송동숙의 무악장단 연구

Abstract

국문 요지

동해안 무악은 강릉단오제, 동해안 별신굿, 영해별신굿 등이 있다. 이 중 동해안 별신굿과 영해별신굿은 동해안 굿의 양대 산맥이라고도 할 수 있다. 동해안별신굿의 김석출과 함께 영해별신굿의 송동숙은 장구 실력이 매우 출중했던 인물이었고, 춤에도 일가견이 있었으며, 지화나 탈을 제작하는 솜씨도 매우 뛰어났던 것으로 알려져 있다. 그러나 굿에 대한 연구 중 영해별신굿에 대한 연구는 거의 찾아볼 수 없었으며 거의 이루어지지도 않고 있다. 본 연구는 영해별신굿의 보유자인 송동숙의 무악장단을 살펴본 연구이다. 영해별신굿을 구성하는 장단에는 푸너리, 드렁갱이, 청보, 삼오장, 거무가 있다. 이 중 푸너리, 청보, 거무는 박자구조, 장(章)의 구분, 장단의 속도, 징의 점수 및 위치가 김용택의 무악장단과 같으나, 드렁갱이와 삼오장은 장(章)의 구분에서 다르다. 또한 장단소로 기본장단을 비교하면 송동숙의 무악장단 중 푸너리, 드렁갱이, 삼오장, 거무는 김용택의 무악장단과 다르고, 청보 2장은 장단소가 같다. 송동숙의 동해안 무악장단의 변형장단 특징을 살펴본 결과, 박 단위와 장단 단위에서 각각 세 가지 특징이 나타난다. 박 단위에서 나타난 특징은 다음과 같다. 첫째, 무악장단의 특징인 궁글채 연주법은 궁글채를 궁편을 세 번 연주하는 연주법으로 ‘구구궁()’, ‘구구덩()’, ‘더구궁()’이 있는데 송동숙은 ‘구구궁’, ‘구구덩’, ‘더구궁’을 모두 사용하여 변형장단을 구사함을 알 수 있다. 그 중 ‘더구궁’은 송동숙의 변형장단에 많이 나타난다. 둘째, 장단의 기본 요소인 장단소는 기본형 1박, 2박, 3박이 있고, 조합형 4박, 5박, 6박이 있다. 이 장단소를 응용하여 송동숙은 여러 가지로 조합하여 일정한 규칙과 불규칙한 배열을 통해 변형장단을 구성하였다. 셋째, 정박과 엇박을 송동숙만의 연결채()기법을 통해 변형장단을 구현하였다. 이 연결채 기법의 기본구조는 (정박+연결채+엇박+쉼박+정박)으로 되어 있다. 정박으로 시작하여 연결채를 통해 엇박으로 만들어 연주한 다음, 다시 쉼박을 통해 다시 정박이 되는 형식을 말한다. 장단 단위에서 나타난 특징은 다음과 같다. 첫째, 강약의 이동을 통해 규칙적인 심층구조의 장단을 불규칙적인 표면구조를 가진 장단으로 변형하여 연주하는 기법을 보이고 있다. 둘째, 두 장단을 연결하여 장단을 구성할 때 사용하는 방법으로 한 장단을 다음 장단으로 박자를 넘치게 연주한 다음, 남은 장단의 박자를 채우는 방식으로 변형장단을 구현하고 있다. 이러한 기법을 본 연구자는 손여보핍(損餘補乏)이라 하였다. 셋째, 송동숙의 무악장단은 다중표면박자구조를 보이고 있다. 한 장단 안에 혼합박자의 구조가 아닌 다중표면박자구조로 되어있는 것을 말한다. 표면구조가 두 개 이상 나타나는 경우 첫 번째 표면구조와 두 번째 표면구조가 겹치는 부분이 있는데 첫 번째 표면구조로 진행하다가 겹치는 부분에서 두 번째 표면구조로 진행하는 것을 말한다. 영해별신굿 송동숙의 장단은 매우 복잡해 보이고, 때로는 잘못 연주한 것이라 생각이 들 정도로 많은 변형장단을 구사하고 있음을 알 수 있다. 그러나 이번 연구를 통해 분석해 본 결과 이러한 장단의 구조는 철저한 원칙 속에 행해지는 변형장단임을 알 수 있었다. 또한 장단소의 조합과 배열을 통해 장단을 재구성하고 있었으며, 비움과 채움의 손여보핍(損餘補乏)으로 장단을 연결하였고, 다중표면박자구조를 가짐으로써 많은 변형장단을 이루고 있었다. 송동숙은 영해별신굿의 대가로 굿 음악의 예술적 경지가 얼마나 높은지 보여준 명인이다. 이번 연구를 통하여 거의 연구가 되지 않고 있던 송동숙의 무악장단을 구체적으로 분석하고 그 특징과 의의를 조명하고자 하였다. 앞으로 이러한 연구를 바탕으로 영해별신굿 뿐만 아니라 우리나라 굿 장단의 전반적인 연구가 좀 더 활발히 이루어지길 바라는 바이다.|Abstract

