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A Comparative study of Scene that ‘Simbongsa’s eyes open : Focused on Korean Traditional Narrative song(Pansori) of Rok Joo, Park, Ye Soon, Han, Kwon Jin, Jung
No full text본고에서는 심청가의 눈 대목인‘심봉사 눈 뜨는 대목’을 박록주, 한애순, 정권진의 창을 중심으로 사설과 음악적 특징을 비교하여 연구하였다. 사설 비교는 공통사설을 위주로 살펴보았다. 음악적 특징은 선율과 붙임새를 각각 비교 분석하였다.
다음은 연구 결과를 차례로 정리한 것이다.
첫째, 사설을 살펴본 결과 박록주, 한애순, 정권진의 사설은 65% 유사하다. 하지만,‘감은 눈을 번쩍 뜨고’는 박록주와 한애순은 95% 유사한 사설을 보였고, 정권진의 사설은 맹인잔치에 참석한 여러 맹인이 모두 눈을 떠서 광명천지가 되었음을 (자진모리 34장단) 독자적으로 묘사하고, 심 봉사도 눈을 떠서 심황후와 재회하여 기뻐하는 모습 (중모리 18장단)을 묘사하여, 해학적인 사설과 연극적인 요소가 가미되어‘심봉사 눈 뜨는 대목’을 더 극대화 시키는 효과가 있었다.
둘째, 선율을 살펴본 결과 ‘심봉사 눈 뜨는 대목’은 모두 계면조이다. 박록주가 d 본청이고, 한애순은 e♭본청이며, 정권진은 a 본청이나‘감은 눈을 번쩍 뜨고’에서는 a♭본청으로 반음 내려간다. 음역은 곡에 따라 서로 다른 음역대를 보인다.‘예 소맹이 아뢰리다’에서는 박록주가 D ~ c＇로 넓었고, ‘심 황후 이 말 듣고’에서는 정권진이 E ~ c＇로 넓었으며, ‘감은 눈을 번쩍 뜨고’는 한애순이F ~ e＇♭까지로 넓은 음역대를 지녔다. 박록주의 선율은 단조로운 진행을 보이며, 상·하행 진행 시 음폭이 좁은 수평적인 진행이 주로 나타났다. 한애순의 선율은 한 장단 내에 시김새와 꺾는음의 활용이 많아 곡선적 진행이 두드러지게 나타났다. 정권진의 선율은 단조로운 선율 진행과 음폭이 넓은 수직적 진행을 통하여 사설의 극적인 느낌을 살렸다. 시김새는 박록주가 총 14회의 꾸밈음과 28회의 꺾는 음을 사용하였고, 한애순이 총 52회의 꾸밈음과 75회의 꺾는 음을 사용하였으며,정권진이 총 13회의 꾸밈음과 24회의 꺾는 음을 사용하여, 한애순의 선율이 시김새를 가장 많이 사용함을 알 수 있다.
셋째, 붙임새를 살펴 본 결과 다음과 같다. 박록주와 정권진은 대마디 대장단인 3박형, 2박형, 2·3박형, 3·2박형의 모든 유형과 엇붙임을 사용하여 다양한 붙임새가 나타났으며, 박록주는 3박형을 주로 사용하여 안정적인 붙임새를 보였다. 정권진은 2·3박형과 3박형을 사용하여 2분박의 헤미올라와 안정적인 3분박을 동시에 사용하였고, 자진모리장단에서 엇붙임을 사용하여 장단에 구애받지 않고 자유롭게 사설을 배치하였다. 한애순은 중모리에서 대마디 대장단 중 3박형이 총1회 나오고, 나머지는 3박형에서 변형된 형태의 붙임새를 사용하였다.
