雙花曲과 길군악(折花)

Abstract

The music of Ssanghwajom 體花店 in Taeak hubo 「大樂後」 , Ssanghwhagok 體花曲 in Siyong hyangakbo 「時用鄭樂讀J and the existing music Kilgunak 길軍樂 all have differenttitles as well as having different time periods from which they come. Also, the notation system of Ssaπghwajom is quite different from that of other pieces that use the same 16 mensural notation system 井間짧 The Kilguη ak also uses a different notation system in that it is the only piece to use an 8 mensural notation system. Because of this, 1 have come to compare and research these two pieces. The following are my concIusions. First, 1 have found that the existing Kilgunak is much the same piece as Siyong hyangakbos Ssanghwagok. So the Ki않πak must also have some relation to Taeak hubos Ssaη.ghwajom. That is to say, from Ssaηghwajom come Ssaπghwagok， and from Ssanghwagok came the Kilguπak.

Second, as such, the Kilgunak which is divided into 6 sections is related to the form of both Ssaπhwajom and Ssaπghwagok. 1n specific, of Ki삶naks 15 lines 行of section 章1, 2 and 3, the 12 lines came directly from the first 24 lines of Ssaπhwagok. Also, the continued sections sub 돌章 1 and sub 2 are the repetitions of sections 1 and 2. So, one can concIude that most of Kilgunaks melodic lines have very much in common with those of Ssaπghwagok. And the short 4th section found in Kilgunak is concluded to have been added at a later date. Third, the odd 8 beat notation system 八井-行and rhythm of Kilgunak has been derived from the 16 beat 2 line notation system 十\六井二行and rhythm of Ssanghwagok. That is to say, one line 2.2.2.2 beat 井 system and rhythm of Kilgunak came from the 2 line 8.8.8.8 beat system and rhythm of the Ssanghwagok. Fourth, with the above, one can say that the Ki않nak inhereted the rhythmic patterns of Ssanghwagok. In other words, the ssaπg ssang ssang yo" 雙雙雙搖 chango 校鼓 pattern of Kilgu πak is related to the ko yo pyon ssang" 鼓搖輪慶chango pattern of Ssanghwagok, as well as this being related to the chaπgo pattern of Ssanghwajom.