A Study of the Shamanic Music Rhythm Song, Dong-suk - Focusing on Puneori, Deureongange, Chungbo, Smaojang, Geomu - Cho, Hee Choon Dept. of Musicology The Graduate School of Hanyang University

There are Gangneung Danoje Festival, Donghaybyeolshin-Gut, Younghae -byeolsin-Gut, etc. in the East Coast shamanic music rhythm. Among these, Donghaebyolsin -Gut and Younghaebyolsin-Gut can be said the main two axes of the East Coast Guts. It is known that Dong-suk Song of Younghaebyeolsin-Gut, who was one of the two main axes along with Seok-chul Kim of Donghaebyeolsin-Gut, had outstanding chang-gu playing skills, an insightful eye for dances, and great skills in making paper flowers and masks. Regrettably, however, there has been few research on Younghaebyeolsin -Gut. This study investigated into the shamanic music rhythms of Dong-suk Son, who holds the title of Younghaebyeolsin-Gut. Younghae-yeolsin-Gut consists of various rhythms such as Puneori, Deureongange, Chungbo, Smaojang, Geomu. Even though among these rhythms, Puneori, Chungbo and Geomu are the same as Yong-taek Kim’s shamanic music rhythm in the rhythmical structure, chapter classification, rhythm tempo, location and number of strokes on the jing, Deureongange and Smaojang are different in chapter classification. When the rhythm elements of the basic rhythms are compared, Puneori, Deureongange, Smaojang and Geomu of Dong-suk Song’s shamanic music rhythm are different from Yong-taek Kim’s shamanic music rhythm. The second chapter of Chungbo has the same rhythm elements. An investigation into the characteristics of the variation rhythms of Dong-suk Song’s East Coast shamanic music rhythm showed that there are three characteristics respectively in the beat unit and the rhythm unit. The characteristics shown in the beat unit are as follows. First, the Gunggeulchae method plays the gungpyeon with gunggeulchae three times, and this method is a characteristic of the shamanic music rhythm. There are ‘GuGuGung()’, ‘GuGuDeung()’ and ‘DeoGuGung().’ Dong-suk Song performed variation rhythms using all of these ‘GuGuGung’, ‘GuGuDeung’ and ‘DeoGuGung.’ Particularly, ‘DeoGuGung’ appears frequently in Dong-suk Song’s variation rhythms. Second, there are basic types of one beat, two beat, three beat and combinational types of four beat, five beat and six beat in the rhythm element that is a basic factor in rhythm. Using these rhythm elements, Dong-suk Song performed various combinations and variation rhythms by placing the rhythm elements regularly or irregularly. Third, Dong-suk Song performed variation rhythms by using on-beat and off-beat with her unique Yeongyeolchae method. The basic structure of this Yeongyeolchae method is (On-beat+Yeonghyeolchae+Off-beat+Rest +On-beat). This method refers to a structure that starts with on-beat, becomes off-beat through Yeonghyeolchae, and goes back to on-beat through rest. The characteristics shown in the rhythm unit are as follows. First, there showed a playing method that changes regular and deep-structured rhythms to irregular surface-structured rhythms. Second, when linking two rhythms, a variation rhythm is played so that one rhythm’s beat overflows into another rhythm, and then, the surplus rhythm’s beat is filled. The researcher of this study named this method as Sonyeobopip(손여보핍, 損餘補乏, filling insufficiency with surplus). Third, Dong-suk Song’s shamanic music rhythm shows a multiple-beat structure. This means that one rhythm consists of a multiple-beat structure instead of a mixed-beat structure. When there are two or more surface-structures, the first surface structure and the second surface structure overlap in some part. The first surface-structure is performed first and the second surface-structure is progressed from the overlapped part. Dong-suk Song’s shamanic music rhythms in Younghaebyeolsin-Gut look very complex and show many variation rhythms that might look like mistakes. However, the analysis of this research showed that they are variation rhythms performed under the strict principles. These variation rhythms were restructured through combining and placing rhythm elements by the Sonyeobopip(손여보핍, 損餘補乏, filling insufficiency with surplus) method, and arranging multiple-beat structures. Dong-suk Song is a great master who showed an unbelievable artistic horizon of the Gut Music through Younghabyeolsin-Gut. This study intended to analyze Dong-suk Song’s shamanic music rhythms in detail, which had been not researched yet, and highlight their characteristics and meanings. It is highly expected that there would be more active and extensive research on the Gut rhythms of our country.; Abstract