위의 결과를 종합해 보면, ‘심봉사 눈 뜨는 대목’에서 박록주, 한애순, 정권진의 사설은 유사하다. 하지만, 정권진은‘만좌맹인 눈을 뜬다’로 시작하는 자진모리장단이 더 쓰이고, 이 부분의 사설을 더 자세하고 해학적으로 묘사하여 연극적 요소가 부각되는 효과를 보였다. 음악적으로는 가장 늦게 전승되어진 정권진 소리에 박록주와 한애순의 음악적 특징이 나타나 있음을 알 수 있었다. 이는 현재 가장 활발히 전승되고 있는 정권진의 소리가 시기 적절하게 음악적으로 조합되어 있는 모습을 보여주고 있으며, 본고의‘심봉사 눈 뜨는 대목’을 통해서 한번 더 증명하게 되었다.
본고에서는 심청가 중‘심봉사 눈 뜨는 대목’을 박록주, 한애순, 정권진 명창을 중심으로 비교 분석하여, 사설·선율·붙임새에 나타나는 독자적인 표현과 공통적인 표현을 통해 전체적인 흐름을 이해 할 수 있었다. 본고를 통해서 박록주·정권진·한애순의‘심 봉사 눈 뜨는 대목’이해에 도움이 되었으면 하고, 앞으로 판소리 5바탕 中 심청가의 계승발전이 잘 이루어지길 바란다.;In this paper, I compared the lyrics and musical features focusing on Korean Traditional Narrative song(Pansori) of Rok Joo, Park, Ye Soon, Han, Kwon Jin, Jung. Comparing lyrics focused on common lyrics. Musical features were compared, and analyzed through each melody and lyrics placement.
The following is summary of the study results arranged in order.
First, when I reviewed the lyrics, the lyrics of Rok Joo, Park, Ye Soon, Han, Kwon Jin, Jung are 65% similar. However, Rok Joo, Park, Ye Soon, Han showed 95% similar lyrics, and the lyrics of the Kwon Jin, Jung described that all blind people who attended the blind feast open their eyes, it was became bright heaven and earth. He (Jajinmory 34 Jangdan) depicted independently, and described Scene that ‘Simbongsa’ open his eyes and rejoicing of the reunion with‘Empress Sim’ and humorous lyrics added to the theatrical elements, which had the effect of maximizing the Scene that ‘Simbongsa’s eyes open.
Second, as a result of examining the melody, Scene that ‘Simbongsa’s eyes open is all minor key. Rok Joo Park is based on d centered sound, Ye Soon, Han is based on e♭centered sound, and Kwon Jin, Jung is based on a centered sound but it goes down on semitone to a♭centered sound in scene that Simbongsa’s eyes open. For example, in part of ‘The blind man says’, Rok Joo, Park broad range to D~c’, in part of ‘Empress Sim heard that words’, Kwon Jin, Jung broad range to E ~ c’, and in part of Simbongsa’s eyes open, Ye Soon, Sim broad range from F ~ e＇to ♭, it is shown wide range of frequencies. The melody of Rok Joo, Park’s performance was monotonous, and In the course of rising and descending phases, a horizontal progression was observed with a narrow view of sound width. The melody of Ye Soon, Han’s performance was that have lots of use grace note and bending sound, Curvilinear progression was prominent. The melod of Kwon Jin, Jung’s performance was monotonous, and used the dramatic feeling of the lyrics through wide vertical progression. Rok Joo, Park used grace note 14 times, and bending sound 28 times, Ye Soon, Hang used grace note 52 times and bending sound 75 times, and Kwon Jin, Jung used grace note 13 times and bending sound 24 times in their performance. As we can see from above, Ye Soon, Han's melody has largest number of using grace note and bending sound.
Third, the following are the result of review lyrics placement.
In Rok Joo, Park and Kwon Jun, Jung’s performance, they used rhythm of syllable various variation were made using mixed all 4types (Three times, Two times, Two-three times, Three-two times), and Rok Joo, Park used Three times technique to produce stable lyrics placement. Kwon Jun, Jung used Three times, Two times, Two-three times, Three-two times hemiola was used and a stable Three times was used at the same time, and also used Jajunmori-jangdan, mixed all types, he placed the lyrics freely regardless of Jangdan.
Ye Soon, han, she used modified type from Three times and typical Three times 1 times in rhythm of syllable, Jungmori.
