earticle

영어

This study traces how janggu rhythmic structures evolved from the Yeominrak pattern in the Sejongsillok to the Cheongsanbyeolgok form in the Siyong hyangakbo. Yeominrak, originally used in the court dance Bongraeui, combined four-character Chinese lyrics with a highly repetitive janggu cycle consisting of the sequence go–yo–pyeon–go–ssang–pyeon. Each point was normally eight jeonggan long, creating a total span of 256 jeonggan. The bakpan stroke marked textual units but operated independently of the janggu rhythm. The last four points (5, 3, 8, 8 jeonggan) formed a cadential structure within this long pattern. Jeoninja, another Bongraeui piece, shared the same janggu points but rearranged their lengths into an alternating 5+3 structure combined with eight-jeonggan units. This shifted the original foreign-derived kokwi pattern toward a livelier, more native hyangak style. Chwipunghyeong further condensed the Jeoninja model by reducing the 5+3 cells into a 3+2 unit within a 64-jeonggan frame, while the bakpan stroke was placed independently of the lyrics at every six dae-gang. Suneung, using Chinese lyrics, compressed the Chwipunghyeong structure to one quarter of its length, functioning essentially as four repetitions of sixteen-jeonggan segments. Its bakpan marked janggu divisions rather than linguistic ones, striking consistently on go. Hyumyeong shared this framework but placed the bakpan at the tail of every six dae-gang, creating a dangak-like effect. These two pieces show how identical structural skeletons can produce different musical impressions through bakpan placement alone. Gyeonggeunjigok, appearing in the Sejosillok, simplified Hyumyeong’s pattern by dividing its 24-dae-gang frame into four six-unit cells of go–○–yo–pyeon–○–ssang. Its bakpan continued the dangak practice of attaching strokes to the end of janggu points. Cheongsanbyeolgok retained this janggu model but moved the bakpan to the initial position of each point, reflecting Korean prosodic tendencies and further “hyangak-ization.” These changes likely unfolded between the mid-15th century and the 16th century. The go–yo–pyeon–ssang model appears only after Sejo’s reign, while the hyangak bakpan placement first appears in the Siyong hyangakbo. The transformations were driven by mismatches between foreign rhythmic structures and Korean linguistic phrasing; many early pieces show janggu divisions interrupting lyric units. Over time, musicians reshaped these imported forms into patterns better suited to Korean rhythm and expression. This adaptive process demonstrates the creativity and musical sensitivity of Korean court musicians, who transformed a foreign base into diverse native janggu types.

한국어

본 연구는 『세종실록』 <여민락>에서 『시용향악보』 <청산별곡>으로 이어지는 장구점과 박법의 변천을 체계적으로 분석한 것이다. <여민락>은 봉래의의 둘째 곡으로 鼓ㆍ搖ㆍ鞭ㆍ鼓ㆍ雙ㆍ鞭의 6점이 8정간 단위 로 반복되어 총 256정간을 이루며, 박판은 한문 가사의 4자마다 치되 장구 리듬과는 독립적으로 운용되었 다. 종지부에 나타나는 5ㆍ3ㆍ8ㆍ8정간의 불규칙 배열은 종지감을 강조하기 위한 것으로 보인다. 이후 <전인자>ㆍ<취풍형>ㆍ<순응>ㆍ<휴명>으로 이어지며 각 장단의 길이가 조정되고 정간 수가 축소되며 향악 적 장구점으로 재구성되었다. <경근지곡>에서는 휴명의 틀을 바탕으로 6대강 단위 장구점 반복이 나타나고 박법은 장구점 뒤에 박을 붙이는 당악적 특성을 유지하고 있다. 『시용향악보』 <청산별곡>은 <경근지곡>과 동일한 장구형을 토대로 하면서 박판을 장구점의 머리에 두어 우리말 강세에 맞춘 장구점으로 향악화 되었다. 이러한 과정은 외래적 고취악 장구형이 한국적 장단 구조로 변화하며 한국인의 적응력과 창조력을 보여주고 있다.