가야금 산조 청 변화 기법의 활용 양상 연구

Abstract

19세기 말 가야금에 의해 시작하여 그 틀이 형성된 대표적인 기악 독주곡인 산조는 김죽파․강태홍․김병호․최옥삼․김윤덕․성금연․김종기․서공철․신관용․심상건류 등 약 10여종의 유파가 현재까지 전승되고 있다. 본 논문에서는 김창조의 계보를 잇는 다양한 유파 중 현재 활발히 연주하고 있는 김죽파․김병호․강태홍․최옥삼류 등 4가지 유파를 연구 대상으로 삼아 청이 변화하는 과정에 어떠한 체계가 존재하는지, 체계가 존재한다면 그것은 유파나 악조에 따라서 특징적인 양상을 보이는지를 확인하기 위해 각 단락별 출현음, 청, 음조직 등의 분석을 통하여 유형별, 유파별, 악조별 청 변화기법 및 그 활용양상을 살펴보았다.

4가지 유파에 공통적으로 출현하는 청 변화양상은 진양조 중 우조의 경우 4개의 유파 모두 땅(d)을 청으로 음악을 시작하였으며 그 완전 5도 위(또는 완전 4도 아래)인 칭(a')으로 청이 변화하기도 하나 우조의 청은 결국 땅(d)으로 돌아간 후 마무리된다. 돌장의 경우 우조의 땅(d)에서 징(c)으로 청이 이동한 후 음악의 끝까지 청의 음고가 변화하지 않는다. 평조 역시 돌장의 청인 징(c)을 그대로 받아 음악을 이어간다. 마지막으로 계면조의 경우 4가지 유파에서 징(c)을 청으로 삼아 음악을 시작하였으며, 우조와 마찬가지로 완전 5도 위(또는 완전 4도 아래)인 당(g)으로 청이 변화하기도 하나 계면조의 청은 결국 징(c)으로 돌아간 후 그 음악을 마무리한다. 계면조에 있어 가장 특징적인 것은 청 변화양상 중 공통적으로 드러나는 완전 5도(또는 완전 4도) 관계를 벗어난 음고의 청(지(f)․당(e♭)․땅(d) 등)이 출현한다는 것이다. 청 변화 기법은 크게 6가지 유형으로 분류할 수 있었다. 가야금 산조 진양조에 나타나는 청 변화기법은 다음과 같다.

1. 유형㉠ ‘중심음 제시’ 방법 2. 유형㉡ ‘동일음 기능 변화’ 방법 3. 유형㉢ ‘새로운 음 활용’ 방법 4. 유형㉣ ‘공통음 활용’ 방법 5. 유형㉤ ‘시김새 활용’ 방법 6. 유형㉥ ‘청현(G - 제1현)의 활용’ 방법

이를 바탕으로 청 변화 기법의 유형별, 유파별, 악조별 활용양상에 대해 살펴보았다. 먼저 유형 및 유파별 청 변화기법의 활용양상을 살펴보면, 첫째, 유형㉠은 중심음의 제시를 통해 청이 장2도(d→c)하행하는 유형으로 우조에서만 출현하며 청이 땅(d)→동(a)으로 이동한다. 둘째, 유형㉡은 동일음의 기능변화를 통해 청이 변하는 유형으로 가장 많이 출현한다. 유형㉠에 뒤이어 출현하거나 단독으로 활용된다. 우조에는 청이 동(a)에서 땅(d)으로 변화할 때, 돌장과 평조에서는 청의 음고는 유지하면서 음조직은 변화할 때 활용된다. 셋째, 유형㉢은 새로운 음 활용을 통해 청이 변화하는 유형으로 유형㉥에 뒤이어 출현하기도 한다. 우조에서는 동(a)에서 땅(d)으로, 계면조에서는 징(c)에서 완전 5도(또는 완전 4도)가 아닌 음정으로 청이 변화할 때 활용된다. 평조에서는 음고는 유지하면서 음조직이 변할 때 활용되는 양상을 보인다. 넷째, 유형㉣은 공통음 활용을 통해 청이 변화하는 형태이다. 주로 구전조명 돌장에 출현하며 음고는 유지하면서 음조직이 변할 때 활용된다. 다섯째, 유형㉤은 시김새 활용을 통해 청이 변화하는 유형으로 김병호, 최옥삼류에만 출현한다. 여섯째, 유형㉥은 청현(G-제1현)을 활용하여 청이 변화하는 유형으로 김병호류에서만 1회 나타난다.

