학술논문
김성국 작곡 25현 가야금 협주곡 <아리랑(소녀의 꿈)> 분석 연구 / An analysis for 25-string Gayageum Concerto , composed by Kim Seong-Guk
Document Type
Dissertation/ Thesis
Author
Source
Subject
Language
Korean
Abstract
본 논문은 한국창작음악계에서 활발하게 활동 중인 김성국의 25현 가야금을 위한 협주곡 을 대상으로 다룬 연구이다. 25현 가야금 협주곡 은 근대역사의 아픔인 일본군 위안부의 삶을 주제로 하고 있으며, 2013년 국립국악원 창작악단 정기공연‘아리랑, 비상하다’에서 문양숙 연주자에 의해 초연되었다. 김성국이 작곡한 가야금 연주곡의 특징은 민요에 의한 전통음계를 바탕으로 현대적인 어법으로 표현한 곡이 많으며, 빠르기 또는 박자 변화를 통해 전통 기본 주법들에 속도감을 입히거나, 패턴 변화를 다양하고 연속적으로 진행하며 연주기교를 요하는 부분이 자주 등장한다. 이에 본 연구자는 을 대상으로 곡의 구조, 악기 편성, 창작배경 등을 살펴보고 독주가야금의 주법과 관현악과의 상관관계 등을 분석하였다. 첫째, 은 4악장 형식의 관현악 협주곡으로, 악장마다 하나의 표제로 이루어져 있다. 표제의 느낌과 이미지를 국악관현악으로 형상화 시키고 있으며, 분석의 편의를 위해 주제동기와 선율의 발전·모방을 기점으로 구분하였다. 둘째, 주제동기가 곡에서 주기적으로 반복·모방·전위·변형하고 있다. 또한 화성보다 음향과 음형적인 요소에 더 집중되어 있으며, 전경·중경·배경을 통한 입체감 있는 음향을 구현하고 있다. 셋째, 독주가야금과 관현악 가야금이 긴밀한 음악적 관계를 맺고 있다. 화성적 보강, 선율의 모방, 선율의 전위 및 확대, 리듬의 모방, 선율을 분해하여 모방, 옥타브를 이용한 음형 활용 등의 모습을 보인다. 넷째, 작곡가는 역사적 아픔이었던 일제 강점기 위안부의 이야기를 의 선율을 차용하여 표현하였다. 곡의 중간에 본조아리랑의 선율을 그대로 차용하였고, 곡의 종지부에 본조아리랑 선율을 리듬적으로 변형하여 곡의 주제를 명확히 표현하고 있다. 다섯째, 전통적인 5음음계나 반음계 진행 등으로 표현하는 경향을 보인다. 기능화성의 구성음이 모두 출현하는 것보다 감화음, 단화음의 잦은 사용으로 보편적인 음정질서보다 표제로 표현되는 작곡자의 의도를 구현하는데 집중하고 있다. 위와 같이 이 곡을 분석한 결과, 김성국의 은 전통적인 장단과 선율을 배제하고 표제를 지향하며, 본인의 의도를 본조아리랑의 차용을 통해 강하게 드러내고 있다. 또한 음색과 음향, 음형이라는 현대음악의 어법을 가야금의 폭넓은 연주법으로 표현하며 화성·대위법적 해결을 벗어나 새로운 음악적 실험을 하고 있다. 가야금은 악기론적인 측면에서 우리 음악뿐만 아니라 세계적인 추이에서도 그 특이성이 주목받고 있으니 이 연구가 가야금 음악 창작과 연주법 개발 방향에 도움이 되었으면 한다.
