추산 전용선의 단소산조에 관한 연구

Abstract

국 문 요 지

전용선은 신소(神簫)라 불릴 정도로 단소를 잘 불었으며, 그동안 악기의 구조상 연주가 불가능한 것으로 여겨졌던 단소산조를 창시하였다. 전용선 단소산조는 녹음된 자료가 많지 않아 다른 산조에 비해 학문적 연구가 미흡한 상황이다. 또한 이에 관한 논문은 여러 편 나왔으나, 같은 자료를 채보하고 분석하는데 연구자들마다 서로 다른 견해를 보인다. 본고에서는 전용선 단소산조의 요성을 단소의 다른 요성들과 비교하여 분석하였다. 아울러 전용선 단소산조를 직접 채보하여 선율의 구조를 분석하고, 조의 이동과 리듬의 변화에 대하여 연구하였다. 그 결과는 크게 다음 세 가지로 요약할 수 있다.

첫째, 단소의 여러 요성들을 Praat 음성분석 프로그램으로 음고의 변화와 스펙트럼을 분석한 결과, 정악과 향제 줄풍류, 전용선 단소산조는 요성에 있어 큰 편차를 보였으며 전용선 단소산조와 이생강 단소산조, 고개를 대각선으로 젓는 요성은 상대적으로 작은 편차를 보였다. 또한, 다스름과 향제 줄풍류의 요성에서는 ‘철성’이라고 부르는 두 번째 음이 옥타브위 음으로 나타나는 현상이 있었고 이러한 현상이 정악과 전용선 단소산조, 이생강 단소산조, 고개를 대각선으로 젓는 요성에는 나타나지 않았다. 이와 같은 결과로 볼 때 전용선 단소산조의 요성은 정악이나 향제 줄풍류의 요성과 전혀 다른 요성이며, 이생강 단소산조 및 고개를 대각선으로 젓는 요성과는 유사하다는 것을 알 수 있었다.

둘째, 전용선 단소산조의 시작 선율과 종지선율을 기준으로 단락을 구분하고 음의 기능과 조성을 분석한 결과, 전체 선율에서 가장 많이 나타나는 조성은 B♭본청계면조로 341장단(60.04%)이고, 다음으로 F본청계면조 202장단(35.56%), D♭본청우조 8장단(1.40%), D♭본청우조와 B♭본청계면조의 반우반계 8장단(1.41%), A♭본청우조 2장단(0.35%), B♭본청계면조와 F본청계면조 4장단(0.70%), A♭본청우조와 F본청계면조의 반우반계 2장단(0.35%), A♭본청우조와 B♭본청계면조의 반우반계 1장단(0.18%)순으로 나타났다.

셋째, 전용선 단소산조에서는 다양한 전조가 나타났는데,『신비의 가락자료』에서 4회,『성창순 소장』음원자료에서 14회,『국악상 시상식』음원자료에서 17회,『김소희 소장』음원자료에서 9회로 모두 44번의 전조가 이루어진 것을 알 수 있었다. 전체적인 조의 진행은 B♭본청계면조→D♭본청우조로 7회, D♭본청우조→B♭본청계면조로 7회, B♭본청계면조→F본청계면조로 10회, F본청계면조→B♭본청계면조로 14회, B♭본청계면조→A♭본청우조로 2회, F본청계면조→A♭본청우조 1회, A♭본청우조→F본청계면조로 3회 이동하였다. 또한, 전용선 단소산조는 본청으로 장단을 맺고 다음 장단으로 넘어가는 대금산조 등의 다른 관악기 산조와 다르게 한 장단에서 조를 바꾼 상태로 다음 장단으로 넘어가는 경우가 나타났다. 전용선은 단소산조에서 조바꿈과 함께 리듬의 변화를 다양하게 주었는데, 그중 가장 두드러진 리듬변화의 방법은 엇붙임(엇박), 헤미올라, 엇·헤미올라 등으로 나타났다. 전용선 단소산조에서 가장 많이 나타난 리듬의 변화방법은 엇붙임으로 모두 265회이고, 헤미올라 150회, 엇·헤미올라 81회의 순이었다.

