밖에서 본 한국의 세틀형식 - <영산회상>에 기하여 -

Abstract

아시아 지역에는 느린 속도로 시작하여 중간 속도를 거쳐 빠른 속도로 진행하는 세틀형식이 많이 있다. 이 세틀 형식은 모두 변주 형식이라는 공통점이 있다. <영산회상>의 <상영산>․<중영산>․<세영산>․<가락덜이>는 모두 <상영산>의 변주곡으로 보고 있다. 중국 음악에서는 느린 속도 - 중간 속도 - 빠른 속도를 나타내는 용어로 다양한 용어가 사용되는데 만판(慢板)-중판(中板)-원판(原板)(또는 三板-二板-頭板)이 대표적이다. 이 중에서 원판(原板)은 원래의 주제라는 뜻이고 두판(頭板)은 제일 먼저 나온 주제라는 뜻이다. 아시아 여러 나라의 음악에서 짧고 단순한 것을 주제이다. 이것을 원판(原板, First Level,) 또는 두판(頭板) 이라고 한다. 주제에 간음을 넣어 리듬 단위의 길이가 길어진 것을 중판(中板, Second Level)이라 한다. 연주할 때에는 주제보다 앞에 놓인다. 제1변주보다 간음을 더 넣어 박수가 늘어나면 삼판(三板, Third Level)이라고 한다. 연주할 때에는 앞의 제1변주 앞에 놓인다. 이와 같이 주제 선율에 간음을 넣어 확장하여 변주를 만드는 현상은 중국음악, 태국음악, 캄보디아 음악, 인도네시아 음악 등에 공통적으로 보인다. 또한 간음을 넣어 속도가 느려진 변주곡은 항상 주제 앞에 연주한다. 놓는다. 즉 제1변주는 주제 앞에, 제2변주는 제1변주 앞에 놓인다. 다른 나라의 세틀 형식 변주 이론을 영산회상에 적용해 보면 <상영산>․<중영산>․<세영산>은 <가락덜이>의 변주곡으로 볼 수 있다. 그러나 이와 같은 해석은 ‘<상영산>이 주제이고 <중영산>․<세령산>․<가락덜이>는 <상영산>의 변주’라는 기존 연구와 상반되는 것이다. 이렇게 상반된 결과가 나타나는 것은 한국 <영산회상>만이 지니는 특수 상황인지는 앞으로 연구할 과제이다.

As I studied and researched more about Korean traditional music, I have realized that there used to be a lot more cultural exchanges in between Korea and other countries around in the past time than the present. I also have acknowledged the fact that many of the Korean traditional music have been influenced by the music of its neighbouring countries. For some of them, different point of view has been aplied on the theoretical analysis of its musical structures when it compared to that of the other surrounding countries. One can find these typical differences in analysis of Youngsanhoesang, for it has been distinguished in its analytic views compared to that - the music with same structure - of other countries around. The musical structure of Youngsanhoesang is a theme and variation. In this paper, I will examine the theoretical viewpoints and the ways of analyzing/classifying the music in same formats from other surrounding countries in order to compare it with that of Korea. The melodies and rhythms of each musical pieces will ben examined in depth. The melodies of Youngsanhwesang starts slow and proceeds faster beats. All the melodies that Sangyoungsan, Jungyoungsan, Seyoungsang and Garakdeoli are the variations of that of Sangyoungsan. In most of other countries, when the music is in the form of theme and variation, the fastest music - or melody - is theme and the rests are variations of it. This way of analyzing the musical form of theme and variation will be aplied in countries such as China, Indonesia, Thailand and India. The chinese term for tempo is ‘panshi’(板式). There are also other terms such as ‘manban’(慢板), ‘zhongban’(中板), ‘yuonban’(原板, yuon ban), ‘samban’(三板), ‘erban’(二板,) and ‘touban’(頭板). ‘Yuonban’ literally means the original theme and the term ‘touban’ means the theme that appears the first. As we can find from the music forms and the terms that are used of China, the third theme is always the main theme. In Thailand, terms such as ‘samchan’(third level), ‘songchan’(second level) and ‘chan dio’(first level) are used to indicate each slow, medium and fast tempo. ‘Chan dio’ is always the theme and the rests are the variations of it and the same cases are also found in Indonesia. All of these music are theme and variations, differ in their origins of countries, but same in the musical structure which it started slow and move to faster tempo where the theme melodies are always the fastest ones. In other words, when the variations are made from the theme melody, the music in slower tempi than its main theme are always placed ahead of it. As we can see from the analysis on the musical form of theme and variation from each countries, there are common logics to it. That is to say, the slower pieces are always the variations and the main theme is on fast tempo. Contrast to that, Korean Youngsanhoesang is analyzed differently, which is the piece in slow tempo is always the main theme and the variations are in faster tempo. One of the distinctive feature of the rhythm of Asian music is that one rhythmical pattern is transformed in many different shapes in accordance with the tempo of the piece. When compared and aplied in the analytical logics of the music of theme and variation from the countries around Korea, the main theme of Youngsanhoesang shuld be ‘garakderi’ and the main beat(rhythm) should be ‘doduri jangdan’ in six. This conclusion could confuse the readers for it is differ from the already known musical theories and analysis of Youngsanhoesang. Further studies and researches should be followed to find out the reason of differences in analyzing Korean Youngsanhoesang as a musical form of theme and variation with that of the other countries around.