This thesis researches a 25-string Gayageum Concerto [Arirang(A Girl’s Dream)] composed by Kim Seong-Guk who is actively composer in Korea. The 25-string Gayageum Concerto [Arirang(A Girl’s Dream)] is handling the Japanese military sexual slavery which is a pain of modern history, and it was premiered by a performer Moon Yang-Sook in the regular performance ‘Arirang Soars’ by the Contemporary Gugak Orchestra of National Gugak Center in 2013. In the characteristics of Gayageum repertoires composed by Kim Seong-Guk, a lot of songs are expressed into modern grammar based on the traditional scale of folk songs. They frequently show some parts applying the pace to the traditional basic techniques through changes in tempo or beat, or requiring some techniques through various and sequential changes in pattern. Thus, the researcher examined the structure of song, organization of musical instruments, and background of creation targeting [Arirang(A Girl’s Dream)], and then analyzed the correlation between Gayageum solo technique and orchestra. First, as an orchestra concerto with four movements, [Arirang(A Girl’s Dream)] has different titles in each movement. The feelings and image of the titles are represented with Gugak concerto. For the convenience of analysis, it was classified into theme motif and development/imitation of melody. Second, the theme motif is periodically repeated, imitated, inverted, and transformed in the song. Also, it is more concentrated on acoustic and figure-based elements than harmony, and also realizes such solid sound through the front view, middle distance, and background. Third, the solo Gayageum and orchestra Gayageum have a close musical relationship. They show various looks like harmonic reinforcement, imitation of melody, inversion and expansion of melody, imitation of rhythm, imitation by breaking down melody, and utilization of figure by using octave. Fourth, the composer expressed the story of Japanese military sex slavery which was the historical pain by borrowing the melody of [Bonjo Arirang]. On top of fully borrowing the melody of Bonjo Arirang in the middle of the song, he clearly expressed the theme of the song by rhythmically transforming the melody of Bonjo Arirang in its end part. Fifth, it shows a tendency of expression through the traditional pentatonic scale or chromatic scale. It concentrates on the realization of the composer’s intention expressed into titles rather than universal interval order through the frequent use of diminished chord and minor chord rather than showing every note of functional harmony. Like this, in the results of analyzing this song, Kim Seong-Guk’s [Arirang(A Girl’s Dream)] excludes the traditional rhythm and melody, aims for titles, and strongly reveals the composer’s intention by borrowing Bonjo Arirang. It also attempts a new musical experiment by expressing the grammar of modern music such as tone, sound, and figure through the expansive techniques of Gayageum, and getting out of the harmonic/contrapuntal solution. In the aspect of musical instrument, the specificity of Gayageum grabs attention at home and abroad, so, hopefully, this study could be helpful for the creation of music and development of techniques for Gayageum.
This thesis researches a 25-string Gayageum Concerto [Arirang(A Girl’s Dream)] composed by Kim Seong-Guk who is actively composer in Korea. The 25-string Gayageum Concerto [Arirang(A Girl’s Dream)] is handling the Japanese military sexual slavery which is a pain of modern history, and it was premiered by a performer Moon Yang-Sook in the regular performance ‘Arirang Soars’ by the Contemporary Gugak Orchestra of National Gugak Center in 2013. In the characteristics of Gayageum repertoires composed by Kim Seong-Guk, a lot of songs are expressed into modern grammar based on the traditional scale of folk songs. They frequently show some parts applying the pace to the traditional basic techniques through changes in tempo or beat, or requiring some techniques through various and sequential changes in pattern. Thus, the researcher examined the structure of song, organization of musical instruments, and background of creation targeting [Arirang(A Girl’s Dream)], and then analyzed the correlation between Gayageum solo technique and orchestra. First, as an orchestra concerto with four movements, [Arirang(A Girl’s Dream)] has different titles in each movement. The feelings and image of the titles are represented with Gugak concerto. For the convenience of analysis, it was classified into theme motif and development/imitation of melody. Second, the theme motif is periodically repeated, imitated, inverted, and transformed in the song. Also, it is more concentrated on acoustic and figure-based elements than harmony, and also realizes such solid sound through the front view, middle distance, and background. Third, the solo Gayageum and orchestra Gayageum have a close musical relationship. They show various looks like harmonic reinforcement, imitation of melody, inversion and expansion of melody, imitation of rhythm, imitation by breaking down melody, and utilization of figure by using octave. Fourth, the composer expressed the story of Japanese military sex slavery which was the historical pain by borrowing the melody of [Bonjo Arirang]. On top of fully borrowing the melody of Bonjo Arirang in the middle of the song, he clearly expressed the theme of the song by rhythmically transforming the melody of Bonjo Arirang in its end part. Fifth, it shows a tendency of expression through the traditional pentatonic scale or chromatic scale. It concentrates on the realization of the composer’s intention expressed into titles rather than universal interval order through the frequent use of diminished chord and minor chord rather than showing every note of functional harmony. Like this, in the results of analyzing this song, Kim Seong-Guk’s [Arirang(A Girl’s Dream)] excludes the traditional rhythm and melody, aims for titles, and strongly reveals the composer’s intention by borrowing Bonjo Arirang. It also attempts a new musical experiment by expressing the grammar of modern music such as tone, sound, and figure through the expansive techniques of Gayageum, and getting out of the harmonic/contrapuntal solution. In the aspect of musical instrument, the specificity of Gayageum grabs attention at home and abroad, so, hopefully, this study could be helpful for the creation of music and development of techniques for Gayageum.