이상과 같이 전용선 단소산조에서는 특유의 요성법, 그리고 다양한 조바꿈과 리듬의 변화가 나타난 것으로 분석되었다. 음악을 잘 연주하고 계승 발전시키는 것은 연주자의 몫이라고 할 수 있으며, 연주법이나 음악을 분석하고 이론화하는 작업 역시 필요하다고 본다. 이론과 실제가 균형을 이루며 발전할 때 진정한 전통의 계승 및 발전이 이루어질 수 있다고 보기 때문이다. 본고를 통해 단소산조가 앞으로 많이 연주되고 후대에 계승 발전해 나아가는 데에 작은 밑거름이 되기를 기대해 본다.|ABSTRACT

A Study of Chusan Jeon Yong-seon Danso Sanjo

Lee, yong-koo Dept. of Musicology The Graduate School Hanyang University

Yongseon Cheon, a virtuoso of the danso (Koreanvertical flute) has been described as a “god of the vertical flute”. He invented the sanjo for danso even though musicians before him considered that due to the range of the danso was unsuitable for that genre of music. There are very few recording’s of Cheon’s danso sanjo around, hence academic research is gravely lacking as compared to the sanjo for other instruments. Although there exists several research on the danso sanjo, each researcher has approached it from different perspectives and despite using the same materials they have come up with different notations and analyses. I therefore wish to prescribe Cheon’s danso sanjo and focus on the important sigimsae (decorative notes), yoseong (vibration), melodic structures and changes of modes and rhythms. My researches are as follows.

First, I analysed various yoseong in danso playing using the Praat aural programme to see if there are any changes in pitches and spectrum. The results show that there is a huge difference between court music, hyangje chulp’ungryu and Cheon’s danso sanjo. Also, Cheon’s sanjo has a similar yoseong pattern as that if Saengang Lee’s sanjo in that both requires the performer to move their heads diagonally when performing the yoseong. There is also a technique called ‘ch’eolseong’ where the second note of the yoseong sounds an octave higher. This type of ch’eolseong cannot be found in court music, Cheon’s danso sanjo, Lee’s danso sanjo or the yoseong with diagonal head movements.

Secondly, Cheon’s danso sanjo has been divided according to the start and cadence melodies, and the function of notes and modes are analysed. The most frequently appeared mode is the B♭ ponch’ong kyemyeonjo, which uses 341 changdan (rhythmic pattern) (60.04%). The second most frequent is the F ponch’ong kyemyeonjo, which uses 202 changdan (35.56%), the D♭ponch’ong wojo, which are eight changdan (1.40%), the panwoo-pankye on D♭ and B♭ponch’ong kyemyeonjo, which are eight changdan (1.41%), A♭ ponch’ong wojo, which are two changdan (0.35%), the B♭ and F ponch’ong kyemyeonjo which uses four changdan (0.70%), panwoo-pankye on A♭ponch’ong wojo and F ponch’ong kyemyeonjo, which uses two changdan (0.35%), panwoo-pankye on A♭ponch’ong wojo and B♭ponch’ong kyemyeonjo, which uses one changdan (0.18%).

Thirdly, there are many modal changes in Cheon’s danso sanjo. In the recording of ‘shinbiŭi karak’, there are four changes, in ‘Seongch’angsun sojangjaryo’, there are 14 times, in ‘kugaksang charyo’, 17 times, in ‘Kim Sohŭi sojang charyo’, nine times. The overall process of changing modes is as follows: seven times from B♭ponch’ong kyemyeonjo to D♭ponch’ong wojo, seven times from D♭ponch’ong wojo to B♭ponch’ong kyemyeonjo, ten times from B♭ponch’ong kyemyeonjo to Fponch’ong kyemyeonjo, 14times from Fponch’ong kyemyeonjo to B♭ponch’ong kyemyeonjo, two time B♭ponch’ong kyemyeonjo to A♭ ponch’ong wojo, one times from F ponch’ong kyemyeonjo to A♭ ponch’ong wojo, three times from A♭ ponch’ong wojo to F ponch’ong kyemyeonjo. Furthermore, there is a modal change in Cheon’s sanjo before the movement ends and moves to the next. This is different from the sanjo for other wind instruments where each movement finishes with the main mode, ponch’ong.

