교방예인의 ‘구음’에 대한 음악적 검토 및 현대적 의의 조명 - 영남교방 출신 김수악, 유금선, 권명화를 중심으로 -

초록

This study examines the artistic heritage of Gu-eum (oral notation) transmission among traditional Gyo-bang (courtesan) artists from the Yeongnam region, highlighting their musical characteristics and modern significance. The research focuses on Kim Su-ak (Jinju Gyo-bang), Yu Geum-seon (Busan Daedong Gyo-bang), and Kwon Myeong-hwa (Daegu Daedong Gyo-bang), selected through Purposive Sampling. To gain deeper insights, interviews and qualitative analysis were conducted. The findings reveal that Yeongnam Gyo-bang artists naturally acquired instrumental performance, dance, and Gu-eum, developing distinct musical features. First, Kim Su-ak employs an A♭ boncheong mi-mode scale and Yukjabaegi tori, integrating diverse melodic patterns and rhythmic variations while emphasizing the interplay of wind and string instrument imitations and hemiola rhythms. Second, Yu Geum-seon transitions from D boncheong mi-mode to G boncheong mi-mode via a perfect fourth modulation, incorporating woojo-style sigimsae(ornamental embellishments) and blending Dongpyeonje and Seopyeonje vocal techniques to establish a unique musical identity. Third, Kwon Myeong-hwa adheres to an E♭ boncheong mi-mode scale with Yukjabaegi tori, frequently utilizing Toeseong sigimsae (descending embellishments) to reflect Dongpyeonje vocal traditions. These Gu-eum styles transcend simple preservation, embodying improvisational expressiveness, historical continuity, and artistic innovation, offering valuable insights into the evolving landscape of contemporary Korean traditional music.

키워드