미로 구성된 음계로 끝난다. 본고에서는 서 로 다른 계통으로 분류되는 두 악곡의 악조에 어떤 공통점과 차이점이 있는지를 구명하기 위해, 선 율을 구성하는 음의 핵음(종지음과 지배음)을 중심으로 비교하였고, 나아가 악조에 의한 악곡의 형 식까지 살펴보았다. 두 악곡의 악조에서 보이는 공통점은 음악의 장르를 넘나들며 전승되었을 가능성이 있고, 차이 점 때문에 두 악곡의 악조명이 달리 쓰이게 되었을 가능성까지 제시해 보았다.