김요섭 작곡 신수제천(新壽齊天) 분석 연구

Abstract

본 논문은 2001년에 개최(開催)된 21세기 피리 음악 연구회(硏究會)에서 연주되었던 신수제천(新壽齊天)의 구조와 선율을 분석한 것이다. 신 수제천은 전통음악 수제천(壽齊天)의 선율을 주제로 한 피리 합주곡이며, 창작음악용 향피리‧창작음악용 개량 피리‧개량 대피리로 편성되었다. 본 고에서 필자는 리듬의 변화에 따라 신수제천의 단락을 나누어 선율을 분석하였다. 또한 악곡 형식‧성부의 짜임새‧주제선율의 전개과정을 살펴본 바, 아래와 같은 결론을 얻었다.

첫째, 신수제천은 모두 280마디로 이루어져 있으며 리듬의 변화에 따라 5개의 단락으로 이루어진다. I단락은 제1마디에서 제85마디까지이며, 박자는 3/4이다. Ⅱ단락은 제86마디-제126마디이고 6/8박자이며 중중모리 장단을 활용한 장단으로 두 마디가 한 장단을 이룬다. Ⅲ단락은 제127마디-제196마디이며 자진모리장단으로 12/8박자이다. Ⅳ단락은 제197마디-제244마디이며 동살푸리 장단으로 2/2박자이다. V단락은 제245마디-제280마디이며 3/4박자이며 속도가 점점 속해지도록 구성되었다.

둘째, 작곡가가 창작한 선율과 수제천 1장, 4장으로 총 세 가지 주제선율이 등장하는데, 이 중 수제천 1장과 4장의 선율이 리듬의 변화에 따라 재구성되어 반복되며 주제선율을 다양한 장단에 적용하여 반복 및 강조하기 위한 것이다.

셋째, 성부 사용에 따른 짜임새(texture)를 복합적으로 가지고 있다. 서양음악이 기반인 호모포니(homophony) 전통음악에서 주로 볼 수 있는 헤테로포니(heterophony)와 폴리포니(polyphony)가 혼재되어 등장하며, 단락과 주제선율에 따른 형식에 종속되지 않고 독립적으로 전개되며 전통음악의 짜임새와 서양음악의 짜임새를 복합적으로 사용하여 다채로운 구성미를 갖추었다.

이상으로 신수제천은 전통음악 수제천의 선율을 리듬‧속도‧성부의 짜임새를 달리하여 새롭게 재탄생 시킨 곡이다. 이 과정에서 작곡가는 전통음악적인 색채와 형식을 지키는 동시에 창작음악으로서 수제천의 새로운 면모를 보여주고자 했음을 알 수 있었다. 따라서 이러한 연구결과가 연주자들의 곡에 대한 이해를 도와 연주의 완성도를 높이고 앞으로 개량피리를 활용한 피리합주곡 개발에 도움이 되기를 바란다.

An Analysis of Piri ensemble <Shin-Sujechǒn>

This study analyzed the melody of <Shin Sujechǒn> for the Piri, which was premiered in 2001 at the 21st Century Piri Music Study Group. This piece is a piri concerto composed of the piri, high- pitched piri, and low-pitched piri, respectively. In this paper, we analyzed the melody of <Shin Sujechǒn> according to the change of rhythm and analyzed the characteristic melody and the vertical pitch relation according to the development of the music, and the following conclusions were obtained.

First, <Shin Sujechǒn> consists of 280 words and consists of 5 paragraphs according to the change of rhythm. Each paragraph consist of composed melody or reconstructed melody of Sujechǒn. Thus, each sections are divided by where the melody from.

Paragraph I is from the first to the 85th bars, 3/4 beats which is divided into two part. The first part is from the 1st to 40th, and the 41st to 85th sections according to the speed and the subject melody. Paragraph Ⅱ is from 86th-126th bar, 6/8 beats, Chungjungmori rhythm. The speed is 󰁜= 40-45. Since this paragraph is a melody reconstructed by referring to the melody of Sujechǒn Chapter 1, the passage is divided by angle and consists of a passage and a total of five verses. Paragraph Ⅲ is from 127th-196th bar, with 12/8 beats. Rhythm is Chajinmori. The speed is 󰁜= 100-110. the Ⅲ paragraph consists of a passage and eight sections. Paragraphs Ⅳ is from 197th to 244th bar, 2/2 beats, the rhythm is Dongsalpuri and the speed is 󰁝= 100. This paragraph consists of an intro and four sections. Paragraph V is from the 245th to the 280th bar, 3/4 beats which is divided into two part. The first part is from the 245th to 255th, and the second part is 256st to 280th bar. The paragraph Ⅴ consists of passage and 5 sections in total.

Second, according to the change of rhythm, it consists of 5 paragraphs, including 3/4 (Andante-Adagio), Chungjungmori, Chajin- mori, Dongsalpuri and 3/4 (Adagio-Andante). Within these five para- graphs, the first and last paragraphs are divided into two parts according to speed. That is, five paragraphs can be expressed as follows by dividing them based on rhythm and speed (A–A′)-B–C–D-(A′-A). This result shows that it starts at a slower pace and is configured to get faster as you go backward. This seems to use the form according to the traditional music form.

Third, two theme melodies are reconstructed and developed according to the change of rhythm. Three main melodies come out from melodies composed by the composer and reconstructed based on 1st and 4th chapter of Sujechǒn. If it is indicated by a symbol, it can be expressed as follows. (A: composed melody B: Sujechǒn Chapter1 C: Sujechǒn Chapter4th) (A–B)–A′-B′-C-(C′-A″) This can be seen as a repetition using several rhythms to emphasize the subject melody.

Fourth, it has a complex texture according to the use of the father. Heterophony, which is found mainly in traditional music, homophony, and polyphony, which are mainly developed in Western music, are coexisted but independently located. If it is indicated by symbol, it can be expressed as (A: homophony B: heterophony C: polyphony) (A–B)–C–C–C–(B–A) In this way, traditional musical textures and Western musical textures are used in combination to provide a variety of compositional beauty.

Thus, the concerto for the piri, Shin Sujechǒn, is a song about the virtue music, unlike the original song developed with the possibility of using the improved piri and court music. The composer recreated the traditional music Sujechǒn 1 and 4 with new rhythm, jangdan, marsh, and texture. In this process, the composer was able to maintain the traditional musical color, and to show the new aspects of Sujechǒn as creative music. I hope that these results will help the performers to understand the songs and enhance the perfection of the performances and to help the development of the piri pieces using the improved piri in the future.