다음으로 악조별 청 변화 기법의 활용양상에 대해 살펴보면, 첫째, 우조에 출현하는 청 변화 기법은 유형㉠, ㉡, ㉢이다. 유형㉠은 반드시 ㉡이 뒤따라 출현하지만(㉠+㉡), 유형㉡은 단독으로 출현하기도 한다. 둘째, 돌장에 공통으로 출현하는 청 변화 기법은 유형㉣이다. 청의 음고는 변화하지 않으나 음조직이 변화한다. 셋째, 평조의 청 변화지점 또한 대체로 유형㉣이 출현하며, 청의 음고는 변화하지 않으나 음조직이 변화한다. 마지막으로 계면조에 출현하는 청 변화 기법은 다양하게 활용되었음을 알 수 있다. 다른 악조처럼 특징적으로 활용된 청 변화 양상을 파악하기 힘들지만, 청 변화에 있어 주로 출현하는 완전 5도(또는 완전 4도)관계를 벗어난 음고의 청이 반드시 출현한다. 이때 활용되는 청 변화 기법은 유형㉢이다. |Sanjo is a representative solo instrumental music which has begun by Gayageum at the end of the 19th century and been framed. About 10 kinds of Yupa of Gayageum Sanjo including the schools of Kim Juk-pa, Kang Tae-hong, Kim Byeong-ho, Choi Ok-sam, Kim Yoon-deok, Sung Geum-yon, Kim Jong-ki, Seo Gong-cheol, Shin Gwan-yong, and Sim Sang-geon have been handed down to thepresent. The purpose of this study was to look into whether there is a system in the process of change of Cheong among four schools of Kim Juk-pa, Kim Byeong-ho, Kang Tae-hong, and Choi Ok-sam Yupa and if there is a system, the change techniques of Cheong and the aspects there of by the Yupa, type and tone through analysis of appearance tone, Cheong, and tonal system.

The variation of Cheong was classified into six types. The variation of Cheong shown in Jinyang-jo among Gayageum Sanjo is as follows:

Type A – A method to propose a central note Type B – A method to change the function of the same note Type C – A method to use a new note Type D – A method to use a common note Type E – A method to use Sigimsae Type F – A method to use Cheong-hyun (G – the 1ststring)

The movement aspects of Cheong found in all the four Yupas can be classified by the tone. For U-jo which appears first among Jinyang-jo, all the four Yupas begin their music with Ddang (d) as Cheong, and although Cheong is changed into Ching (a'), a tone over perfect fifth (or below perfect fourth) than Ddang (d), Cheong of U-jo is finished after it returns to Ddang (d). For Dol-jang, the pitch of Cheong does not change until the end of music after Cheong moves from Ddang (d) to Jing (c) of U-jo. Pyeong-jo also takes Jing (c) of Dol-jang and continues the music. Lastly, for Gyemyun-jo, the four Yupas begin music by using Jing (c) as Cheong and likewise U-jo, in spite of the change of Cheong into Dang (g), a tone over perfect fifth (or below perfect fourth), Cheong returns to Jing (c) and finishes the music. The most characteristic thing of Gyemyun-jo is the appearance of Cheong of pitch completely out of the relation of perfect fifth (or perfect fourth) commonly found in the movement aspect of Cheong (Ddang (e♭), Ji (f), Ddang (d), etc.) Based on these characteristics, this study looked into the aspects of use by type, Yupa, and tone of the change technique of Cheong.

First, the aspect of use of the change technique of Cheong by type and Yupa is as follows. First, type A is that Cheong goes down to major 2 (d→c) through the presentation of central note. It is found only in U-jo and Cheong moves from Ddang (d) to Dong (a). There is no difference among Yupa. Second, type B is that Cheong changes through functional variation of same note. It follows type A or is used alone. For U-jo, it is used when Cheong is changed from Dong (a) to Ddang (d), and for Dol-jang and Pyeong-jo, it is used when Cheong maintains its pitch but changes its tonal system. Third, type C is that Cheong changes through the use of a new note and sometimes follows type F. For U-jo, it is used when Cheong is changed from Dong (a) to Ddang (d), and for Gyemyun-jo, it is used when Cheong is changed from Jing (c) to tones other than perfect fifth (or perfect fourth). For Pyeong-jo, it is used when Cheong maintains its pitch but changes its tonal system. Fourth, type D is that Cheong changes through the use of a common note. It mainly appears in Dol-jang of orally transmitted tone and is used when Cheong maintains its pitch but changes its tonal system. Fifth, type E is that Cheong changes through the use of Sigimsae. It appears only in the schools of Kim Byeong-ho and Choi Ok-sam. Sixth, type F is that Cheong changes through the use of the string of Cheong (G - the first string). It appears once only in the school of Kim Byeong-ho.

