대금산조의 음조직 연구 －김동진류 대금산조를 중심으로－

초록

Until now, there have been many researches on tonal structure of daegeum sanjo. However, in those researches in many cases there was a division between ujo and gyemyeonjo but there was no mention of phyeongjo. In this research, the tonal structure of daegeum sanjo in Kim Dongjin school has been analyzed and the ujo and phyeongjo that were not clarified in the basic researches have been examined. According to the analysis, the tonal structure of jinjangjo in daegeum sanjo of Kim Dongjin school consists of ujo in G, phyeongjo in B flat, gyemyeonjo in C, gyemyeonjo in F, gyemyeonjo in C, gyemyeonjo in F and gyemyeonjo in C. In jungmori, there is a minor change of jo (scale) into ujo in G, phyeongjo in B flat, gyemyeonjo in C. The tonal structure of jungjungmori is ujo in G, phyeongjo in F, phyeongjo in B flat, gyemyeonjo in C, gyemyeonjo in F, gyemyeonjo in C, ujo in G, gyemyeonjo in C, and jajinmori consists of gyemyeonjo in C, ujo in G, gyemyeonjo in C. In this research, ujo and phyeongjo that were not analyzed in the basic researches on daegeum sanjo have been clearly distinguished and analyzed. The characteristics of ujo and phyeongjo is that there appears a clear difference in the function of scale and tone. In ujo, the central tone is G and it corresponds to ‘La’ in La-Do-Re-Mi-Sol scale, and there appears a glissando in D, F, and B flat tone. In phyeongjo, the central tone is F and it corresponds to ‘Sol’ in Sol-La-Do-Re-Mi scale, and there appears a glissando in G and D tone. The characteristics of ujo and phyeongjo, clarified in this research, is not limited only to daegeum sanjo in Kim Dongjin school but it is similarly used in other styles of daegeum sanjo. Besides, it is expected that this characteristic aspect of sanjo music will be of help in research on sanjo for other instruments.

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