A Study on the Singing style of Gyeonggiseonsori Santaryeong: Focused on the Analysis of Apsantaryeong

• 발행기관: 아시아음악학회
• 저자명: LEE Hyung-Hwan
• 간행물 정보: 『Asian Musicology』JCAM 22, 45~62쪽, 전체 17쪽
• 주제분류: 예술체육 > 음악학
• 파일형태: PDF
• 발행일자: 2013.11.01

영문 초록

This article aims to investigate musical characteristics of Gyeonggiseonsori Santaryeong by analysing its types focusing on singing styles. Gyeonggiseonsori Santaryeong is a representative ipchang (singing in a standing position) and is a male singing practiced around the areas of Seoul and Gyeonggi. Researches on traditional folk vocal music have exclusively been focused on pansori (epic song) of Honam regions, southern areas of Korea, or the Gyeonggi and Seodo folk songs of Gyeongseo provinces, whereas Gyeonggiseonsori that is a representative entertaining troupe performing in the areas of Gyeonggi and Seoul has scarcely been regarded as an academic subject. Thus this study looks mainly into types of a singing style and functions of symbols used in order to analyse its features. The results of this study can be delineated as two aspects: First, there are seven types of singing styles: sokcheong, pyeong-mok ('mok' = a throat), ddeoneun-mok, joreum-mok, deolmi-mok, chineun-mok and nulleojuneun-mok. Sokcheong means a high and clearly articulated vocal sound that produces thinly, and it is used in a higher note in deolmi-mok, or a sudden leaping progression of a melody. Pyeong-mok is a vocal sound that produces without trembling a note and vibrates thinly at the end part of a pitch behind a long sustained note. Ddeoneun-mok is a sound by shaking a note, and there are two types producing with a fine vibration and a wide one and the latter is similar to a seodo sound. Joreum-mok is also called 'joeuneun-mok' or joeuneun-mok by lifting while pressing on a throat, and it is used in closely tightening it when a melody ascends to a note above the minor third or the perfect fourth. Deolmi-mok is a characteristic feature of a singing style in Gyeonggiseonsori. It is a vocal sound that returns to the original note after lifting briefly and softly a note above the minor third or perfect fourth by using the sokcheong and is used in a melodic phrasing that parallels to the joreum-mok in a case of Apsantaryeong. Chineun-mok has three types of forms: (i) a hitting mok like rolling a note briefly above the major second at a certain note; (ii) a hitting mok as if it gives an accent, it hits the throat after vibrating finely; (iii) after hitting above the minor third note slightly at a certain note, the throat that returns to the original note and after hitting the note above the major second and descending the minor third from the original note. This is an identical form with a melodic progression of menari tori (its mode is equivalent to the western 'la mode'). Nulleojuneun-mok is a kind of pyeong-mok and refers to a sound that vibrates widely at the end of a long sustained note and to make a glissando like producing a toeseong (making a sound by gliding down from a high note to a lower one) by pressing a note. It is frequently used in a melody that goes down to a note after executing the melodies of the joreum-mok and deolmi-mok in Apsantaryeong. Second, the musical symbols used in Gyeonggiseonsori Santaryeong have six types. " "is a symbol that vibrates finely; "c" means to roll or hit softly a certain note; "s" is to stop after producing a very short note; "l" is a sound of deolmi-mok; "n" denotes to vibrate the end of a note in a chopping way; "~~~~" for shaking a note and pulling down like rendering a toeseong; "," is to lift like executing a chuseong (making a sound by pushing up a note) a certain note to the major third.

목차

ABSTRACT

Ⅰ. Introduction

Ⅱ. The singing style of Gyeonggiseonsori Santaryeong

Ⅲ. Analysis of the singing styles

Conclusion

References

키워드

Gyeonggiseonsori Santaryeong Apsantaryeong singing style deolmi-mok sokcheong joreum-mok