성금연류 가야금산조 형성과정 연구

Abstract

국문초록

본고는 성금연류 가야금산조의 형성과정을 살펴보기 위해 성금연류 가야금산조의 전체 형성시기(1950~1980)를 초기(1950~1959)·중기(1960~1973)·후기(1974~1986)로 나누고, 각 시기별 음악적 변화를 분석해 보았다. 그 결과 다음과 같은 결론을 도출하였다.

성금연류 가야금산조의 대부분은 중기(1960~1973)에 완성된 것이다. 그러나 악장별로 완성된 시기가 조금씩 다르다. 즉, 중중모리는 초기, 굿거리와 엇모리는 중기, 중모리·자진모리·휘모리는 중기에 대부분이 만들어진 후 후기에 완성되었다. 진양조는 후기에 가장 많은 선율이 추가되어 악장이 완성되었다. 성금연은 초기에 만든 평조를 중기 이후에 축소함으로써 계면조와 우조를 주축으로 하는 산조를 만들고자 했던 것으로 보인다. 즉, 진양조의 평조 4장단(44%), 중모리의 평조 10장단(30%)이 중기를 기점으로 배제된 것은 성금연의 음악적 지향이 초기와 다르게 변화한 것임을 의미한다. 성금연류 가야금산조 선율의 시기별 특징은 다음과 같다. 먼저, 초·중·후기 공통 선율은 우조·평조 ·계면조의 구분이 분명해지고, 옥타브 진행형과 풍류음악 주법형이 사용된다. 이들 선율은 성금연류 가야금산조의 기본 틀에 해당된다. 중·후기 공통 선율은 엇붙임 및 전조·변조 등의 판소리 음악기법과 민간 대풍류 선율을 차용하고, 오른손 주법을 혼합하여 사용함으로써 음악적 풍미를 높였다. 중·후기 선율은 초기에 비해 다양성에 기초한 음악적 확장을 이룬 것이라 하겠다. 중·후기 공통 선율에서는 전조, 변조, 전조·변조 등의 활용도가 높다. 이들은 모두 G 우조나 G 계면조에서 시작한다는 공통점을 갖는다. 특히, 일반적인 전조에서 드문 단2도 및 단3도 진행을 활용한 점, 평조로부터 변조하지 않는 점 등이 특징이다. 이 중 전조·변조는 모두 주음(G)을 공유하면서 악조를 변화시키고자 할 때 활용되었다. 즉, G 우조→G 평조로 전조·변조, G 계면조→G 평조로 전조·변조, G 우조로 전조·변조 등으로 활용되었다. 마지막으로 특정 시기의 선율을 살펴본 결과, 초기 선율은 현행 산조에서 제외되었지만, 일부 선율이 변형된 채로 현행 산조에 수용되었거나, ‘산조 춤’의 반주에 사용되었다. 중기선율의 경우도 일부가 ‘눈물이~’에 포함되었다. 후기 선율의 특징은 기승전결(起承轉結) 구조의 형식미를 강화하는 역할을 하는 점, 15현 가야금의 연주를 12현에 적용시킨 점, ‘말발굽소리’ 선율을 차용한 점, 다양한 오른 손 주법에 의한 음색의 대조 등이다.

Abstract The Seong Geumyeon School of Gayageum Sanjo : Process and Formation

Kim, Bo kyung Department of Music The Graduate School Hanyang University

This study investigates the traditional process of creating a new sanjo. For the purposes of this paper, sanjo “development and formation” indicates the creative process of crafting a sanjo in the oral tradition. The study thus explores the compositional process of a sanjo from within the tradition, as well as the sanjo’s evolution—how hidden internal and external factors such as aesthetic leanings and the surrounding musical and social environments influence a master’s creation and re-creation of a sanjo over a lifetime. Because there are so many specific variables between “schools,” this study focuses exclusively on the Seong Geum-yeon School of Gayageum Sanjo. Seong Geum-yeon’s (1923-1986) artist name (ho) was Chunsa (meaning Spring History). From the 1950s through the 1970s, she was so active that gayageum sanjo itself was effectively synonymous with her name. According to a variety of sources, in order to hand down a sanjo stamped with her name, Seong Geum-yeon repeatedly made revisions and changes to what we now know as the Seong Geum-yeon “school” of gayageum sanjo. In this paper, I divide the development of the Seong Geum-yeon School of Gayageum Sanjo into three periods corresponding to Seong Geum-yeon’s activities—1) the early years (1950-1959); 2) the middle years (1960-1974); and 3) the later years (1975-1986)—and examine the major musical changes that occurred in each period. Altogether, 795 melodies/rhythm cycles occur in the contemporary Seong Geum-yeon sanjo. Of these, 221 common melodies/rhythm cycles remain from Seong’s sanjo of the early period, 424 can be traced to the school’s middle period, and 150 are specific to periods that fall outside of the “early, middle, and late” scheme. The core structural framework of the Seong Geumyeon School of Gayageum Sanjo can thus be summarized as follows: In the melodies we know from the early period, handed down until now, we find the melodic modes (ujo, pyeongjo, and gyemyeonjo) firmly established with their melodies often repeated an octave above or below the original melody. We also find influences from pungryu in the materials from the early period, such as teseong (pulling the string to lower the pitch)—a practice found in such pungryu pieces as Yeongsang hoesang (Sermon on Vulture Peak) from the so-called court music repertoire—a characteristic unique to the Seong Geum-yeon School. Melodies remaining from the middle and late periods of the Seong Geum-yeon School handed down to us today incorporate melodic expansion techniques from pansori, such as eotbuchim, wherein words are combined with melodies in such a way that the words and rhythm pattern do not synchronize but rather the lyrics begin on the 5thbeat.Withineotbuchim, ingeogeori is depicted as “coming out, stepping on the sound,” gyodaejuk is depicted as “pulling and pushing the words,” and in wanjageori, words are pulled forward or pushed a little backward so that they fall just before or after the beat of the jangdan. In Seong Geum-yeon’s sanjo this is all done instrumentally with the melodies rather than with words. The sanjo also uses unique mode and key modulations, special plucking techniques in the right hand, and, finally, melodies from the pungryu repertoire for winds (as opposed to pungryu for strings). Remnant characteristics of Seong Geum-yeon’s sanjo vary according to period. We no longer find the specific melodies of the early period in today’s sanjo, though some similarities to the melodies of the early period persist in today’s melodies. The same goes for melodies of the middle period. However, these middle period melodies are normally found in Seong Geum-yeon’s sanjo for dance accompaniment and in her new compositions for gayageum. The melodies from the late period are prevalent today. As in a traditional essay that follows the form “opening theme, follow-up expansion or clarification, and further development and conclusion,” we can hear the sanjo from the late period coming out in piece meal fashion in today’s finished “product.” By examining remnants of today’s iterations of Seong Geum-yeon’s sanjo according to the specific time periods over which the original sanjo evolved, we may gain a more precise understanding of the sounds we are hearing in today’s iterations of the form, as well as catch a glimpses of Seong Geum-yeon’s musical life.