관악영산회상 상령산 대금 시김새 고찰 -이왕직 아악부 『대금보』ㆍ은하출판사 『대금정악』ㆍ 국립국악원 『대금정악보』와 대금 연주자 6인의 음원을 중심으로-

초록

This study offers an in-depth examination of the function and expression of sigimsae(ornamental notes) in traditional Korean music by comparing and analyzing the scores and performances of Sangnyeongsan from Gwanak Yeongsanhoesang. First, acomparison of the ornamental sigimsae in Daegumbo, Daegum Jeongak, and Daegum Jeongakbo revealed that Daegumbo had a limited use of ornamental sigimsae, whereas Daegum Jeongak and Daegum Jeongakbo systematically employed a diverse range of sigimsae. Notably, Daegum Jeongak exhibited a significant increase in the use of ornamental sigimsae, thereby enhancing the performer's interpretative and expressive capacities. Second, an analysis of the recordings by Kim Seong-jin, Jo Chang-hoon, Park Yong-ho, Hwang Gyu-il, Hong Jong-jin, and Yun Byeong-cheon indicated that while the basic melody remained consistent, differences in the use of ornamental sigimsae reflected individual performance styles and interpretations. Third, Daegumbo did not notate functional sigimsae, whereas Daegum Jeongak and Daegum Jeongakbo included functional sigimsae markings on tae(汰), chung(㳞), and rim(淋), predominantly using descending (toeseong) symbols. Fourth, functional sigimsae were largely consistent among performers, except for Park Yong-ho, who demonstrated distinctive interpretations on specific notes. This study offers valuable insights into distinguishing between imitation and creative interpretation in traditional music education and serves as a meaningful resource for the systematic transmission and pedagogy of Korean traditional music.

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