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산조의 기본청과 보조청
DC Field | Value | Language |
---|---|---|
dc.contributor.author | 황준연 | - |
dc.date.accessioned | 2014-01-08T07:26:19Z | - |
dc.date.available | 2014-01-08T07:26:19Z | - |
dc.date.issued | 1996 | - |
dc.identifier.citation | 민족음악학, Vol.18, pp. 111-129 | - |
dc.identifier.uri | https://hdl.handle.net/10371/86878 | - |
dc.description.abstract | Sanjo would be long and tedious unless its ch'ang, the central tone, varies in
the course of music. The change of ch'ang reflects a tightly organized pattern: a piece consists of a kibon ch'ang[fundamental tone], usually middle c, and its modulations (relative ch'ang) that occur based on the central tone to fifth above and fourth below, forming the tonic and dominant relationship. Then pojo ch'ang[auxiliary tone] appear a major second above and below those fundamental ch'ang depending upon instruments. As shown in the following diagram, two different patterns are found in sanjo. In kayagum sanjo, the fundamental ch'ang, c, and its relative ch'ang, g, and G, are approached by an interval of major second above auxiliary ch'ang{d, a, and A). In komungo sanjo, on the other hand, the fundamental and its relative ch'ang are decorated by a major second below auxiliary ch'ang(B flat, f, and F). While the use of ch'ang varies according to instruments, Sanjo usually starts with an auxiliary ch'ang and then precedes to the fundamental ch'ang. Such changes in ch'ang makes Sanjo not only one of the most beautiful traditional genre with its rich melodic lines that can show off performers' virtuosity, but also a very carefully planned music. | - |
dc.language.iso | ko | - |
dc.publisher | 서울대학교 음악대학 동양음악연구소 | - |
dc.title | 산조의 기본청과 보조청 | - |
dc.type | SNU Journal | - |
dc.citation.journaltitle | 민족음악학 | - |
dc.citation.endpage | 129 | - |
dc.citation.pages | 111-129 | - |
dc.citation.startpage | 111 | - |
dc.citation.volume | 18 | - |
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