伽倻琴散調 중중모리樂章의 調構成 -鄭達榮의 散調를 중심으로- : The Key Structure of Jungjungmori in the Kayagŭm Sanjo

Cited 0 time in Web of Science Cited 0 time in Scopus
Issue Date
서울대학교 음악대학 동양음악연구소
민족음악학, Vol.15, pp. 43-94
ChungTal-YoungJogusongChongJoPyongjochongUjochongPyongjootchongUjootchongPyongjoKyemyonjoPyongjochong KyemyonjoPyongjochong PyongjoPyongjootchong KyemyonjoUjochong Kyemyonjo
Chung, Tal-Young, the famous Korean kayagum player, always improvises

Sanjo melodies whenever he performs. To find out the principles of the

improvisation in his Sanjo although the melodies differ each time, in this paper,

especially Jogusong (it means the combination of Key and Scale) of

Chungjungmori Movement was analyzed. The analysis divided the melody of

Sanjo into Chong (Key) and Jo (Scale). In 뻐is paper, to give a clear meaning to

the word Chong and to facilitate discussion, if Chong occurred on the sixth string

of the Kayagum(g,징), it was named Pyongjochong and if on the seventh (a, 땅), it

was named Ujochong. When Chong appeared on the ninth string (d' ,찡), which

was Pyongjochong transffered a perfect fifth up or perfect fourth down, it was

named Pyongjootchong and when on the tenth string (e, 칭), which was Ujochong

transfferd in a similiar way, it was named Ujoochong. Also Jo was discussed

according to the Korean traditional Jo (Scale): -Pyongjo and kyemyonjo.
Files in This Item:
Appears in Collections:
College of Music (음악대학)Asian Music Research Institute (동양음악연구소)Journal of the Asian Music Research Institute (동양음악, JAMRI) 민족음악학 Volume 15 (1993)
  • mendeley

Items in S-Space are protected by copyright, with all rights reserved, unless otherwise indicated.