Next, the aspects of use of the change technique of Cheong by the tone are as follows. First, the change techniques of Cheong found in U-jo are types A, B and C. Type A is definitely followed by type B (A+B) but type B appears alone sometimes. Second, the change technique of Cheong commonly found in Dol-jang is type D. The pitch of Cheong does not change but its tonal system varies. Third, the change point of Cheong in Pyeong-jo has generally type D. Again, the pitch of Cheong does not change but its tonal system varies. Lastly, it is found that the change technique of Cheong found in Gyemyun-jo is used variously. Although it is hard to find the change aspect of Cheong used characteristically as other tones, Cheong of the pitch deviated from the relation of perfect fifth (or perfect fourth) which is frequently found in the change of Cheong appears definitely. The change technique of Cheong which is used at this time is type C.; Sanjo is a representative solo instrumental music which has begun by Gayageum at the end of the 19th century and been framed. About 10 kinds of Yupa of Gayageum Sanjo including the schools of Kim Juk-pa, Kang Tae-hong, Kim Byeong-ho, Choi Ok-sam, Kim Yoon-deok, Sung Geum-yon, Kim Jong-ki, Seo Gong-cheol, Shin Gwan-yong, and Sim Sang-geon have been handed down to thepresent. The purpose of this study was to look into whether there is a system in the process of change of Cheong among four schools of Kim Juk-pa, Kim Byeong-ho, Kang Tae-hong, and Choi Ok-sam Yupa and if there is a system, the change techniques of Cheong and the aspects there of by the Yupa, type and tone through analysis of appearance tone, Cheong, and tonal system.

The variation of Cheong was classified into six types. The variation of Cheong shown in Jinyang-jo among Gayageum Sanjo is as follows:

Type A – A method to propose a central note Type B – A method to change the function of the same note Type C – A method to use a new note Type D – A method to use a common note Type E – A method to use Sigimsae Type F – A method to use Cheong-hyun (G – the 1ststring)

The movement aspects of Cheong found in all the four Yupas can be classified by the tone. For U-jo which appears first among Jinyang-jo, all the four Yupas begin their music with Ddang (d) as Cheong, and although Cheong is changed into Ching (a'), a tone over perfect fifth (or below perfect fourth) than Ddang (d), Cheong of U-jo is finished after it returns to Ddang (d). For Dol-jang, the pitch of Cheong does not change until the end of music after Cheong moves from Ddang (d) to Jing (c) of U-jo. Pyeong-jo also takes Jing (c) of Dol-jang and continues the music. Lastly, for Gyemyun-jo, the four Yupas begin music by using Jing (c) as Cheong and likewise U-jo, in spite of the change of Cheong into Dang (g), a tone over perfect fifth (or below perfect fourth), Cheong returns to Jing (c) and finishes the music. The most characteristic thing of Gyemyun-jo is the appearance of Cheong of pitch completely out of the relation of perfect fifth (or perfect fourth) commonly found in the movement aspect of Cheong (Ddang (e♭), Ji (f), Ddang (d), etc.) Based on these characteristics, this study looked into the aspects of use by type, Yupa, and tone of the change technique of Cheong.

First, the aspect of use of the change technique of Cheong by type and Yupa is as follows. First, type A is that Cheong goes down to major 2 (d→c) through the presentation of central note. It is found only in U-jo and Cheong moves from Ddang (d) to Dong (a). There is no difference among Yupa. Second, type B is that Cheong changes through functional variation of same note. It follows type A or is used alone. For U-jo, it is used when Cheong is changed from Dong (a) to Ddang (d), and for Dol-jang and Pyeong-jo, it is used when Cheong maintains its pitch but changes its tonal system. Third, type C is that Cheong changes through the use of a new note and sometimes follows type F. For U-jo, it is used when Cheong is changed from Dong (a) to Ddang (d), and for Gyemyun-jo, it is used when Cheong is changed from Jing (c) to tones other than perfect fifth (or perfect fourth). For Pyeong-jo, it is used when Cheong maintains its pitch but changes its tonal system. Fourth, type D is that Cheong changes through the use of a common note. It mainly appears in Dol-jang of orally transmitted tone and is used when Cheong maintains its pitch but changes its tonal system. Fifth, type E is that Cheong changes through the use of Sigimsae. It appears only in the schools of Kim Byeong-ho and Choi Ok-sam. Sixth, type F is that Cheong changes through the use of the string of Cheong (G - the first string). It appears once only in the school of Kim Byeong-ho.

Next, the aspects of use of the change technique of Cheong by the tone are as follows. First, the change techniques of Cheong found in U-jo are types A, B and C. Type A is definitely followed by type B (A+B) but type B appears alone sometimes. Second, the change technique of Cheong commonly found in Dol-jang is type D. The pitch of Cheong does not change but its tonal system varies. Third, the change point of Cheong in Pyeong-jo has generally type D. Again, the pitch of Cheong does not change but its tonal system varies. Lastly, it is found that the change technique of Cheong found in Gyemyun-jo is used variously. Although it is hard to find the change aspect of Cheong used characteristically as other tones, Cheong of the pitch deviated from the relation of perfect fifth (or perfect fourth) which is frequently found in the change of Cheong appears definitely. The change technique of Cheong which is used at this time is type C.