A Study of the Shamanic Music Rhythm Song, Dong-suk - Focusing on Puneori, Deureongange, Chungbo, Smaojang, Geomu - Cho, Hee Choon Dept. of Musicology The Graduate School of Hanyang University

There are Gangneung Danoje Festival, Donghaybyeolshin-Gut, Younghae -byeolsin-Gut, etc. in the East Coast shamanic music rhythm. Among these, Donghaebyolsin -Gut and Younghaebyolsin-Gut can be said the main two axes of the East Coast Guts. It is known that Dong-suk Song of Younghaebyeolsin-Gut, who was one of the two main axes along with Seok-chul Kim of Donghaebyeolsin-Gut, had outstanding chang-gu playing skills, an insightful eye for dances, and great skills in making paper flowers and masks. Regrettably, however, there has been few research on Younghaebyeolsin -Gut. This study investigated into the shamanic music rhythms of Dong-suk Son, who holds the title of Younghaebyeolsin-Gut. Younghae-yeolsin-Gut consists of various rhythms such as Puneori, Deureongange, Chungbo, Smaojang, Geomu. Even though among these rhythms, Puneori, Chungbo and Geomu are the same as Yong-taek Kim’s shamanic music rhythm in the rhythmical structure, chapter classification, rhythm tempo, location and number of strokes on the jing, Deureongange and Smaojang are different in chapter classification. When the rhythm elements of the basic rhythms are compared, Puneori, Deureongange, Smaojang and Geomu of Dong-suk Song’s shamanic music rhythm are different from Yong-taek Kim’s shamanic music rhythm. The second chapter of Chungbo has the same rhythm elements. An investigation into the characteristics of the variation rhythms of Dong-suk Song’s East Coast shamanic music rhythm showed that there are three characteristics respectively in the beat unit and the rhythm unit. The characteristics shown in the beat unit are as follows. First, the Gunggeulchae method plays the gungpyeon with gunggeulchae three times, and this method is a characteristic of the shamanic music rhythm. There are ‘GuGuGung()’, ‘GuGuDeung()’ and ‘DeoGuGung().’ Dong-suk Song performed variation rhythms using all of these ‘GuGuGung’, ‘GuGuDeung’ and ‘DeoGuGung.’ Particularly, ‘DeoGuGung’ appears frequently in Dong-suk Song’s variation rhythms. Second, there are basic types of one beat, two beat, three beat and combinational types of four beat, five beat and six beat in the rhythm element that is a basic factor in rhythm. Using these rhythm elements, Dong-suk Song performed various combinations and variation rhythms by placing the rhythm elements regularly or irregularly. Third, Dong-suk Song performed variation rhythms by using on-beat and off-beat with her unique Yeongyeolchae method. The basic structure of this Yeongyeolchae method is (On-beat+Yeonghyeolchae+Off-beat+Rest +On-beat). This method refers to a structure that starts with on-beat, becomes off-beat through Yeonghyeolchae, and goes back to on-beat through rest. The characteristics shown in the rhythm unit are as follows. First, there showed a playing method that changes regular and deep-structured rhythms to irregular surface-structured rhythms. Second, when linking two rhythms, a variation rhythm is played so that one rhythm’s beat overflows into another rhythm, and then, the surplus rhythm’s beat is filled. The researcher of this study named this method as Sonyeobopip(손여보핍, 損餘補乏, filling insufficiency with surplus). Third, Dong-suk Song’s shamanic music rhythm shows a multiple-beat structure. This means that one rhythm consists of a multiple-beat structure instead of a mixed-beat structure. When there are two or more surface-structures, the first surface structure and the second surface structure overlap in some part. The first surface-structure is performed first and the second surface-structure is progressed from the overlapped part. Dong-suk Song’s shamanic music rhythms in Younghaebyeolsin-Gut look very complex and show many variation rhythms that might look like mistakes. However, the analysis of this research showed that they are variation rhythms performed under the strict principles. These variation rhythms were restructured through combining and placing rhythm elements by the Sonyeobopip(손여보핍, 損餘補乏, filling insufficiency with surplus) method, and arranging multiple-beat structures. Dong-suk Song is a great master who showed an unbelievable artistic horizon of the Gut Music through Younghabyeolsin-Gut. This study intended to analyze Dong-suk Song’s shamanic music rhythms in detail, which had been not researched yet, and highlight their characteristics and meanings. It is highly expected that there would be more active and extensive research on the Gut rhythms of our country.