조성 특성에 따른 국악음정지각 연구: 평조와 계면조 음계의 황종-중려 음정을 중심으로 (Characteristics of Interval Perception Within a Tonal Context in Korean Traditional Music: With a Focus on the Hwangjong-Jungryeo Interval in P’yongjo and K’yemyeonjo)

서지정보

· 발행기관 : 한양대학교 음악연구소
· 수록지 정보 : 음악논단 / 22권 / 22호 / 1 ~ 23페이지
· 저자명 : 권오연

초록

The purpose of this study was to examine the categorical perception of the Hwangjong-Jungryeo interval in the context of tonality, namely P’yongjo and K’yemyeonjo. It examined how training influenced the categorical perception of the interval within a tonal context by studying subjects who major in traditional music in comparison to non-majors (music enthusiasts). The 148 subjects consisted of 4 groups and five subgroups of people who had an average of 5.82 years of training in traditional music. The five groups were of professional Korean traditional musicians (22 members of “The Court Music Troupe” and 19 members of “The Creative Music Troupe,” totalling 41 subjects), college students majoring in Korean traditional music (53 subjects), Korean traditional music high school students (28 subjects), and people with experience in Korean traditional music (26 subjects).
The scale used as stimulus in the test, produced by a Daegum tone, played an ascending melody made of 6 tones that suggest the P’yongjo scale; Hwangjong-Taeju-Jungryeo-Imjong-Namryeo-Chong hwangjong. This scale derived from the Korean traditional temperature yielded intervals of 204-318-180-204-294 cents, respectively. This P’yongjo scale was used as the standard scale while the 6 comparative scales were made by altering the fourth tone (Jungryeo) by ±30 cents. The K’yemyeonjo scale was produced by the same method, yielding a scale of Hwangjong-Taeju-Jungryeo- Imjong-Muy’ok-Chong hwangjong with intervals of 204-318-180-318-180 cents, respectively. The six comparative scales were, as in the case of P’yongjo, produced by altering the fourth tone (Jungryeo) by ±30 cents. In the listening test, subjects were asked to listen to the standard and comparative scales and determine if the melody belonged to P’yongjo or K’yemyeonjo. The result of the experiment was obtained through statistic procedures using SPSS12.0.
The crux of the result was that tonality had a strong influence on the perception of the Hwangjong-Jungryeo interval. The categorical perception of this interval ranged within 30 cents for P’yongjo (the median: 512 cents) and also 30 cents for K’yemyeonjo (the median: 522 cents). However, this interval was perceived about 10 cents smaller in P’yongjo than in K’yemyeonjo. It was also shown that the differences among subject groups were influential factors to the perception of the Hwangjong-Jungryeo interval within a tonal context. Among the 5 subgroups, the high-school students subgroup showed a clear and strong categorical perception than the others within the range of 502-522 cents, therefore being closer to equal temperament. There was also not much difference between the P’yongjo scale and K’yemyeonjo scale. On the other hand, “The Court Music Troupe” and “The Creative Music Troupe” showed a clear difference between the two scales; these subgroups perceived the Hwangjong-Jungryeo interval approximately 20 cents wider in K’yemyeonjo than that of P’yongjo. At this point, the inquiry on tonality has not been clarified in theory or in practice of Korean traditional music, thus causing difficulties in designing experiments. However, this study is meaningful as it shows that Korean traditional musicians represent and perceive varying intervals under different tonal contexts, and that it outlines new possibilities in research methodologies of this field.

영어초록

The purpose of this study was to examine the categorical perception of the Hwangjong-Jungryeo interval in the context of tonality, namely P’yongjo and K’yemyeonjo. It examined how training influenced the categorical perception of the interval within a tonal context by studying subjects who major in traditional music in comparison to non-majors (music enthusiasts). The 148 subjects consisted of 4 groups and five subgroups of people who had an average of 5.82 years of training in traditional music. The five groups were of professional Korean traditional musicians (22 members of “The Court Music Troupe” and 19 members of “The Creative Music Troupe,” totalling 41 subjects), college students majoring in Korean traditional music (53 subjects), Korean traditional music high school students (28 subjects), and people with experience in Korean traditional music (26 subjects).
The scale used as stimulus in the test, produced by a Daegum tone, played an ascending melody made of 6 tones that suggest the P’yongjo scale; Hwangjong-Taeju-Jungryeo-Imjong-Namryeo-Chong hwangjong. This scale derived from the Korean traditional temperature yielded intervals of 204-318-180-204-294 cents, respectively. This P’yongjo scale was used as the standard scale while the 6 comparative scales were made by altering the fourth tone (Jungryeo) by ±30 cents. The K’yemyeonjo scale was produced by the same method, yielding a scale of Hwangjong-Taeju-Jungryeo- Imjong-Muy’ok-Chong hwangjong with intervals of 204-318-180-318-180 cents, respectively. The six comparative scales were, as in the case of P’yongjo, produced by altering the fourth tone (Jungryeo) by ±30 cents. In the listening test, subjects were asked to listen to the standard and comparative scales and determine if the melody belonged to P’yongjo or K’yemyeonjo. The result of the experiment was obtained through statistic procedures using SPSS12.0.
The crux of the result was that tonality had a strong influence on the perception of the Hwangjong-Jungryeo interval. The categorical perception of this interval ranged within 30 cents for P’yongjo (the median: 512 cents) and also 30 cents for K’yemyeonjo (the median: 522 cents). However, this interval was perceived about 10 cents smaller in P’yongjo than in K’yemyeonjo. It was also shown that the differences among subject groups were influential factors to the perception of the Hwangjong-Jungryeo interval within a tonal context. Among the 5 subgroups, the high-school students subgroup showed a clear and strong categorical perception than the others within the range of 502-522 cents, therefore being closer to equal temperament. There was also not much difference between the P’yongjo scale and K’yemyeonjo scale. On the other hand, “The Court Music Troupe” and “The Creative Music Troupe” showed a clear difference between the two scales; these subgroups perceived the Hwangjong-Jungryeo interval approximately 20 cents wider in K’yemyeonjo than that of P’yongjo. At this point, the inquiry on tonality has not been clarified in theory or in practice of Korean traditional music, thus causing difficulties in designing experiments. However, this study is meaningful as it shows that Korean traditional musicians represent and perceive varying intervals under different tonal contexts, and that it outlines new possibilities in research methodologies of this field.

참고자료

· 없음