In summary, the above results are similar to the lyrics of Rok Joo, Part, Ye Soon Han, and Kwon Jin, Jung in scene that ‘Simbongsa’s eyes open. However, Kwon Jin, Jung’s performance in part of ‘The blind man’s eyes are opened’, the lyrics of this section was described in more detailed and humorous way, showing the effect of the theater elements. In musically, Kwon Jin, Jung's performance which latest being accomplished has been revealed in affect by musical characteristics of Rok Joo, Park and Ae Soon, Han. This shows the timely and musically combined sound of the most active to be accomplished Kwon Jin, Jung's performance, It was proved once more through the Scene that "‘Simbongsa’s eyes open" of this paper.
In this paper, we compared and analyzed the Scene that "‘Simbongsa’s eyes open" focused on Rok Joo, Park, Ae Soon, Hang, and Kwon Jin, Jung, it was able to understand the whole flow through their independent expression and common expressions that appeared in the lyrics, melody and lyrics placement. Through this paper, I hope that it will be helpful to understand Scene that ‘Simbongsa’s eyes open in Rok Joo, Park, Ye Soon, Han, and Kwon Jin, Jung’s performance. I hope that the succession of "Shimchungga" in the Pansori Five Story will be well accomplished.Ⅰ. 서론 1
A. 문제제기 및 연구목적 1
B. 연구범위 및 방법 5
Ⅱ. 심봉사 눈 뜨는 대목의 사설 비교 8
A. 예 소맹이 아뢰리다 8
B. 심황후 이 말 듣고 11
C. 감은 눈을 번쩍 뜨고 14
Ⅲ. 심봉사 눈 뜨는 대목의 음악적 특징 비교 19
A. 선율 19
1. 예 소맹이 아뢰리다 19
2. 심황후 이 말 듣고 31
3. 감은 눈을 번쩍 뜨고 41
B. 붙임새 52
1. 예 소맹이 아뢰리다 52
2. 심황후 이 말 듣고 59
3. 감은 눈을 번쩍 뜨고 68
Ⅳ. 결론 76
참고문헌 79
부록악보 82
ABSTRACT 12
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No full textThe development of elastic ionic conductors offers opportunities to fabricate key wearable ionic components such as ionoskins that can perceive mechanical deformation. However, there is still plenty of room to overcome the trade-off between sensitivity and detectable range of previous systems and impart additional functionality. Here, we propose porous ion gels for high-performance, functional ionic sensory platforms. The porous ion gels can be effectively deformed by closing pores even with a small pressure, and a large change in the contact area of the gel and the electrode is induced, leading to a significant difference in electrical double-layer capacitance. The porous ion gels are applied to ionoskins after optimizing mechanical characteristics by adjusting gel parameters. The device indicates a high sensitivity of similar to 152.8 kPa(-1), a broad sensory pressure range (up to 400 kPa), and excellent durability (>6000 cycles). Successful monitoring of various human motions that induce different magnitudes of pressure is demonstrated with high precision. More interestingly, the functionality of the porous ion gel is extended to include electrochemiluminescence (ECL), resulting in the production of emissive ECL ionoskins. The ECL intensity from the emissive ionoskin is linearly correlated with the applied pressure, which can even be inferred even by the naked eye. The porous ion gel-based functional ionoskins are expected to be key components in future sensory ionotronics.
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No full textThe novel fabrication technique that patterns the multiple electrodes of the ionic polymer metal composite actuators was developed to mimic the swimming and flapping locomotion of a living thing. The developed method is to combine electroplating with the electroless chemical reduction using the patterned mask. The advantages of this fabrication method are that the initial compositing between the polymer and platinum particles can be assured by the chemical reduction method, and the thickness of each electrode can be controlled easily and rapidly by electroplating. By using the fabricated actuator with a multiple degree of freedom, the oscillatory and undulatory waves of the flexible membrane actuator was generated and a twisting motion was also realized to verify the possibility of mimicking the fish-like locomotion. Present results show that this novel method combining electroplating with electroless plating can be a promising technique to easily pattern multiple electrodes and to implement the biomimetic motion of the polymer actuators with good mechanical bending performance. (C) 2007 Elsevier Ltd. All rights reserved
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