Cheon not only changes the mode but there are also rhythmic alterations. Among the alterations, utbutim, hemiola and ut-hemiola are the main rhythmic patterns; the utbutim is played 265 times, the hemiola played 150 times and the ut-hemiola has been played 81 times.

Consequently, it is found that Cheon’s danso sanjo has its characteristic yoseong and contains modal and rhythmic changes. Performers contribute to the practice through transmission of the music, but it is necessary for us to analyse and theorise the music and its practices. It can be seen that proper transmission and development of the tradition can be achieved. This study is expected to be a foundation to contribute towards the development and distribution of the danso sanjo.; ABSTRACT

A Study of Chusan Jeon Yong-seon Danso Sanjo

Lee, yong-koo Dept. of Musicology The Graduate School Hanyang University

Yongseon Cheon, a virtuoso of the danso (Koreanvertical flute) has been described as a “god of the vertical flute”. He invented the sanjo for danso even though musicians before him considered that due to the range of the danso was unsuitable for that genre of music. There are very few recording’s of Cheon’s danso sanjo around, hence academic research is gravely lacking as compared to the sanjo for other instruments. Although there exists several research on the danso sanjo, each researcher has approached it from different perspectives and despite using the same materials they have come up with different notations and analyses. I therefore wish to prescribe Cheon’s danso sanjo and focus on the important sigimsae (decorative notes), yoseong (vibration), melodic structures and changes of modes and rhythms. My researches are as follows.

First, I analysed various yoseong in danso playing using the Praat aural programme to see if there are any changes in pitches and spectrum. The results show that there is a huge difference between court music, hyangje chulp’ungryu and Cheon’s danso sanjo. Also, Cheon’s sanjo has a similar yoseong pattern as that if Saengang Lee’s sanjo in that both requires the performer to move their heads diagonally when performing the yoseong. There is also a technique called ‘ch’eolseong’ where the second note of the yoseong sounds an octave higher. This type of ch’eolseong cannot be found in court music, Cheon’s danso sanjo, Lee’s danso sanjo or the yoseong with diagonal head movements.

Secondly, Cheon’s danso sanjo has been divided according to the start and cadence melodies, and the function of notes and modes are analysed. The most frequently appeared mode is the B♭ ponch’ong kyemyeonjo, which uses 341 changdan (rhythmic pattern) (60.04%). The second most frequent is the F ponch’ong kyemyeonjo, which uses 202 changdan (35.56%), the D♭ponch’ong wojo, which are eight changdan (1.40%), the panwoo-pankye on D♭ and B♭ponch’ong kyemyeonjo, which are eight changdan (1.41%), A♭ ponch’ong wojo, which are two changdan (0.35%), the B♭ and F ponch’ong kyemyeonjo which uses four changdan (0.70%), panwoo-pankye on A♭ponch’ong wojo and F ponch’ong kyemyeonjo, which uses two changdan (0.35%), panwoo-pankye on A♭ponch’ong wojo and B♭ponch’ong kyemyeonjo, which uses one changdan (0.18%).

Thirdly, there are many modal changes in Cheon’s danso sanjo. In the recording of ‘shinbiŭi karak’, there are four changes, in ‘Seongch’angsun sojangjaryo’, there are 14 times, in ‘kugaksang charyo’, 17 times, in ‘Kim Sohŭi sojang charyo’, nine times. The overall process of changing modes is as follows: seven times from B♭ponch’ong kyemyeonjo to D♭ponch’ong wojo, seven times from D♭ponch’ong wojo to B♭ponch’ong kyemyeonjo, ten times from B♭ponch’ong kyemyeonjo to Fponch’ong kyemyeonjo, 14times from Fponch’ong kyemyeonjo to B♭ponch’ong kyemyeonjo, two time B♭ponch’ong kyemyeonjo to A♭ ponch’ong wojo, one times from F ponch’ong kyemyeonjo to A♭ ponch’ong wojo, three times from A♭ ponch’ong wojo to F ponch’ong kyemyeonjo. Furthermore, there is a modal change in Cheon’s sanjo before the movement ends and moves to the next. This is different from the sanjo for other wind instruments where each movement finishes with the main mode, ponch’ong.

Cheon not only changes the mode but there are also rhythmic alterations. Among the alterations, utbutim, hemiola and ut-hemiola are the main rhythmic patterns